10 Records That Changed the World by Phil Stutt

There have been many good records, but most did not change the world of music. There have been some that did and here is my top 10. (Please feel free to argue and let me know your top 10. It is all subjective after all.) These either changed the direction of music or were the pinnacle of their genre. each record comes with a brief explanation which I will expand on later posts.

1. Tutti Frutti (Little Richard)

There are many early rock and roll records that could claim to have laid the fundamentals for what was to follow. However Tutti Frutti is my choice for its sheer power and energy. Coupled with with the fact that this was a major hit for a black artist at a time when that was almost unheard of means that Tutti Frutti just has to be on my list.

2. Move It. (Cliff Richard)

Sir Cliff. This is widely acknowledged as one of the first rock and roll records made outside of the USA. No matter that S.C.R. was a pale shadow of Elvis, this record told the youth in Britain that we could play real rock and roll and make it ours. there are those that would argue for Rock Island Line by Lonnie Donegan but for my money this record deserves its place in history.

3. Revolver (The Beatles)

Revolver is perhaps the most contentious inclusion in this list. There is no Sgt Pepper, no White Album, in this list, this is The Beatles at their best. This is the pinnacle of good, catchy pop songs, never equalled and often copied. It is also the only Beatles album I own...

4. Trout Mask Replica (Captain Beefheart)

Suddenly it was alright to meld Blues and Jazz and shake them both up to produce something not of this world. It was also alright to use free form lyrics, stream of consciousness writing. It was alright to be an artist and to work in rock. With this album rock came of age.

5. Velvet Underground and Nico (VU &; N)

The cliche is that not many people bought this album but everyone who did started a band. Well, I bought this album when it was released and did not start a band. The list of those that now claim this as a major influence makes the inclusion of this, flawed, magical album inevitable, and deserved.

6. Horses (Patti Smith)

1975 and music is boring. Born of a passion for Hendrix, The Who, and other rock acts from the 60's Patti Smith launched herself on the album buying public with this stunning debut. the breadth of her vision and the execution of that vision is a sensation. Punk attitude with an artist's honesty. Simply a must have album.

7. Thriller (Michael Jackson)

before Thriller most albums spawned one or two singles. After Thriller albums would be packed with possible singles. For better or worse this album changed the music industry for ever. (Personally, I think it was for the worse, and I hate this album).

8. King of the Delta Blues (Robert Johnson)

RJ was not the father of the blues as some claimed in the 60s, but he was a very close relative. The reason that this album has to be included in this list is not that it was unique when the tracks were recorded in 1937. The reason is that this album changed white music forever when it was released as a double album on CBS in 1967. It was the first time that most of us white kids had heard real, traditional blues. That so many of us still listen to it and that the music still speaks to the following generations proves how influential this record was, and is. It led directly to the revival of the fortunes of John Lee Hooker, Muddy waters and the rest. If ever a record changed the world of music it is this one.

9. Apache (The Shadows)

Love it or hate it (guess which camp I am in!) This record changed the face of music in the UK. Hank Marvin was voted the best guitar player in the NME for years. Strat rock in the UK was born and countless budding guitarists bought Bert Weedon's 'Play in a Day'...

10. My Favourite Things (John Coltrane)

I had not heard this record for years. About 18 months ago I walked into the studio to prepare for my radio show. The proceeding programme was on and this was on. I was stunned at how good this still sounded. There is genius at work here. JC takes a small insignificant and mundane song and turns it into something sublime. This made improvisation not only acceptable it made it fundamental for any musician. If only more musicians were as good at it as JC.

Well, that is my list. What is yours?

I am passionate about real music which is why I started http://www.realrockandblues.com so that I have an excuse to talk about music, and bore people with my views! I also have a blog http://philstutt.blogspot.com/ and I use that to talk about things going on in my life, and bore even people about music...

I am in my 50s (it hurts to say that, my mind feels 36 but my body....). I live in the UK. I have all the usual bad habits, alcohol smoking etc. I am in a great relationship with a very understanding lady (she has to be).

I love Blues, Captain Beefheart, Wreckless Eric, Tim Fite. I hate Celine Dion, boy bands. 'Nuff said.

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The Ten Greatest Guitar Solos Ever by Ricky Sharples

As with everything else, everybody has an opinion as to who is the greatest guitar solo player and what was their greatest solo. All this is a matter of opinion of course but we can still learn from the opinions of musicians on what makes guitar solos great. Today I thought that I would run through some of the so-called great guitar solos and see what we can learn from such a list. I have decided not to number this list. I just want to bring these classics to your attention.

Stairway To Heaven was recorded in 1971 and never released as a single in the USA but is still among the most requested songs ever. Composed by Jimmy Page and Robert Plant, the final version of the song was a result of many hours of work in the studio by Jimmy Page.

Sultans Of Swing by Dire Straits introduced to the world the sparse arrangements and lyrical genius of Mark Knopfler. The version of the song that appeared on the album was voted number 22 on Guitar World magazine's greatest guitar solos.

Another song that was transformed in the studio was All Along The Watchtower. The guitar solo fits the song as though it was made for it but Jimi Hendrix took the original song by Bob Dylan and added layers of electric guitar music until the original could no longer hold up its head. In fact, Bob Dylan now uses Jimi Hendrix' interpretation.

Sunshine Of Your Love is famous for its distinctive riff and Eric Clapton's use of the Rogers and Hart song Blue Moon to start off his guitar solo. The solo is classic Clapton in its tone and phrasing.

Sometimes things work out in the end. Like the day Van Halen's record producer heard Eddie Van Halen fooling around on the guitar and insisted that he include it on their first album. The result was an instrumental track called Eruption.

One of the first songs to feature distortion and feedback, I Heard Her Call My Name is on most lists of top ten solos. Taken from Velvet Underground's second album, I Heard Her Call My Name is Lou Reed's claim to fame as a guitar player and a precurser of heavy metal.

Songs that start slow and work up into a sweat are always popular with audiences, and Freebird by Lynyrd Skynyrd became the number audiences hung out for. This is another song that is on almost every list of great songs or guitar solos. The transition from ballad to up tempo rock has to be experienced to be believed.

In 1977 The Eagles released an album called Hotel California with the title song being interpreted in many dark and mysterious ways. The song was famously changed to an acoustic number featuring eight guitars but in its original form the lyrics were just there to put in the spaces between the guitar parts.

You Shook Me All Night Long by AC/DC is a favorite amongst fans of Angus Young, a showman who loves playing the guitar and giving the crowd what it wants.

Comfortably Numb by Pink Floyd features two guitar solos. They are a mixture of several solos improvised in the studio and blended together by guitarist David Gilmour. This was supposedly a routine way of working for Gilmour and in this case it resulted in guitar solos that feature on everybody's list of greats.

So that is a list of great guitar solos. Your mission now is to go to YouTube or a music store and seek out the songs you have read about here and give them a listen. Then if you are intersted, go and find some other top ten or top one hundred lists and find bands and music you have never heard of and make them part of your musical background. And keep playing the guitar.

Do you want to learn to play the guitar? Learn How To Play A Guitar For Free is a constantly updated blog which contains all the resources you need for: learning to play solo guitar, how to learn guitar chords, how to learn to read and play easy acoustic guitar tabs, finding a free online guitar tuner, looking for free guitar lessons online, and how to learn guitar scales.

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Some Recommended Songwriter Interviews and Biographies by Del Boland

Lately, I have enjoyed reading about some of my favorite songwriters. It is an attempt to understand their thinking and perhaps glean some of their methodologies, if such a thing exists. I was able to find a rather broad range of biographies in my local library. I will provide a brief description of a few books that I read recently and provide some additional comments.

First of all, there is an excellent compilation by American Songwriter Magazine appropriately entitled "Song" that has some very nice interviews with a wide variety of songwriters including Tom Petty, John Prine, Willie Nelson, Jeff Tweedy and Sheryl Crow. Each interview provides insights and recommendations to other songwriters which may be helpful. I recommend this book to those folks who may not have the time to dig into full blown biographies. It is a compilation of somewhat condensed interviews and many of the artists provide suggestions to aspiring songwriters.

