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Unusual Rock Trivia?
- Thread starter Aberdumbie
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Unusual Time Signatures:
Whipping Post is a mix of 11/4 and 4/4
Thick As a Brick - Part in 10/4
Peter Gabriel: Solsbury Hill is in 7/4. His duet with Kate Bush, Don't Give Up, is in 6/8.
Doors: Break On Through is in 5/4.
Sting: St Augustine in Hell is in 7/4.
Whipping Post is a mix of 11/4 and 4/4
Thick As a Brick - Part in 10/4
Peter Gabriel: Solsbury Hill is in 7/4. His duet with Kate Bush, Don't Give Up, is in 6/8.
Doors: Break On Through is in 5/4.
Sting: St Augustine in Hell is in 7/4.
- Rush – Tom Sawyer (⅞ time) ...
- Pink Floyd – Money (7/4 time) ...
- The Beatles – Happiness Is a Warm Gun (4/4, 5/5, 9/8, 10/8, and on and on) ... Also "Here Comes the Sun" is a mix of meters
- Outkast – Hey Ya! ...
- Radiohead – 15 step (5/4 Time) ...
- MGMT – Electric Feel (6/4 time) ...
- Led Zeppelin – The Ocean (4/4+⅞ time)
- Rush - Freewill (alternating 6/4 and 7/4, later has 3/4 bars in 4/4 sections)
- Rush - YYZ (10/8 sections)
- Rush - Subdivisions (7/4 sections)
- Queens of the Stone Age - Hangin' Tree (5/4)
- Queens of the Stone Age - I Think I Lost My Headache (15/8)
Almost. The instrument Paul Tanner invented was called the Electro-Theremin, which was used on "Good Vibrations" and elsewhere.
A replica was built in 1999 for use on Brian Wilson's solo tour. This reproduction was dubbed The Tannerin to honor the inventor Paul Tanner.
The average 33-1/3 Long Playing (LP) Vinyl Record Album has about 1,500 feet (460 m or about a third of a mile) of groove on each side.
The theremin was originally the product of Soviet government-sponsored research into proximity sensors. The instrument was invented by a young Russian physicist named Lev Sergeyevich Termen (known in the West as Léon Theremin) in October 1920[2][3] after the outbreak of the Russian Civil War. After a lengthy tour of Europe, during which time he demonstrated his invention to packed houses, Theremin moved to the United States, where he patented his invention in 1928.[4]Subsequently, Theremin granted commercial production rights to RCA.
In 1938, Theremin left the United States, though the circumstances related to his departure are in dispute. Many accounts claim he was taken from his New York City apartment by NKVD agents (preceding the KGB),[7] taken back to the Soviet Union and made to work in a Invalid Link Removed laboratory prison camp at Magadan, Siberia. He reappeared 30 years later. In his 2000 biography of the inventor, Theremin: Ether Music and Espionage, Albert Glinsky suggested the Russian had fled to escape crushing personal debts, and was then caught up in Stalin's political purges. In any case, Theremin did not return to the United States until 1991.[8]
In 1938, Theremin left the United States, though the circumstances related to his departure are in dispute. Many accounts claim he was taken from his New York City apartment by NKVD agents (preceding the KGB),[7] taken back to the Soviet Union and made to work in a Invalid Link Removed laboratory prison camp at Magadan, Siberia. He reappeared 30 years later. In his 2000 biography of the inventor, Theremin: Ether Music and Espionage, Albert Glinsky suggested the Russian had fled to escape crushing personal debts, and was then caught up in Stalin's political purges. In any case, Theremin did not return to the United States until 1991.[8]
John Mellencamp is a lifelong devoted painter whoses art took a back step to music. John Mellencamp - 39 Artworks, Bio & Shows on Artsy
John owned a tattoo parlor leading to several members of his family including his aunt getting tatoos
John owned a tattoo parlor leading to several members of his family including his aunt getting tatoos
Mark Mothersbaugh of Devo has written numerous songs and soundtrack music for dozens of TV shows and movies including all of the Rugrats TV Cartoons and Movies. He is also an accomplished artist with over 150 art gallery shows to his credit.
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Berry Oakley was one of the original hot licks lead guitar players in the Chicago area back in the '60s. "Berry used to play a forest green Strat through a 2 X 12 Sears Silvertone amp back then, and it sounded great!
