Robert Palmer Deep Blues Ebook4/19/2021
Made By Warner Music Manufacturing Europe Pressed By WMME Alsdorf Credits Bass Nathaniel Mitchell ( tracks: 3 to 6 ), Willie Miller (2) ( tracks: 10 to 12 ) Drums Lawrence Harper ( tracks: 3 to 5 ), Sam Carr (2) ( tracks: 6 ), Terry Taylor (20) ( tracks: 10 to 12 ) Executive-Producer David A.
Robert Palmer Deep Blues Ebook Code And OtherBarcode and Other Identifiers Barcode (Text): 7 4509-91981-2 1 Matrix Runout: 450991981 -2 WME Label Code: LC 1557 Price Code: CA 851 Rights Society: GEMABIEM Other (Mould): Warner Logo 44 Other Versions Spinner Recommendations Spinner Reviews Spinner Close Ad About Discogs Chevron Down About Us Blog App Careers API Change Log Help Is Here Chevron Down Help Support Forum Keyboard Shortcuts Database Guidelines Discogs Shipping Join In Chevron Down Get Started Contribute Add Release Contributor List Help Translate Discogs Events Advertise With Us Follow Us Facebook Square Facebook Twitter Twitter Youtube Youtube Instagram Instagram Mixcloud Mixcloud Soundcloud Soundcloud Pinterest Pinterest 2021 Discogs Manage Preferences Cookie Policy Terms of Service Privacy Policy California Privacy Notice Accessibility Statement Globe Deutsch English Espaol Franais Italiano Portugus (Brasil) Русский Caret Down.He allows no pictures, and his name is unknown but to label boss Jeff Konkel, because hes a deacon in his church and fears repercussions for playing the blues. Naturally, we also read books about music, and youve seen a few examples of that sneak in here and there Jennifers review of Keith Richards Life, my write-up of B-Sides and Broken Hearts by Caryn Rose, and the recent blurb about Put the Needle on the Record by Matthew Chojnacki and there are more to come. To that end, we introduce Now Read This, where well write about music-related books that we get our grubby, grabby hands on. He is the only person I know who can consistently recommend music to my idiosyncratic self, so if you like what I write about here, youre going to love Ricks blog.). You got a good woman, she aint feelin good, get her to feelin good. Which is worse The baby about to be born or the man about to be hung Aint that the blues Rockabilly guitarist Charlie Feathers said of Mississippi hill country blues master Junior Kimbrough The beginning and end of all music. As we spread across the earth we brought our blues, and those blues mixed with the blues of others. Delta blues, country blues, gypsy blues, Tuvan blues, British blues, Piedmont blues, Chicago, St. The human condition and the music it brings forth, the deep blues. With Delta blues great Muddy Waters as his protagonist, Palmer breathes new life to the Delta blues story. Palmer shows us and helps us to understand how they lived and spares few details. ![]() The use of distortion and feedback to augment the sound, again now commonly used worldwide, stems from Delta blues, which, of course, stems from Africa and the buzzing of the strings on the one-string precursor to the banjo and the rattle of crude drums. As Palmer explains, it was Delta musicians that first put feedback and distortion to use, now these techniques are wholly common and put to use worldwide. Both techniques bring a sound to life that emulates crying, the tears of the broken-hearted and oppressed. Their percussive, boogie-woogie style of piano playing, with its infectious, driving, rollicking sound, brought the piano boogie out of the Deltas juke joints and spread it throughout the world, influencing generations of pianists. The use of call and response, a common technique in musical styles as varied as blues, gospel, rap, old timey country, and instrumental jazz, as well, finds its roots in Africa and the slave trade. The diddley bow, often built by removing and tacking the wire that holds a straw broom together to the side of a house and using a glass bottleneck, heated over a flame to smooth its jagged edges, for a slide, was the starting point for many Delta would-be guitarists. Artists such as Charlie Christian, Robert Pete Williams, Albert King, Big Bill Broonzy, Carl Perkins and countless others from the region started out on simple, homemade cigar box guitars. Made from a box that once held cigars, one could easily attach a length of scrap wood for a neck, a couple eyebolts for tuning pegs and one to four strings, and youd have yourself a very inexpensive but great-sounding guitar. Robert Palmer referred to it as music created by not just black people but by the poorest, most marginal black people who could neither read nor writeowned almost nothing and lived in virtual serfdom. But it can also be the sound of joy, the sound of making love and raising hell on Saturday night, and the sound of redemption come Sunday morning. Although, as Palmer points out, the blues and those who trade in it have almost always been looked down upon. If you asked a black preacheror faithful churchgoer what kind of people played and listened to blues, they would tell you, cornfield niggers. This is an attitude that, in spite of a long history of deeply gospel-infected blues music by the likes of Blind Willie Johnson, Roebuck Pops Staples (a contemporary of Charley Pattons on the Dockery Farms Plantation), Sister Rosetta Tharp, and others, continues to this day. For example, St. Louis record label Broke and Hungry Records has an artist on its roster that calls himself The Masked Marvel.
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