I happen to be a Wilco fan since moving to the Chicago area, so I read a book called, "Learning How To Die" by Greg Kot. It is an interesting story of a group that defied the industry's formulaic approach to popular music and songwriting. It also offers a very nice example of a band that managed to break through despite a variety of challenges. This book provides not only a very good insight into the current trends of the music industry, but also helps folks to understand how the music business operates. Furthermore, it helps distinguish the more avant garde approach of a singer songwriter from the more commercial approach of a pure performer or a pure songwriter.

I read Warren Zevon's biography, "I'll Sleep When I'm Dead" written by his friend and former wife, Crystal Zevon. It is a tragic story, but it provides a very nice description of the underappreciated Zevon, who wrote with a style that we may never really see again. Zevon is to music what Hunter S. Thompson is to literature. He was the epitome of "gonzo", a term coined by H.S. Thompson. Hunter seemed to recognize this particular characteristic in Zevon as they became fast friends.

I recently read "Paul Simon", a biography by Laura Jackson. I find this book particularly enjoyable as I recall the events surrounding the emergence of Simon and Garfunkel in the 60's. I find it particularly interesting that some of my favorite songs written by Paul Simon had distinct ties to events in his life as well as events in history. There are too many songs to list but I especially love "Sound of Silence", "The Boxer", "Bridge Over Troubled Water", "America", "Late In The Evening", "Graceland", "Diamonds On The Soles Of Her Shoes", and "You Can Call Me Al". While it would be fun to provide an analysis of these songs, I will not spoil the book for those who may have an interest in reading it for themselves. However, I did find it interesting that Simon employed a habit of collecting somewhat random thoughts and observations in a notebook which were later infused in his writing.

I have just completed a biography written about the late Woody Guthrie by Elizabeth Partridge entitled, "This Land Is Your Land". This book is very readable, yet, for me, it was extremely dark and depressing. After reading the book, I wanted to hug my 14 year old and go outside to see if the sun was still shining. It was, thank God. While Woody Guthrie is one of the most prolific songwriters of modern times along with folks like Leonard Cohen, his life was worse than I could have ever imagined. Nonetheless, it is difficult to cast Woody Guthrie in a 100% positive light. I cannot pass judgment on this man other than to say he was extraordinarily unorganized in every way except for his unique gift of songwriting. Incidentally, it was my interest in Bob Dylan that led me to Woody Guthrie. I had heard Guthrie's name many times growing up, but I was not prepared for his tragic story.

If you are interested in songwriting, I would encourage you to learn more about the songwriters who have made an impression on you. It is interesting, but it can also be a bit frightening as you may find some characteristics similar to your own. There is definitely something that draws certain folks to this art form and it is interesting to see certain similarities that weave through their lives, in both circumstances and behaviors.

Perhaps one very positive attribute that stands out the most for me is the tendency for all great songwriters to be extraordinary observers of life, in general. They seem to have a peculiar ability to put words to things that are indescribable for the rest of the population. These words allow listeners to instantly identify with human thoughts and emotions in unique ways.

A bit on the darker side, there are certain characteristics that are very difficult to understand for those of us who are tied into society's framework. Some songwriters have exhibited self destructive behaviors that seem to coincide with their success. For some of these people, there seems to be a common thread of introspection, depression and mania. While my list is rather tame compared to some of the others who were, perhaps, not able to achieve the same level of notoriety, there seems to be enough similarity to give us good reason to remain vigilant with regard to our own lives. Extreme circumstances and behaviors can provide ample material for a songwriter, but it just makes good sense to temper it with moderation (when possible) for the sake of maintaining the self control and respectability that I believe is necessary for a sustained, happy life. Art is a wonderful thing, but there are plenty of very good examples of art that exists without tremendous suffering as a prerequisite. If you have suffered, then by all means, find a way to convert your experience into art. However, I would urge anyone not to go through life looking for opportunities to suffer for art's sake.

Finally, these books provide an added bonus for fans of music during the most prolific 50 years in the history of music. There is a cultural aspect to each book that perhaps provides a better understanding of the environmental elements surrounding each artist. These elements include history, politics, social change, economic conditions, and pop culture. In addition, each of the above books is a "Who's Who" of influential folks surrounding the music industry during this period.

Article distributed by permission of Del Boland and Bluemusepublishing.com Bluemusepublishing.com is a free online community for songwriters, bands, and musicians.

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Campbell's Soup And Acrylic Pop Art by Karl Sultana

Campbell’s Soup Cans, 1962, Andy Warhol, American 1928-1987), Acrylic on canvas, series of 32 paintings, each canvas 20”x 16" (50.8cm x 40.6cm). Currently in the collection of New York’s Museum of Modern Art (MoMA).

Warhol first exhibited his series of Campbell's soup can paintings in 1962, with the 32 canvases hung so the bottom of each painting rested on a shelf in a parody of soup cans on a supermarket shelf. The 32 acrylic paintings in the series were a very literal representation of the number of varieties of soup sold at the time by Campbell's, with each label noting a different flavor.

Adding to the irony, the Acrylic paintings were presented in chronological order starting (at the upper left) with the date that Campbell introduced the various soup flavors (tomato in 1897, etc.) It is believed that the MoMA curator made this decision, not Warhol. Warhol claimed that he himself ate Campbell’s soup for lunch every day for more than twenty years.

Like other Pop artists of his time, Warhol used images of proven mass appeal such as comic strips, photos of rock idols and movie stars, advertisements, and tabloid news shots. In his endless repetition of banal images, he parodies the complacency, overabundance, and rampant consumerism of US society in the fifties and sixties.

His use of advertising-style graphics, silk screen and acrylic paints to portray over and over the same images was seen as subverting the idea of painting as a medium of invention and originality. He was attacked throughout his career, but struck a chord both in the art world and with the public. Cheeky, irreverent, but undeniably talented, Andy Warhol became a popular cult idol himself in the American art world of the sixties.

What Andy Did for Acrylic Painting

In the long history of art materials, acrylic paints are the newest by far. Acrylics were first developed as a solvent-based art medium only in the early part of the twentieth century. The first water-borne acrylic - the kind artists use today - was developed and launched in 1955 as Liquitex® (or “liquid texture”).

In the 1940s acrylic paint was commonly used as house paint, popular because of easy cleanup with soap and water. The wide range of colors and its fast-drying properties caught the attention of artists who took to using acrylics for large background areas in oil paintings.

Acrylics became widely used in printing and graphics, and since Andy Warhol was a graphic artist it was a natural medium for him to use. Historically, a new medium such as acrylic paint would take generations of exposure and refinement to gain artistic acceptance. When Andy Warhol’s acrylic painting gained critical and financial success, acrylics gained respectability and a permanent place in the artists’ toolbox of materials.

Turn a favorite family photograph into an acrylic portrait as a way of displaying it and preserving it forever. An inexpensive way to acquire an acrylic painting or acrylic portrait of any black and white or color photograph is to commission one from acrylic painting website.

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A Short Biography of Jimi Hendrix by Andre Sanchez

Jimi Hendrix and Kurt Cobain: 25 years apart and from the same part of the world. Different deaths, but related nonetheless. There must be something about the North East of the USA, but at least it gave us two brilliant performers, although there is no doubt in most people's mind who was the true genius of the two.

However, this is about the greater of the two, and Cobain's name was mentioned only to express wonder about how this part of the USA should produce two great personalities that died before their time, and perhaps while their horizons were, in their own eyes only, on the wane.

Johnny Allen Hendrix, was born in Seattle on 27th November, 1942, and had his name changed by his father on returning from the war to James Marshall Hendrix after James's uncle Leon Marshall Hendrix. His childhood was an unstable and deprived one, and he both suffered neglect and lived in welfare care for a while. Jimi practiced guitar on an unstringed broomstick and a one stringed ukulele, and although he paid $5 for his first acoustic guitar his first real guitar was a white Supro Ozark that his father bought him when he realized his son was serious about learning guitar.

He had no amp, but that did not deter him. He learned by watching others and listening to records, and was initially influenced by his father's Muddy Waters and BB King records so unsurprisingly stared his guitar playing life with the blues. He was a totally extrovert player, and his showing off with electrifying guitar playing actually upset a lot of people, and got him fired from his first band.

From there on he went from band to band, and after serving as a paratrooper in the army, he worked as a session guitarist backing such rock legends as Little Richard, the Isley Brothers and Sam Cooke. It was after he allowed Chas Chandler, formerly of the Animals, to be his manager that his career kicked off big style. Keith Richards (Rolling Stones) girl friend, Linda Keith, had told Chas about Jimi's electrifying playing, and he was persuaded to go to London UK. That was when Chas Chandler changed s name to Jimi, and formed the band the Jimi Hendrix Experience with Mitch Mitchell and Noel Redding.