"As his band, The Shanes, gained popularity, they got to play with some pretty big name acts of the time, including the Byrds. One group they played with a lot was Tommy Roe's backup band, the Roemans. This is where Berry got his first big break. The Roemans' bass player was drafted, leaving a void. Berry's band was playing the warm-up show for them at Westwood Junior High in Park Forest, Illinois when he found out about the impending departure of their bass player, and volunteered to take his place. The only problem was that Berry did not play bass! So he pressed into service the talent of his good friend and former bass player, Jim May. Jim was the guy who got Berry playing bass. He coached him for about two weeks to get him going. Berry then dropped out of Rich East High School and went on the road with the Roemans. The rest is history."
Berry Oakley was one of the original hot licks lead guitar players in the Chicago area back in the '60s. "Berry used to play a forest green Strat through a 2 X 12 Sears Silvertone amp back then, and it sounded great!
"As his band, The Shanes, gained popularity, they got to play with some pretty big name acts of the time, including the Byrds. One group they played with a lot was Tommy Roe's backup band, the Roemans. This is where Berry got his first big break. The Roemans' bass player was drafted, leaving a void. Berry's band was playing the warm-up show for them at Westwood Junior High in Park Forest, Illinois when he found out about the impending departure of their bass player, and volunteered to take his place. The only problem was that Berry did not play bass! So he pressed into service the talent of his good friend and former bass player, Jim May. Jim was the guy who got Berry playing bass. He coached him for about two weeks to get him going. Berry then dropped out of Rich East High School and went on the road with the Roemans. The rest is history."
Mutt Lange is famous for working long hours. Reputedly, on one of Shania Twain's sessions, he had Rob Hajakos, who's one of the famous fiddle session men down in Nashville. Rob was playing violin parts for like seven or eight hours and finally he said, 'Can I take a break,' and Mutt says, 'What do you mean take a break?' Rob goes, 'Have you ever held one of these for eight hours under your chin?
Cream's Crossroads is misleadingly subheaded, "Live at the Fillmore." on the Wheels of Fire Album. It was recorded at the Winterland Ballroom, also in San Francisco. Just one of the four live songs on these two LP sides, "Toad," was actually recorded at the Fillmore, but the Fillmore name had a lot more marketing appeal. "Crossroads" was recorded at Winterland on March 10, 1968, a Sunday, during the first of the two Cream shows that night. "Crossroads" immediately followed "Spoonful" in the performance, whereas on the album, "Crossroads" comes right before "Spoonful."
The version on the album was not edited down, although the booklet for the Crossroads boxed set implies that it was. Eric Clapton didn't like to talk about the song and has said it was an inferior performance because the trio got the time disjointed a bit in Eric's third solo chorus - that is, the first chorus (instrumental "verse") of his second solo. So, he never really praised that performance.
When pressed on the length and editing issues, he might say something along the vague lines of he supposed it was originally longer, because the Cream usually played it longer live.
At the end of the song, Jack Bruce announces, "Eric Clapton, please," over Eric's saying, "Thank you" (both said simultaneously). Eric follows up by saying (probably turning toward Jack), "Kerfuffle." This is British English for "foul-up," referring to the time disjoint back in mid-song.
Clapton played this on a Gibson SG, a solid-body guitar that had been psychedelically painted.
The version on the album was not edited down, although the booklet for the Crossroads boxed set implies that it was. Eric Clapton didn't like to talk about the song and has said it was an inferior performance because the trio got the time disjointed a bit in Eric's third solo chorus - that is, the first chorus (instrumental "verse") of his second solo. So, he never really praised that performance.
When pressed on the length and editing issues, he might say something along the vague lines of he supposed it was originally longer, because the Cream usually played it longer live.
At the end of the song, Jack Bruce announces, "Eric Clapton, please," over Eric's saying, "Thank you" (both said simultaneously). Eric follows up by saying (probably turning toward Jack), "Kerfuffle." This is British English for "foul-up," referring to the time disjoint back in mid-song.
Clapton played this on a Gibson SG, a solid-body guitar that had been psychedelically painted.
Cream Sunshine of your Love
The lyric was written by Pete Brown, a beat poet who was friends with Ginger Baker and Jack Bruce. He wrote the opening line after being up all night working with Bruce and watching the sun come up. "We had been working all night and had gotten some stuff done. We had very little time to write for Cream, but we happened to have some spare time and Jack came up with the riff. He was playing a stand-up - he still had his stand-up bass, because he'd been a jazz musician. He was playing stand-up bass, and he said, 'What about this then?' and played the famous riff. I looked out the window and wrote down, 'It's getting near dawn.' That's how it happened. It's actually all true, really, all real stuff."
Jack Bruce's bass line carries the song. He got the idea for it after going to a Jimi Hendrix concert.