London was the ideal place at time for an up and coming pop star of Jimi's type, and the band blasted the charts with its first single 'Hey Joe'. After following The Who at that fabulous pop festival at Monterey (were you there?) in 1967 and sent the crowd wild by trashing his guitar with fire on stage the band released their first album "Are You Experienced" and Jimi was a star.

The Experience's most successful album. 'Electric Ladyland' was released in 1968 after Chas Chandler left as manager, and his leaving was the beginning of the end. Drugs and hangers-on crowding the studios led eventually to the end of the band and Jimi formed another band he Gypsies, Sun and Rainbows for a short time: their only gig was Woodstock, 1969, where his version of 'The Star Spangled Banner' was electrifying, but also his last great public performance.

Drugs were catching up, and his last album was "Cry of Love" also featured Billy Cox of gypsies, and Mitch Mitchell who had been with Jimi since the Experience days. On 17th September 1970, he took some sleeping pills belonging to his girlfriend, Monica Denneman. He had an apparent allergic reaction to them, and threw up sometime during the night and drowned on his vomit. He was taken to hospital but was pronounced dead. An inauspicious end to a great musician at the age of 27.

Jimi Hendrix was known for his electrifying solos work, and his use of his teeth and playing behind his back. These have been described as gimmicks, and perhaps they were, but they were gimmicks that nobody else had thought of using live and on TV. He has yet to be emulated and everybody knows of Jimi Hendrix.

His use of designed feedback was pioneering and his branded trademark. Nobody sounded like him, and nobody has done since. You know it's Jimi playing from the that first unique note.

Those of us fortunate enough to see him play live will never forget his dynamic personality and superb guitar skills, and his name and work will live forever. On that day in September 1970 a true genius was lost and the music world was the worse for it.

Jimi Hendrix may not have been the best pure guitarist, even in his own time, but no one has yet approached him in his personality, dynamism and on-stage presence and it is doubtful now if anybody ever will.

If reading his story has inspired you to learn to play the guitar, I highly recommend you try http://www.jamplaynow.com, their online video lessons are excellent.

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Keith Moon and His Tragic Fall by Virgil Vince

The story of Keith Moon is one of the more tragic and cautionary tales of the classic rock era. Moon was an extremely influential and talented drummer who hailed from the northern part of London. From an early age he displayed the wild streak that would dominate his entire life.

Bounced out of school, he was far more interested in two of his life's greatest loves: partying and playing the drums. He found early musical release playing in London cover bands, but the encounter that would ultimately change the course of rock and roll history and sadly seal his fate came in 1964, when at the tender age of 17 Moon joined The Who. After convincing them after a show that he would be a far better drummer than their current one, they gave him an audition in which he beat the drums so hard they were easily persuaded that he was the perfect backbone for their raucous sound.

Moon was an innovative drummer who was never afraid to try new things behind the kit. Early on in The Who he began assembling a drum kit that would better compliment his habit of using the kick drum to pace his rhythms, and he eventually ended up combining several different kits in order to give him the breadth of sound he needed. He played with abandon, but also great skill, a very difficult trick for a professional musician to pull off. Every performance was barn burner, and Moon left it all on the stage at the end of each show. His influence on the drummers who came after him has been profound, and he is often cited with John Bonham as being one of the key originators in rock and roll.

Keith Moon was a prankster who loved to punctuate his performances by blowing up his equipment or ransacking the stage. He also carried this behavior over into post-concert shenanigans, destroying hotel rooms and causing chaos whenever possible. Sadly, this excess also applied to his alcohol consumption, and he became notorious in the music scene for his prodigious appetites.

Being a member of The Who since the age of 17 meant that Keith Moon had always been exposed to life at 100 miles per hour, 24 hours a day. He was unable to develop any mechanism that would let him downshift to a pace that was survivable, and he died of an overdose of a treatment that had been designed to help him deal with his alcoholism. His death shattered The Who and shocked the rock world at the end of the 70's, forcing many to reflect on their role in this young man's out of control spin.

Classic-Rock-Music.com is the mystical rehearsal studio for rockers DEMON TWEAK. Listen as they prepare for battle with the evil trickster Loki by playing home brewed classic rock direct from Ragnarok. Also read articles on your favorite classic rock band written by resident historian VIRGIL THE STORYTELLER

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Paul McCartney's Experimental Side by Johnny Moon

Experimental Beatle McCartney

I often feel that Paul McCartney gets a bum rap with John Lennon receiving most of the credit as the "experimental Beatle." This just isn't the case. It was actually McCartney who was the one pushing the envelope with much of The Beatles more experimental music.

While Lennon is well known for his avante garde "Revolution #9." Paul McCartney was actually the first Beatle to tackle avante-garde music with 1967's "Carnival of Light." Of course "Carnival of Light" has still never been released (many thought it would come out during the Anthology series but it did not.)

McCartney was also the brains behind a lot of The Beatles more "far out" ideas such as the whole Sgt. Pepper concept and the Magical Mystery Tour film and album. It was also the person who had the idea of using tape loops for John Lennon's breakthrough recording "Tomorrow Never Knows."

Another important aspect of what Paul McCartney brought to the Beatles was the idea of trying totally different types of musical styles. It was actually Lennon who was often against this. McCartney liked doing songs like "Your Mother Should Know" which were in a completely different style than one would expect from a rock band.

If you look at a modern experimental psychedelic band like Ween I think you'll see that they are actually far more influenced by the Paul McCartney side of The Beatles than the John Lennon side. McCartney liked doing things that were totally off the wall and weird like "Maxwell's Silver Hammer." I think Lennon actually missed the point of this type of music when he called it "granny music." It's not "granny music." It's weird music. And it's really tripped out if you can dig on it.

McCartney was very adventerous as a musician. Along with The Beatles producer George Martin, McCartney was the guy behind a lot of The Beatles more adventerous arrangements and he was behind the reknowned "suite" on side two of Abbey Road. Again Lennon didn't like that idea.

Modern Experimental McCartney

Too few people know about McCartney's experimental music in the 1990s and in the 2000s. If you've never heard his work as "The Fireman" then I think you are in for a treat (if you like psychedelic ambient music that is.) In particular I recommend 1998's Rushes. I also just found out that he's planning on releasing a new album as The Fireman this year.

2000's Liverpool Sound Collage is another great example of how experimental McCartney's music can get. Like with The Fireman projects, McCartney worked with Youth (of The Super Furry animals) on it.

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The Beatles' Revolver - A Revolution in 1966 by Johnny Moon

The Context

It was August of 1966. Only 2 and a half years since The Beatles first broke onto the scene in the United States with "I Want To Hold Your Hand" and the accompanying hysteria ("Beatlemania.") Since then The Beatles music had quickly been evolving from their earlier pop rock into a more sophisticated art rock.

Rubber Soul

Their most recent album was Rubber Soul which had been released in December of '65. While these days just 8 months between album releases is a short time, in those days it was considered a reasonably long time to wait for the biggest band in the world to release their next album. Rubber Soul was itself a major step forward from the album before that (Help!) It included the first use of the Indian instrument the sitar on a pop record ("Norwegian Wood') and it also featured more introspective lyrics (such as on "Nowhere Man" & "In My Life") than were generally heard on their earlier albums.

Revolver

While Rubber Soul was a big step forward, Revolver was a leap forward sonically. The most forward looking track was of course the album closer, "Tomorrow Never Knows" which still sounds like the future 42 years later. I'll look at that track more in depth at the end of this article.

While Rubber Soul had "Norwegian Wood" which had some sitar on it, Revolver's "Love You To" was something else entirely. This George Harrison song based entirely on Indian instruments that sounded totally unlike anything pop music listeners of the time had ever heard before. In fact I bet it sounds totally unlike anything most pop music listeners of today have ever heard too (unless of course they've listened to Revolver or Sgt Pepper.) "Love You To" definitely expanded the horizons for what a pop record could sound like. But it was far from alone in that regard on this album.

"Eleanor Rigby" featured a string quartet and Paul McCartney's voice. With it's poetic lyrics and unique arrangement, it still stands as a classic in popular music today.

"Yellow Submarine" is a childlike song written by Paul McCartney and sung by Ringo Starr that went on to inspire the cartoon feature of the same name released in 1968. It's really quite a weird song, isn't it? This was a great example of The Beatles just completely ignoring any rules for what kind of songs should be on a popular music album.

"I'm Only Sleeping" features George Harrison's backwards guitar. I'm not sure if this is the first pop song to include backwards guitar, but it is probably one of the first. Harrison learned to play the desired melody backwards so that when reversed it would fit in properly with the song. Just another example of The Beatles pushing the envelope in the studio with their arrangements.

"Tomorrow Never Knows"

While there are many amazing breakthroughs on this album, it's been said that every song on the album inspired a new sub genre of rock music, it's "Tomorrow Never Knows" that really stands out as a ground breaking song. Amazingly enough this was the first song recorded for the album (in April of 1966, John Lennon wrote it in January of '66.)

Everything about this song from it's lyrics to it's song writing to it's arrangement to it's production was very experimental. The vocals were put through a Leslie speaker to obtain a vibrato effect. This was the first time such an effect was used. The lyrics were based on The Psychedelic Experience by Timothy Leary (and that book was based on the Tibetan Book of the Dead.) The song featured very inventive use of tape loops, reverse drums, reverse guitar, and many more sonic explorations. Another unusual fact about the song is that the song is almost entirely played on just one chord. This was probably greatly influenced by Indian music which is often played in such a way.

CLICK HERE: The Beatles

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Gospel Flavour of "Bridge Over Troubled Water" by Steve Wickham

There is a song that makes me feel small, but in a very good way. It commences gently but assertively with a trickling piano then booms at the end in an eerily cool and comforting sort of way. The crescendo of the third verse is what brings goose pimples to the skin as I'm taken to the inner sanctum of God's court; his Presence. In this way it has 'oaks' of the 23rd Psalm. It is the safety of the Shepherd whom fills us with the feeling 'we shall not want.'

At his 92nd birthday celebration a son fulfils his elderly father's wish -- the reading of the 23rd Psalm. It's an amazing cogent dirge of faithful assurance, read slowly and strongly; so much like the song...

Of course the song I'm referring to is the 1970 classic, Bridge Over Troubled Water by Paul Simon and Art Garfunkel. Many an artist (including more than one Christian artist) has recorded their own rendition of this universal favourite that lived atop the billboard top 100 for a couple of months. It was Simon and Garfunkel's swansong.

The song is colossal. There is an eternal shrill to it. It builds upon the images of the overwhelmed. Whether we're 'feeling small,' 'friends can't be found,' or we're simply 'down and out' he is a bridge over that troubled water -- he's on our side. Who is this person? Have you 'met' him yet? He comforts and dries the tears. He'll surround us with safety and answers when 'pain is all around.'

The first and second verses are melodies for the melancholy -- an elixir for desperates. Then the divine ballad shifts up in gear and suddenly lifts us... first musically, then spiritually. The theme of loneliness and sorrow ends suddenly and a new era of victorious hope emerges; again the overtones of the 23rd Psalm.

'Silver girl's time has come.' She is about to live her dream; there is a sure pillion of hope as he shows her how she's to shine. He will 'ease her mind.'

Sail on silver girl
Sail on by
Your time has come to shine
All your dreams are on their way
See how they shine
Oh when you need a friend
I'm sailing right behind
Like a bridge over troubled water
I will ease your mind
Like a bridge over troubled water
I will ease your mind

Imagine in your pain and desolation, the bridge that carries you safely over the dark and treacherous torrent below, and through that dark period, mentally, emotionally, spiritually, psychologically.

Bridge Over Troubled Water is a wonderfully inspirational yet expansive song for the downcast complete with music and feeling of epic proportions. It's a creative touch of God for humankind; a miracle of creation and modern day art. In the spiritual sense, it's a 'saving' work that must have saved thousands upon thousands of lives. Praise God.

Copyright © 2008, Steven J. Wickham. All Rights Reserved Worldwide.

Steve Wickham is a safety and health professional (BSc) and a qualified lay Christian minister (GradDipDiv). His key passion is work / life balance and re-creating value for living, and an exploration of the person within us.

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Jimmy Page - Yardbirds, Led Zeppelin, The Firm by Virgil Vince

These are some of the names that come to mind when one thinks of the best guitarists and super groups of the past 40 years of rock and roll history. Jimmy Page was one of the original riff rockers, putting together snarling, attacking guitar lines that are some of the most memorable in the classic rock canon. Not only was he a master of fuzzed out blues metal, but he was also capable of crafting intricate, haunting melodies that seemed to freeze musical moments in time, holding them close to the ear to be savored and enjoyed.

Not everyone is familiar with the origins of Jimmy Page's music career, as the first successful band he was in was somewhat overshadowed by its other, equally famous guitar-slinging members. Eric Clapton was one of the original members of the group, but he left when he could no longer stomach the band's move from blues to pop. He was replaced by Jeff Beck, a guitar hero's guitar hero, and Clapton recommended that Jimmy Page also be considered. A couple of years later Page was helping Beck front the group, and their twin guitar attack would score several hits before Beck decided to move on to a solo career.

After the Yardbirds split up, Page attempted to ride the momentum of the group with a band he called 'The New Yardbirds', but they ended up renaming themselves Led Zeppelin instead and went on to become the most influential hard rock band of all time. Jimmy Page's creativity really got a chance to shine in the group, and Zeppelin was able to better channel his artistic vision. Of course, it helped that his fellow band mates were all virtuosos themselves.

The Firm were a group that Page became involved in during the mid-80's. Together with label mate Paul Rogers, formerly of the band Bad Company, The Firm were an attempt for both to move on from their oppressively famous back catalog and chart new musical waters. While they did manage to release 2 albums and go on a number of successful tours, the group never gathered the same level of commercial appeal that their previous bands had done.

For Jimmy Page, Yardbirds, Led Zeppelin ,The Firm all represent specific chapters in his varied and amazingly prolific life. To have had the chance to collaborate with so many gifted musicians means that Page's recorded musical legacy will live on long after he has stopped performing.

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Learn to Play Guitar Like Keith Richards by Steve Krenz

Rolling Stones' lead guitarist Keith Richards was famous for being a rebel and bad boy during his heyday in the 60's and 70's. The fact remains, however, that he was and is a talented musician who contributed greatly to the rock and roll sound. If you are a fan of Keith or of the Rolling Stones, you may have a dream of learning to play guitar like him. He was creative, innovative, and part of one of the most influential groups in the history of popular music. The story of Keith Richards has a lot to teach an aspiring musician who wishes to follow in his footsteps. Here are some things you should do if you want to learn to play like Keith.

Do not limit yourself to only one style of music. As a boy, Keith Richards listened to a variety of musical works. His mother was a music lover and the daughter of a big-band musician. She exposed young Keith to the jazz sounds of Billie Holliday and Louis Armstrong, among others. She also acquired a place for him as a singer in a famous British children's' choir. The group sang at such sophisticated venues as Westminster Abbey and performed works that showed no hint of jazz, blues or rock influences. But Keith loved all kinds of music. Later in his career, he used some of the musical lessons he had learned from other genres to create some of his most memorable guitar solos and riffs. So, try to keep an open mind when it comes to appreciating styles of music that you are not completely familiar with. Maybe a phrase, interval or rhythm pattern that you hear will be the spark you need to create a terrific new lick of your own.

Become a proficient acoustic player. Keith Richards has always maintained that anyone who wants to become a great electric guitarist must also develop skill on an acoustic. Richards, himself, plays hours each day on his acoustic and credits the simpler, unplugged instrument for helping him to maintain his "touch" for the guitar. Famous Rolling Stones songs like "Brown Sugar" feature Keith and his acoustic instrument, and his skills helped to build the popularity of his group. So, if your desire is to play like Keith Richards, don't neglect the acoustic guitar.