When Cream recorded this song, it wasn't working. Tom Dowd, Recording Engineer, explained: "There just wasn't this common ground that they had on so many of the other songs. I said, 'Have you ever seen an American Western where the Indian beat - the downbeat - is the beat? Why don't you play that one. Ginger went inside and they started to run the song again. When they started playing that way, all of the parts came together and they were elated."
Ahmet Ertegun, who was head of the group's label was not impressed by the song. . When Bruce revealed the song at the sessions, Ertegun declared it "psychedelic hogwash." Ertegun constantly tried to promote Eric Clapton as the band's leader, and also didn't believe the bassist should be a lead singer. He only relented and agreed to champion this song after Booker T. Jones came by and expressed his approval.
This is one of Eric Clapton's favorites from this days with Cream; he played it at most of his solo shows throughout his career. When Cream played some reunion concerts in 2005, they played the song as their encore.
Jimi Hendrix covered this at some of his concerts, unaware that he was the inspiration for the bass line.
Hendrix did an impromptu performance of the song when he appeared on Happening for Lulu, BBC TV show in England hosted by the prim and proper "Link Removed" singer. After playing part of his scheduled song "Link Removed," Hendrix stopped the performance and said, "We'd like to stop playing this rubbish and dedicate a song to the Cream, regardless of what kind of group they may be in. We dedicate this to Eric Clapton, Ginger Baker and Jack Bruce."
This was Cream's biggest hit. It was their first to do better in the US than in the UK, as they started to catch on in America. In the US, this first charted in February 1968 at #36. In August, after the album came out, it re-entered the chart and went to #5.
Clapton's guitar solo is based on the '50s song "Link Removed."
Excepting "Link Removed," the Disraeli Gears album was recorded in just three days, as the band had to return to England because their work visas were expiring. Engineer Tom Dowd recalls the sessions coming to an abrupt end when a limo driver showed up to take the musicians to the airport. Dowd was tasked with mixing the album in their absence.
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The lyric was written by Pete Brown, a beat poet who was friends with Ginger Baker and Jack Bruce. He wrote the opening line after being up all night working with Bruce and watching the sun come up. "We had been working all night and had gotten some stuff done. We had very little time to write for Cream, but we happened to have some spare time and Jack came up with the riff. He was playing a stand-up - he still had his stand-up bass, because he'd been a jazz musician. He was playing stand-up bass, and he said, 'What about this then?' and played the famous riff. I looked out the window and wrote down, 'It's getting near dawn.' That's how it happened. It's actually all true, really, all real stuff."
Jack Bruce's bass line carries the song. He got the idea for it after going to a Jimi Hendrix concert.
When Cream recorded this song, it wasn't working. Tom Dowd, Recording Engineer, explained: "There just wasn't this common ground that they had on so many of the other songs. I said, 'Have you ever seen an American Western where the Indian beat - the downbeat - is the beat? Why don't you play that one. Ginger went inside and they started to run the song again. When they started playing that way, all of the parts came together and they were elated."
Ahmet Ertegun, who was head of the group's label was not impressed by the song. . When Bruce revealed the song at the sessions, Ertegun declared it "psychedelic hogwash." Ertegun constantly tried to promote Eric Clapton as the band's leader, and also didn't believe the bassist should be a lead singer. He only relented and agreed to champion this song after Booker T. Jones came by and expressed his approval.
This is one of Eric Clapton's favorites from this days with Cream; he played it at most of his solo shows throughout his career. When Cream played some reunion concerts in 2005, they played the song as their encore.
Jimi Hendrix covered this at some of his concerts, unaware that he was the inspiration for the bass line.
Hendrix did an impromptu performance of the song when he appeared on Happening for Lulu, BBC TV show in England hosted by the prim and proper "Link Removed" singer. After playing part of his scheduled song "Link Removed," Hendrix stopped the performance and said, "We'd like to stop playing this rubbish and dedicate a song to the Cream, regardless of what kind of group they may be in. We dedicate this to Eric Clapton, Ginger Baker and Jack Bruce."
This was Cream's biggest hit. It was their first to do better in the US than in the UK, as they started to catch on in America. In the US, this first charted in February 1968 at #36. In August, after the album came out, it re-entered the chart and went to #5.
Clapton's guitar solo is based on the '50s song "Link Removed."
Excepting "Link Removed," the Disraeli Gears album was recorded in just three days, as the band had to return to England because their work visas were expiring. Engineer Tom Dowd recalls the sessions coming to an abrupt end when a limo driver showed up to take the musicians to the airport. Dowd was tasked with mixing the album in their absence.