Don't be afraid to take professional risks. Keith Richards was a member of the Rolling Stones for decades, but he was not afraid to branch out and work on some other projects, as well. He participated on albums with stars like Norah Jones and Aretha Franklin, and stretched and grew as a musician as a result. He also made the daring move of acting in a feature film in 2007. At a time when he could have been resting on his laurels, he was willing to answer the call of his friend Johnny Depp, and play the role of Jack Sparrow's father in Pirates of the Caribbean: At World's End. It was a gutsy move for Richards, and could have led to criticism and ridicule, but he was willing to take the chance. Most accounts have praised his work in the film, and Keith's attitude has likely opened up more career opportunities for him in the future. The lesson for you as a Richards fan is to think beyond the ordinary and do what feels right even if it will take you into uncharted waters.

Stop wasting money on 1-on-1 guitar lessons! Check out Steve Krenz's Learn and Master Guitar, it beats the pants off anything out there. It's the most comprehensive and thorough instructional guitar course available today.

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Learn to Play Guitar Like Robert Johnson by Steve Krenz

Robert Johnson was one of the greatest blues guitar players of the 1930's, and as such he is considered one of the "grandfathers" of rock and roll. He traveled around the Mississippi delta area playing and singing, and recorded 29 songs in 1936 and 1937. Despite the fact that his career seems quite limited when compared to contemporary artists who tour the world and release a new album every year, Johnson's impact on popular music cannot be denied. Eric Clapton, Keith Richards of the Rolling Stones, the Allman Brothers, and Jimmy Page all mention Robert Johnson when they are asked to name their musical influences. Johnson had an undeniable talent, and his life and career have some valuable lessons to teach anyone who has dreams of following in his footsteps. If you want to play guitar like Robert Johnson, here are a few dos and don'ts.

Do use any resources you have to learn music. Robert Johnson loved music from the time he was very young, but as the son of a sharecropper he did not have access to music schools, fancy instruments, or private teachers. He did make the most of the musical equipment he had, though, and found a friend who could teach him how to play the harmonica and Jew's harp when he was still a young boy. He and his friend began using these simple instruments to accompany one another while they would sing new verses to popular songs that they made up as they went along. They never failed to draw a crowd when they sang on the street corners, and it was a great way for Robert to learn what things would please an audience and develop a stage presence. As he grew older, he went to other musicians that he knew and asked them to help him learn to play the guitar. He never received any formal musical training, but his inquiring spirit and his ability to learn from observation helped him to understand the structure of chords and harmony that he needed to replicate the sounds that he heard. If you are fortunate enough to be able to pay for music classes, take advantage of them and use your knowledge to make yourself a better player.

Don't be discouraged if you aren't successful right away. Robert used every opportunity he had to listen to guitarists that played at roadhouses and taverns in his area. When he gained some confidence, he brought his own guitar to the gigs with him and hung around, just hoping for a chance to join in on a jam session with the pros. For years, they discouraged him. It seemed like every time they let him play Robert would break a guitar string or commit some blunder that would not go over well with the audience. Instead of giving up, Robert moved to another community where his reputation as a bungler would not follow him and kept practicing. He would work in the cotton fields just enough so that he could support himself and spend hours and hours every day playing his guitar in the woods until his blues solos sounded the way he thought they should. He then began to travel from town to town and played for the tips that people would throw him as he stood on the street corner or in the town square. People were appreciating him more and more and the early criticism he had heard mattered less and less.

Don't be afraid to be different. The more Robert traveled, the more his confidence grew. He was soon adding tricky rhythm patterns to his guitar solos and using his feet and legs to stomp out accompanying percussion sounds. He created an entirely new sound that was admired by people in all parts of the south. Little did he know that guitar players would still look up to him 70 and 80 years after he was gone. If you learn some lessons from Robert Johnson's life and work, they will surely help to make you a better musician.

Stop wasting money on 1-on-1 guitar lessons! Check out Steve Krenz's Learn and Master Guitar, it beats the pants off anything out there. It's the most comprehensive and thorough instructional guitar course available today.

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Book Review For "John" by Steph Burkhart

Cynthia Lennon starts her autobiographical tale reflecting on the death of her famous ex-husband, John Lennon and within the first chapter reveals two insights into John's personality that haven't really been discussed before in books about the Beatles. It's a catchy start to a heartwarming, sweet, yet tragic tale.

As the book starts, Cynthia is a teenager beginning art college. Shortly thereafter she encounters John Lennon. The two make an unlikely couple. She was raised in a nice neighborhood to be a "good" girl and John Lennon is a teenager rebel with only one cause - rock and roll.

Cynthia points out they had several things in common in the book - they were both short sighted and bonded over losing their parents when they were seventeen. (Cynthia lost her father when she was seventeen and John lost his mother.) Soon, Cynthia and John embark on a relationship. Her love is what John needs. She's a steady constant in his life which is filled with uncertainty.

Cynthia is there before John and the Beatles make it famous. She talks of their humble beginnings and John's family. We learn John's Aunt Mimi, the woman who raised him, is a very totalitarian matriarch who very rarely showed John small, simple, loving gestures. John also has two younger sisters who adore him, Jacqui and Julia. There are so many sides to John. He's in love, yet has a ferocious jealous side to him. He can be kind and tender, yet John dislikes confrontation. An example of this is how Pete Best is told to leave the band. Brian Epstein breaks the news to Pete and John never sees him again.

Cynthia and John had been with each other four years before their son Julian is conceived. John marries her right before the Beatles begin to take off. As the Beatles ride the wave of fame, Cynthia is by John's side. It isn't easy for the couple, but their love gets them through.

The book shifts when Cynthia begins to talk of John's drug use. It's his use of drugs that drives a wedge between them. John's decline and destruction is sad to read about in such a personal way. The way he cuts Cynthia and Julian out of his life is quick, deliberate, precise, and very hurtful. Cynthia must find her own way with little financial support from John.

It's hard to put this book down. The beginning draws you in and the reader barely has a chance to catch their breath. Happiness quickly turns to misery, pain, and despair much in the same manner as the Beatles overwhelming success turns sour at the end of the sixties.

Cynthia offers fresh insights on a musical history that has been practically hashed to death by the number of books written by the Beatles. Her thoughts and impression on Yoko are not put out there in a mean-spirited way - instead Cynthia presents the facts as is and lets the reader come to their conclusions. This is a wonderful read for those who are true fans of the Beatles and John Lennon.

Written by: Cynthia Lennon
Hodder & Stoughton
ISBN: 0-340-89511-X
404 Pages
20 pounds
5 Stars

StephB is an author who can be found at http://sgcardin.tripod.com In her spare time she likes to read many books and a variety of different genres. Steph B is an author at http://www.Writing.Com/ which is a site for Creative Writing.

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Classic Rock and Roll Groups From the 1960's and 1970's by David Slone

What we now refer to as classic rock from the 1960's and 1970's was very influential back in the day. Many of the songs have been able to stand the test of time, even with new genres of music taking over. There are musicians from these periods of time that have become larger than life. Even though their music is decades old they are still recognized for their contributions to the world of music.

Without a doubt one of the biggest bands of the 1960's was the invasion of the Beatles. They brought a craze to the world of rock and roll that hadn't quite been embraced yet. With all of the television productions at that time too they were all over the news and on dance shows. It seemed as if everyone had what was referred to as Beatle Mania going strong.

The Beatles came from Britain, and their style of music had a significant impact on the future of rock music in the United States. Such bands as the Rolling Stones were able to capitalize on the success of the Beatles and make a name for themselves as well. Rock stars became a legend in their own right during the 1960's with flocks of fans following their every move.

Keith Emerson brought plenty of great music to the world in the 1970's. He also added something that left the crowds awestruck - the use of pyrotechnics in his live shows. He also helped to pave the way for what became known as progressive rock in the 1970's. These were bands that heavily relied upon the keyboard sounds in their music.

In the late 1960's and early 1970's the use of electronics were heavily introduced to the world of rock music. Bands including Pink Floyd, Jimi Hendrix, Deep Purple use them successfully to develop a very unique sound that has immediately a hit. They incorporated synthesizers, foot pedals for drum sets, and even echoes in the background of their lyrics.

Some of the classic rock bands in the 1970's are still out there today. Led Zeppelin, Aerosmith, and Kiss are just a few of them. They brought to the stage their elaborate costumes, big hard, platform shoes for men, and of course make up. It was definitely a new style for the world of rock music. In fact, it was to lay the foundation for what would be referred to as the Hair Bands of the 1980's.

If you still love the classic rock music from the 1960's and 1970's there are quite a few radio stations that play it. Some of them will be local channels while others are on satellite radio. There are also CD compilations of the top artists from these two decades. Take a stroll down memory lane while listening to many of those timeless tunes any time you feel like it.

Visit http://www.ClassicRockBands.info for information about the best classic rock music of the 1960s and 1970s with detailed articles and groovy pictures on bands like Led Zeppelin, The Beatles, The Rolling Stones, Steppenwolf, and many more.

Copyright 2008 ClassicRockBands.info Permission is given for the republication of this article on your website or blog provided that links and copyright information be left intact.

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Illuminating the Lives of Joni Mitchell, Carole King and Carly Simon by Jon O'Bergh

Sheila Weller has written a fascinating book about Carole King, Joni Mitchell and Carly Simon and the journey of a generation. The book is filled with insights about what influenced their artistic temperaments and helped establish them as three of the most successful and respected female songwriters of the 1960s and 70s.

Weller makes the case that they collectively represent in their lives and songs a large portion of American girls who came of age in the late 1960s. They were of a generation that struggled to recast their lives to create a new sense of womanhood. Weller has an eye for detail and little nuggets, and she is adept at finding ways to keep the three parallel biographies connected so they continually resonate with each other.

I'm particularly grateful for how Weller describes the arc of each woman's trajectory from scratching out a living to fame and renown, so you actually understand the incremental steps to success (something that most interviews annoyingly gloss over). Describing Joni Mitchell's career in 1967, she writes how Mitchell acquired a passionately devoted manager in the fall of 1967, Elliot Roberts.

Elliot took the tape he'd made of Joni's Michigan performances and made the rounds of the record labels, then almost all still based in New York. He had every confidence he would prevail... But the A&R men viewed Joni as a singer in the passé folk genre (an art song singer might have been a more apt label); they declined to offer her a contract.

The music industry is filled with such tales of short-sighted people in power overlooking talent, and we relish knowing that they'll get their come-uppance. Soon after, Mitchell met David Crosby, who had achieved some success with the folk-rock band The Byrds. He almost overlooks her at first, dismissing her as "just another blond chick singer." But the blues singer Estrella Berosini, whom Crosby had wanted to produce, rebutted him, urging him to listen to her words. Crosby becomes enamored and shifts his attentions from Berosini to Mitchell.

The book understandably concentrates on their formative years and when they are at the apogee of their influence. Changing musical tastes in the 1980s and beyond would move them off center stage, but they would not be forgotten. In 1975, a 17-year old Prince would be in the front row at a Minneapolis concert, in rapt attention listening to Joni Mitchell. One day he would record Mitchell's 1967 masterpiece written in tribute to her brief love affair with Leonard Cohen, "A Case of You." These are the kinds of connections that keep us in wonder and that make reading this book so rewarding.

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George Harrison's Beatles Songs by Johnny Moon

Beatles Songs Written & Sung By George Harrison

What follows are all of the originally released Beatles songs written and sung by the "quiet Beatle" George Harrison. They are listed alphabetically. Note that I am not counting as Beatles songs - those which were originally released on his solo albums and then were included in the Anthology series (such as "All Things Must Pass" - evenough I love the Anthology 3 version.)

"Blue Jay Way" - Magical Mystery Tour (1967)

This was one of the Beatles most overtly psychedelic songs. This was when they were really throwing the "kitchen sink" into their recordings in the studio. While this is, admittedly, not one of The Beatles greatest tunes - I do enjoy it. Mostly because of the studio experimentation I am referring to.

"Don't Bother Me" - With The Beatles (1963)

Harrison's very first song on a Beatles album. Not particularly memorable, but not bad.

"For You Blue" - Let It Be (1970)

A nice little song, although not one of my favorites.

"Here Comes The Sun" - Abbey Road (1969)

One of The Beatles all time classics. During the late '60s Harrison was at his peak as a songwriter. The evidence is there in songs like this one and in his great solo debut, 1970's All Things Must Pass.

"I Me Mine" - Let It Be (1970)

Not one of my favorites, although it has some interesting aspects to it.

"I Need You" - Help! (1965)

I've always liked this song. In fact I'm a big fan of all of Harrison's songs in this era (Help!, Rubber Soul, & Revolver)

"I Want to Tell You" - Revolver (1966)

Another Harrison song I've always liked. It's got this cool off kilter sound that makes it quite unique.

"If I Needed Someone" - Rubber Soul (1965)

The Beatles doing The Byrds.

"It's All Too Much" - Yellow Submarine (1968)

The best reason to buy the Yellow Submarine soundtrack (or even better the much improved "songtrack" released in 1999.) This is one of the great lesser known Beatles songs. Truly psychedelic. The production is awesome. There's no song that sounds quite like this one.

"Long, Long, Long" - The White Album (1968)

The perfect followup to "Helter Skelter." The Beatles go from impossibly loud to impossibly quiet, just like that. A beautiful song.

"Love You To" - Revolver (1966)

A lot of people are down on Harrison's Indian music experimentation. Not me. I dig it.

"Old Brown Shoe" - B-Side to "Ballad of John & Yoko" (1969)

You can hear this on the Past Masters Vol. 2 album or the "Blue" Greatest Hits. I recommend the Past Masters collections so you aren't getting a lot of the songs twice. The Past Masters (volumes 1 and 2) collect all of The Beatles songs that were singles/EPs only and are not available on the official UK Beatles albums.

"Only a Northern Song" - Yellow Submarine (1968)

Of the 4 new songs on the Yellow Submarine soundtrack, 2 of them were George's. This one (which is OK) and "It's All Too Much" (which is awesome.)

"Piggies" - The White Album (1968)

Wonderfully weird, just like most of the rest of The White Album which is, in my opinion, The Beatles greatest album.

"Savoy Truffle" - The White Album (1968)

It actually took me a long time to get into this song, but now I think it's pretty great. It's a grower.

"Something" - Abbey Road (1969)

Frank Sinatra's favorite "Lennon/McCartney" song. Yes he really said that. To this day I don't know if that was a dig at Lennon/McCartney or if he really didn't know they didn't write it.

"The Inner Light" - B-Side to "Lady Madonna" (1968)

Can be heard on the Past Masters, Volume Two. All instrumentation was by Indian musicians on Indian instruements. The instrumental track was actually recorded in Bombay, India.

"Taxman" - Revolver (1966)

Paul McCartney actually plays the lead guitar part on this. McCartney's fast noisy guitar solos were inspired by Jimi Hendrix who was still mostly unknown at the time.

"Think for Yourself" - Rubber Soul (1965)

Always seemed to me to be a bit of a brother to Lennon's "The Word" from the same album.

"While My Guitar Gently Weeps" - The White Album (1968)

Features Eric Clapton on lead guitar. One of Harrison's best.

"Within You Without You" - Sgt Pepper (1967)

The Beatles most fully realized song in this genre. To me it's an essential part of the Sgt. Pepper album. This was Harrison's only songwriting/lead singing contribution to that legendary album.

"You Like Me Too Much" - Help! (1965)

Reasonably catchy song - I like some of the vocal parts, but the lyrics are pretty bad. Not a Harrison highlight.

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Steely Dan - Great Chops, Great Music by Dan Kudo

As I think about the current Steely Dan tour, I find myself reflecting back to the 1970's when I first became aware of this creative group.

Although the rock-influenced early songs such as "Ricky Don't Lose That Number", and "Do It Again" created an early surge of popularity on the Top One-Hundred Charts, it was the Aja album that stopped me in my tracks. I couldn't put my finger on it at the time, but what captivated me was their creative integration of jazz and rock.

Those who have come to love Steely Dan as I have know that the group is really a duo, composed of guitarist, Walter Becker, and pianist / lead singer, Donald Fagan. Steely Dan achieved its real fame as a studio band that utilized some of the best session musicians of that era, including likes of Larry Carlton, Chuck Rainey, Wayne Shorter, Jeff "Skunk" Baxter, and Michael McDonald. They often used different performers for specific songs on an album to get a desired "feel" or effect. They knew exactly what they wanted and zeroed in on it as soon as they heard it.