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A bit of a long read, but I love cream. Very cool to learn some about the recording sessions and songs.
Screaming Lord Sutch and the Savages is another British band that can claim many musicians that would play with the group over the years and numerous lineups. Some of the members would go on to stardom in their own right, most notably Jimmy Page, Ritchie Blackmore, Jeff Beck, Noel Redding, Jon Lord, Mick Abrahams, Mitch Mitchell, Nick Simper, Matthew Fisher, Ian Hunter, Adrian Gurvitz, and Nicky Hopkins.
Ritchie Blackmore on guitar
Ritchie Blackmore on guitar
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The oddest case of litigation in pop music history, though, might be John Fogerty's being sued, effectively, for plagiarizing himself. That is, when Fogerty left Fantasy Records for Warner Brothers Records, he relinquished control over his earlier Creedence Clearwater Revival material to Fantasy, in exchange for contractual release. This came back to haunt him later, when Saul Zaentz of Fantasy sued Fogerty, claiming that the artist's 1985 solo number, "Link Removed," was a self-plagiarism of the earlier CCR cut, "Link Removed." Bringing his guitar to the witness stand when the issue went to court, Fogerty was able to suggest the tunes were separate entities, and convinced a judge to dismiss the suit, thus precluding what might have been one of the most ironic creative-property decisions in pop music history.
The oddest case of litigation in pop music history, though, might be John Fogerty's being sued, effectively, for plagiarizing himself. That is, when Fogerty left Fantasy Records for Warner Brothers Records, he relinquished control over his earlier Creedence Clearwater Revival material to Fantasy, in exchange for contractual release. This came back to haunt him later, when Saul Zaentz of Fantasy sued Fogerty, claiming that the artist's 1985 solo number, "Link Removed," was a self-plagiarism of the earlier CCR cut, "Link Removed." Bringing his guitar to the witness stand when the issue went to court, Fogerty was able to suggest the tunes were separate entities, and convinced a judge to dismiss the suit, thus precluding what might have been one of the most ironic creative-property decisions in pop music history.
Roy Estrada born April 17, 1943 in Santa Ana, California) is an American musician and vocalist, best known for his bass guitar work with Frank Zappa and the Mothers of Invention and for having been a founding member of Invalid Link Removed, playing on their first two albums.
As of 2016, Estrada is incarcerated in a Invalid Link Removed prison. He was convicted for sex offenses, first having been convicted of child sex abuse in 1994 and serving six years imprisonment, then pleading guilty to abuse of a young relative in 2012. He will not be eligible for parole until 2036, at which time he will be 93 years old.
As of 2016, Estrada is incarcerated in a Invalid Link Removed prison. He was convicted for sex offenses, first having been convicted of child sex abuse in 1994 and serving six years imprisonment, then pleading guilty to abuse of a young relative in 2012. He will not be eligible for parole until 2036, at which time he will be 93 years old.
CLASSIC TRACKS: Jimi Hendrix Experience 'All Along The Watchtower' |
Jimi Hendrix All Along the Watchtower.
Initially there was no bass. "Jimi just played a six-string acoustic guitar while Traffic's Dave Mason played 12-string and Mitch was on drums. That's how Jimi wanted to cut it, and as a result the track had a marvellous, light feel thanks to the acoustic guitars that were driving it. "It actually took about 27 takes to get the track going because Dave Mason couldn't get it together, but eventually he did and that was all that mattered." Jimi played bass on this track. When he said that's what he wanted to do, Noel [Redding] pissed off to the pub. He didn't want to know.
Jimi's bassline is worth studying for the rhythmic nuances and his masterful shifting between low and high positions on the neck. (Which is why this song is best played in C#m (Detuned to Cm on the recording).
Jimi Hendrix All Along the Watchtower.
Initially there was no bass. "Jimi just played a six-string acoustic guitar while Traffic's Dave Mason played 12-string and Mitch was on drums. That's how Jimi wanted to cut it, and as a result the track had a marvellous, light feel thanks to the acoustic guitars that were driving it. "It actually took about 27 takes to get the track going because Dave Mason couldn't get it together, but eventually he did and that was all that mattered." Jimi played bass on this track. When he said that's what he wanted to do, Noel [Redding] pissed off to the pub. He didn't want to know.
Jimi's bassline is worth studying for the rhythmic nuances and his masterful shifting between low and high positions on the neck. (Which is why this song is best played in C#m (Detuned to Cm on the recording).
Jamareo Artis: From Bruno Mars to Solo Orbit
Jarmareo Artis got his first bass at 9. He played bass on P. Diddy’s MTV Making His Band competition in 2009, at age 20. Shortly after that, he met up with Bruno Mars.
Jarmareo was originally a big Jaco fan.
"When I first started playing, my dad took me to Guitar Center for an instructional DVD, and the clerk recommended Jaco Pastorius: Modern Electric Bass and Victor Wooten: Live at Bass Day ’98. The Wooten tape was a little overwhelming for me at that point, but when I put on Jaco’s DVD, it was almost like a spiritual connection. It felt to me like when he played, everything in his head and heart came out through his music and his phrasing. I could hear what he was going through, without being aware of it at the time. I thought, “If I can’t make people feel like that when I play, then I don’t want to play bass.” So I studied his recordings and I had a period of trying to emulate him. I wouldn’t be the bassist I am without Jaco. His music opened my ears to better hear the music around me when I’m performing. And the way he played over the top of a song as almost a lead instrument, like he did with Joni Mitchell, changed my whole outlook on the role and capabilities of the bass."
Jarmareo Artis got his first bass at 9. He played bass on P. Diddy’s MTV Making His Band competition in 2009, at age 20. Shortly after that, he met up with Bruno Mars.
Jarmareo was originally a big Jaco fan.
"When I first started playing, my dad took me to Guitar Center for an instructional DVD, and the clerk recommended Jaco Pastorius: Modern Electric Bass and Victor Wooten: Live at Bass Day ’98. The Wooten tape was a little overwhelming for me at that point, but when I put on Jaco’s DVD, it was almost like a spiritual connection. It felt to me like when he played, everything in his head and heart came out through his music and his phrasing. I could hear what he was going through, without being aware of it at the time. I thought, “If I can’t make people feel like that when I play, then I don’t want to play bass.” So I studied his recordings and I had a period of trying to emulate him. I wouldn’t be the bassist I am without Jaco. His music opened my ears to better hear the music around me when I’m performing. And the way he played over the top of a song as almost a lead instrument, like he did with Joni Mitchell, changed my whole outlook on the role and capabilities of the bass."
Invalid Link Removed
The story goes when late bassist Jack Bruce was a few hours from death in 2014, he phoned up close friends to say goodbye. When he called his ex-Cream band mate Ginger Baker, he told him, “I’m dying, Ginger, f*ck you,” then slammed down the phone. Baker tried to call back several times, of course, but Bruce wouldn’t pick up.
The story goes when late bassist Jack Bruce was a few hours from death in 2014, he phoned up close friends to say goodbye. When he called his ex-Cream band mate Ginger Baker, he told him, “I’m dying, Ginger, f*ck you,” then slammed down the phone. Baker tried to call back several times, of course, but Bruce wouldn’t pick up.
Sweet Home Alabama
Some of the lyrics are a jab at Neil Young:
I hope Neil Young will remember
A southern man don't need him around anyhow
Young had written songs like "Link Removed" and "Link Removed," which implied that people in the American South were racist and stuck in the past. Skynyrd responded with "Sweet Home Alabama," a song about Southern pride and all the good things in Alabama.
The feud between Lynyrd Skynyrd and Neil Young was always good-natured fun; they were actually mutual fans. Ronnie Van Zant often wore Neil Young T-shirts onstage and is wearing one on the cover of Street Survivors, the last Skynyrd album released before his death.
When we Link Removed, a member of the band in their early years who returned to the fold in 1996, he said that Van Zant "loved Neil Young." Added Medlocke, "I know there has been a lot of controversy about Neil Young and Ronnie having some kind of tiff, but they really didn't."
Link Removed
Some of the lyrics are a jab at Neil Young:
I hope Neil Young will remember
A southern man don't need him around anyhow
Young had written songs like "Link Removed" and "Link Removed," which implied that people in the American South were racist and stuck in the past. Skynyrd responded with "Sweet Home Alabama," a song about Southern pride and all the good things in Alabama.
The feud between Lynyrd Skynyrd and Neil Young was always good-natured fun; they were actually mutual fans. Ronnie Van Zant often wore Neil Young T-shirts onstage and is wearing one on the cover of Street Survivors, the last Skynyrd album released before his death.
When we Link Removed, a member of the band in their early years who returned to the fold in 1996, he said that Van Zant "loved Neil Young." Added Medlocke, "I know there has been a lot of controversy about Neil Young and Ronnie having some kind of tiff, but they really didn't."
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