Each cut of their Aja album is truly a gem, and one of my favorites is "Home At Last" because of the unique beat. I learned from the DVD, "The Making of Aja", that the riveting drum rhythm was created by Bernard "Pretty" Purie and was actually called the "Purdie Shuffle". The songs were well outside the typical rock and roll or blues formulas of the time. The title song, "Aja" definitely carried you outside of the rock paradigm by using jazz-influenced chords and a long bridge. The end of the song featured a wonderful percussion solo interspersed with a beautiful arrangement of guitars, and horns. Another favorite of mine is "Third World Man" from the Gaucho album. In particular is the deceptively simple but haunting guitar solo as well as the background vocal harmonies. Katie Lied was an earlier album and had a number of very well arranged songs including "Dr. Wu", which had interesting chord changes and vocal harmonies. "Hatian Divorce", from the Royal Scam album was very clever in that it uses a Reggae backbeat, powerful bass holding down the rhythm, and an interesting use of the "wah wah" guitar so popular in the 1970's.

Finally, the Donald Fagen solo album, Nightfly is an all-time favorite of mine from the tight harmonies of "Maxine" to rhythms of "New Frontier" to the rich arrangement of "Nightfly". It clearly establishes Donald Fagen as the central creative and vocal component of the group.

While each concert will always have new material, the fun that I derive from going to a "Dan" concert is hearing the songs from the earlier albums performed by Donald, Walter and their hand-picked group of top-level musicians that they have assembled, which adhere to the same exacting standards used to created albums like Aja and Gaucho.

In the final analysis, it really doesn't matter whether Steely Dan is or is not your favorite group or whether you like the new songs or the old. What matters is that we should all be passionate about something and seek it out, whatever it is. I look forward to seeing these talented artists and savoring everything they dish out.

Dan Kudo has been a music enthusiast since the 1950s and plays guitar and keyboards in his spare time. He is also an instructor in the martial art of Aikido. Dan provides music and martial arts information in the form of articles, and web pages for everyone to enjoy. Check out this page for more information on Brazilian Jiu Jitsu and martial arts.

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A Day in the Life - Beatles Most Ambitious Song Ever Recorded by Virgil Vince

When people discuss A Day In The Life Beatles producer George Martin is often the centerpiece of the conversation. Referred to as 'the fifth Beatle', Martin was instrumental in helping the Beatles achieve the ever-more complex soundscapes that filled their heads towards the end of their time together as a band.

The culmination of their fascination with pushing the recording studio to the very limits of the possible was the 'Sgt. Pepper's Lonely Hearts Club Band' album, which presented the Beatles in full-blown psychedelic regalia. The record employed everything from harpsichords to backward-masked lyrical tracks, and it is regarded as one of pop music's greatest masterpieces of all time.

For the final track on the album, A Day In The Life Beatles members Paul McCartney and John Lennon pulled out all of the stops. Together with Martin, they constructed what can only be described as a song in 2 distinct movements linked by noisy, urgent crescendos. The two Beatles had written a few short verses independently of each other, and as neither of them had found a way to create a full song out of what they had recorded, they decided that the best thing to do would be to incorporate the two into a single track.

The transition between the two different parts of 'A Day In The Life' proved to be an early sticking point while recording. As can be heard on the Beatles Anthology, a simple piano bridge was initially inserted, along with the voice of a recording technician counting out the bars that the projected interlude would last. George Martin, at the request of McCartney, wrote a hasty orchestral score and presented it to a 40 piece group to record the 24 bars necessary to make the song whole. In order to make the orchestra sound larger than it actually was, their part was recorded and overdubbed 4 times, creating a cacophony of sound that to this day is enough to disturb the peace. The raucous final crescendo was capped off by a single piano chord, reverberating into silence. The song is followed by what was originally the run-out track on the record, a mish-mash of Beatle-talk that was cut up and re-arranged by Martin into complete nonsense. Compact disc and cassette releases of 'Sgt. Pepper's Lonely Hearts Club Band' tacked this track onto the end of 'A Day In The Life', and faded it out into eventual silence.

http://www.classic-rock-music.com is the mystical rehearsal studio for rockers DEMON TWEAK. Listen as they prepare for battle with the evil trickster Loki by playing home brewed classic rock direct from Ragnarok. Also read articles on your favorite classic rock band written by resident historian VIRGIL THE STORYTELLER.

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The Beatles - Abbey Road by Johnny Moon

What Is The Beatles Final Album?

The answer is Abbey Road. This issue has been somewhat confused by the fact that Let It Be was actually released after Abbey Road. But that's only because The Beatles were unhappy with the recordings made for Let It Be (or as it was called at the time, Get Back) and they had them "shelved" until they were dug out and remixed by music producing legend Phil Specter and released after the band had broken up in 1970.

Abbey Road - The Best Final Album Ever?

How often does a band go out on this kind of peak? I can think of a few situations where a band only released a few albums and they "went out" on a high note (I'm thinking of Neutral Milk Hotel, The Olivia Tremor Control, & My Bloody Valentine in particular... although they may all eventually get to releasing another album) but that's a different situation from a band who released as many albums as The Beatles did.

While Abbey Road is not my favorite Beatles album I think in some ways it is the best. It is the most "modern" sounding album they recorded, that's probably because it's the only album they recorded on what was then a state of the art 8 track recording machine (their other albums were recorded on a 4 track machine.) The album, of course, includes the amazing side two "suite" which to me is the highlight of the album. It also features George Harrision in full bloom as a songwriter. While he only contributed two songs "Here Comes The Sun" & "Something" they were both absolute classics.

Abbey Road - A Good Starting Point?

I actually think Abbey Road may be a pretty good starting point for someone new to The Beatles. Like I said, I don't think it's their best album. I prefer The White Album, Revolver, & Sgt Pepper - but I do think it may be an easier initial listen than any of those albums. And I personally like the idea of starting off someone with an album rather than a greatest hits collection. Although Past Masters, Volume 2 is another nice choice to get started with. I like that choice because there's none of the "overlap" that you get with the greatest hits CDs.

I know about that because I actually started off with the "Blue Album" & "Red Album" greatest hits CDs and while they are definitely a good way to get someone hooked on the Beatles as the songs are incredibly good. They also have the effect of somewhat damaging the way the albums sound when you first get them. For example I think there's 7 songs from Rubber Soul on the Red album, it's hard to then listen to those songs with "fresh ears" and hear them in context of the album once you've already heard them so many times on Rubber Soul.

Anyway, my point is that the Past Masters Vol. 2 doesn't have any of that overlap, because it only includes singles that were not included on any albums. In fact, because of that, I consider it a must buy for any Beatles fan.

Standout Tracks On Abbey Road?

The easy answer is the whole thing, but then that'd be somewhat of a lie as Octopus's Garden isn't a great song (sorry Ringo.) Some standout tracks for me (that you may not have heard before if you've only heard their "hits) are "Oh Darling," "I Want You (She's So Heavy)" & "You Never Give Me Your Money." And of course the whole "Mean Mr. Mustard," "Polythene Pam," through "The End" suite. Oh and "Sun King" is awesome. And so is "Her Majesty" even though it's only 23 seconds long. And "Because" is incredibly beautiful. And of course the more well known (the songs that almost everyone has heard before) songs like "Come Together," "Something," & "Here Comes The Sun" are great too.

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The Death of Dorothy Hunt - Probing the Assassination of JFK, Part 1 by Sherman De Brosse

A useful way of approaching the assassination of John F. Kennedy is to examine two men named Hunt, Howard, a career CIA man and oil billionaire H.L. Establishing who exactly killed Kennedy is nearly impossible. But the stories of these two men will shed light on the forces at work in 1963.

On December 8, 1972, a United Airlines Flight carrying the wife of E. Howard Hunt crashed near Chicago’s Midway Airport . She bought an extra first class seat for her luggage. It is not known what happened to it. Did it contain the $1, 900,000 in negotiables ands $10,000 in untraceable cash that CREEP paid to buy the silence of the Hunts ? Some calculate that there was less, perhaps between $100,000 and $250,000. There is strong evidence, that CREEP was also buying silence about what Hunt could say about the assassination of John F. Kennedy.

E. Howard Hunt ( 1918-2007), G. Gordon Liddy, and James McCord had masterminded the famous Watergate break-in. Hunt was a member of the insiders’ circle of old boys, close to former director Allen Dulles; and Hunt’s protégé was David Atlee Phillips. He was Chief of Cuban Operations and Covert Action at the Mexico City station at the time of the Kennedy assassination and had been involved in an effort to falsely sell the idea that Lee Oswald worked for the Soviets. Hunt was probably also involved, having been assigned to Mexico City in August and September, 1963. In 1963, Hunt was Chief of Covert Operations for the Domestic Operations Division. There are controversial allegations that Hunt was in Dallas on November 22, 1963 and a 1966 memo initialed by Richard Helms and James Angleton stating it was important to conceal Hunt’s presence in Dallas that day. Helms was another member of the charmed circle of CIA insiders. Helms and Dulles worked together to prevent the Warren Commission from knowing about plots, in league with the Mafia, to kill Castro.

Hunt officially left the agency in 1970 and became part of a secret White House Investigative Unit that carried our a few burglaries. Dorothy Hunt was also a CIA agent and met her husband when they were working in China in the late 1940s. She was unhappy about flying around the country paying off Watergate figures and the way the payoffs were handled. Hunt demanded money in return for silence about who ordered the Watergate break-in, and Dorothy Hunt , also a CIA agent, also participated in the negotiations with White House aid Charles Colson. James McCord claimed that Dorothy told him and her husband’s attorney that they had evidence that would "blow the White House out of the water. ".John Wesley Dean told Nixon on the famous tapes that Mrs. Hunt was “the savviest woman alive.” She had put the whole picture together. A month after her death, Hunt pleaded guilty to conspiracy and burglary and spent 33 months in prison.

Michele Clark of CBS News was also on the plane. She was doing a story on Watergate and may have had inside information, as her boyfriend was a CIA agent. CBS insisted that her body be cremated; although, her family opposed this. The mortician who did the job was later killed in an apparent burglary. Chicago Representative George Collins was also with Ms. Clark and Mrs. Hunt. There were 45 dead, including Collins and 42 other passengers.

The author is a retired history professor.

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By Going to Kashmir, Led Zeppelin Gave the World a Masterpiece by Virgil Vince

Kashmir is a region of the East that contains the Indian state of Kashmir as well as parts of China. Historically, Kashmir has been an important center of that geographical area, and it has recently known political and social turmoil due to the intersecting cultures found there.

It is no surprise that such a culturally rich part of the world found itself the title subject of a song by the world's most popular hard rock band. In the song Kashmir Led Zeppelin paints a vivid picture of a traveler moving across the great dry sea of one of the world's deserts, moving inexorably towards his destination even as reality crumbles around him and he implores the gods to give him safe deliverance. Included on the album 'Physical Graffiti', the song opens with the lyrics 'Oh let the sun beat down upon my face, stars to fill my dream / I am a traveler of both time and space, to be where I have been'. This opening stanza indicates the state of mind of Robert Plant when he composed it while driving through the vast expanse of the Sahara Desert in Morocco. Plant found himself filled with wonder at the natural surroundings, and many have speculated that in the emptiness between the sand and the stars he felt a spiritual communion that made its way into the final recording of the song.

It is not surprising that Kashmir has remained one of the most enduring songs in Led Zeppelin's catalog. It is a personal favorite of both Jimmy Page and Robert Plant, both of whom feel that their performances on that record fully tapped their respective abilities as songwriters. Bassist and keyboardist John Paul Jones agrees, and he has repeatedly stated that in Kashmir Led Zeppelin incorporated melodic elements that had previously eluded their studio recordings. The band played the track at every single live performance post-release, and it is also one of the songs that the surviving members usually choose to play at their rare reunion shows. For their 1994 album 'No Quarter', Page and Plant performed a stunning live version of Kashmir backed by a full string and Moroccan rhythm section onstage, using it as the album and show closer.

Kashmir remains a masterpiece of Led Zeppelin's legacy, and it has achieved a level of cultural status that has seen it covered and sampled by groups from genres as diverse as instrumental progressive rock and hip hop.

http://www.classic-rock-music.com/ is the mystical rehearsal studio for rockers DEMON TWEAK. Listen as they prepare for battle with the evil trickster Loki by playing home brewed classic rock direct from Ragnarok. Also read articles on your favorite classic rock band written by resident historian VIRGIL THE STORYTELLER.

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A Man With a Storied Biography - Jimmy Page Inspired Thousands to Pick Up The Guitar by Virgil Vince

When writing a Led Zeppelin biography Jimmy Page is often at its center. This legendary guitarist began plying his trade as a session man in London, playing on the albums of several important British bands including The Who and The Kinks, as well as pop stars Joe Cocker and Marianne Faithful.

Page managed to parlay this success into a comfortable career as a professional musician, although he was itching to do original work of his own. When Eric Clapton left the Yardbirds in 1964, it took a bit of convincing but Page finally agreed to abandon the safe money of session work and take a risk on rock and roll. He formed a great musical partnership with lead guitarist Jeff Beck, and when Beck left the group Page was given the keys and told to reform things as he saw fit. The result was Led Zeppelin.

Page was the primary musical driver in the band, and he not only did his best to channel and focus each member's musical contributions, he also produced a large body of the group's work. His guitar sound was raw and inventive, and he was not afraid to take chances with the instrument and try new things. Page was never a technically outstanding guitarist, but he overcame that through the originality of his arrangements. He carried over that same attitude when it came to experimentation in the studio, and he was known for employing effects in new ways and trying out different methods of using microphones and amplification.

In one of the more interesting chapters of his biography Jimmy Page was also known to be quite fascinated with the occult. He published occult materials and owned the prior home of famed master of the black arts Aleister Crowley. He was obsessed with Crowley, and some of the more superstitious fans of the band have claimed that Page's dabbling with forces he may not have completely understood led to some of the bad luck that befell certain band members towards the end of the group's career.

Not affected by these wild accusations, Page continued to record in the 1980's and 1990's, forming the group The Firm and collaborating with several artists in different genres. He recorded two albums with former Zeppelin lead singer Robert Plant in the 90's, 'Walking Into to Clarksdale' and 'No Quarter'. His most recent recorded work was on a live album with the band The Black Crowes in 2000.

http://www.classic-rock-music.com/ is the mystical rehearsal studio for rockers DEMON TWEAK. Listen as they prepare for battle with the evil trickster Loki by playing home brewed classic rock direct from Ragnarok. Also read articles on your favorite classic rock band written by resident historian VIRGIL THE STORYTELLER.

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A Landmark For "The Who" - Tommy Set the Stage For 1970's Rock by Virgil Vince

The late 60's were a transitional moment for rock and roll. Many bands were attempting to stretch their wings and experiment with the kinds of material that they could release to the public. Some bands turned to composing with orchestras in mind, while others focused on spreading a social or political message.

Some groups however felt that they needed to add a more spiritual dimension to their music and construct a narrative that would allow them to discuss the concepts that filled their heads. For The Who Tommy was their first sustained attempt to expand on the promise of the mini-rock vignettes they had released on previous records.

'Tommy' is the story of a deaf, blind and mute child who is born normally but has his senses stolen from him after witnessing the murder of his mother's new lover at the hands of his suddenly returning father. The tale deals with the attempts by Tommy's family to return him to 'normalcy', as well as the inner psychological journey undergone by the title character. Once cured, Tommy sets up a cult-like organization with himself at its head, and he attains great power only to have it taken away. The end result is his own spiritual enlightenment.

In today's entertainment culture this plot may not sound all that risqué, but when it was released in 1969 there were many who felt that the entire scenario was far too relentlessly dark. The themes of child abuse, religious manipulation and spirituality were new territory for rock music. Some of these criticisms were made quite vocally, but they were countered by an equal number of people who celebrated this new form of artistic expression, dubbing it 'rock opera'. In terms of records sales for The Who Tommy was a smash, and remained on the charts for 126 weeks.

'Tommy' gave Townshend a release for the spiritual topics related to his tutelage under Meher Baba that felt he needed to write music about. The entire production was scored for the orchestra, and then later brought to the silver screen in 1975 as a film starring the lead singer of the group, Roger Daltrey. The movie was a critical and commercial success, and Daltrey was also instrumental in bringing 'Tommy' to Broadway in the early 90's. This rock opera continues to be regarded as an important part of rock and roll's maturation process and a harbinger of the concept albums which would flood record stores in the 1970's.

http://www.classic-rock-music.com is the mystical rehearsal studio for rockers DEMON TWEAK. Listen as they prepare for battle with the evil trickster Loki by playing home brewed classic rock direct from Ragnarok. Also read articles on your favorite classic rock band written by resident historian VIRGIL THE STORYTELLER.

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