Deltachord

Paul Hester was born January 8, 1989 in Blackwood, Victoria, Australia. Fortunately, his mother played the jazz style of drumming and he incorporated burshes into his pop rock style. Though he used the brushes on soft/slow songs, he played harder and radically on faster songs.

James Briggs of imdb.com writes that Hester had written a note in his journal at age eight stating he wanted to be a famous rock drummer and Briggs calls Hester an eccentric drum prodigy.

The brush technique has rarely been used in rock drumming, especially since the years when some drummers began to think of themselves as rock drummers. But many of the first rock drummers had been jazz drummers and therefore, knew how to use brushes.

Derek K. Miller of penmachine.com says that Hester was superb in his brush technique and gives examples of Sister Madly on Temple of Low Men (1988) and Four Seasons in One Day from Woodface (1991) to hear his skilled brush work.

Hester formed Chez in 1982, which became Deckchairs Overboard. Their hits were Shout (1983) and Carried Away (1983).

Later in 1983, Hester started drumming for Split Enz, after an audition recommened by Rob Hirst of Midnight Oil. In 1984, Split Enz disbanded and Hester stayed with Neil Finn when he formed Crowded House, first named The Mullanes.

Stephen Holden of the New York Times describes the song Chocolate Cake by Crowded House as “propelled by the impeccably snappy drumming of Paul Hester.”

He stayed with Crowded House until 1994, when his first daughter was born. Later, he was involved in a band called Largest Living Things and was Chef Paul for the children’s show The Wiggles.

For More Information:

http://en.wikipedia.org/wiki/Paul_Hester
http://www.imdb.com/name/nm0381687/bio
http://www.penmachine.com/musicpages/17drummers.html
http://hem.passagen.se/honga/database/d/deckchairsoverboard.html
http://movies2.nytimes.com/mem/movies/review.html?res=9D0CEED71431F933A25753C1A967958260

N.Y. TIMES REVIEW
Pop and Jazz in Review
Print Save By STEPHEN HOLDEN
Published: October 10, 1991, Thursday

To hear Crowded House go to:

http://www.rhapsody.com/crowdedhouse

Drum Tab

http://www.i-drum.com/

Brush Lessons

http://www.rockdrummingsystem.com/underground/drum-lessons/

Why Use Brushes?

http://home.att.net/~drums01/brushes.html

Playing the chord melody can add a zing to your playing that will perk up your listerners ears. Here are a couple of lessons to get you started.

Guitar Lesson #720 at WholeNote: Mastering Chord/Melody: The Basics by Jody Fisher

http://www.guitarnoise.com/article.php?id=598

Swing PublicationsThe Mississippi Rag

Go to: http://www.mississippirag.com/index.html

Mark Kent, a long time resident of Mobile, AL is originally from Detroit. He plays acoustic guitar and piano and is also a vocalist, songwriter and arranger.

He is accomplished in modern and traditional folk, traditional Christian hymns, Celtic, Americana, and popular music.

Mark has been entertaining audiences since 1968 and has played in many cities across the U.S.A in different small venues and for charitable and private functions. Sometimes his cd’s have a theme as in Fisherman’s Patience. For his cd The Boy from Kibbereen he wrote his own arrangements of Irish, Scottish, and American roots music.

I heard him play yesterday and really enjoyed his great folk and Celtic fingerpicking. You can hear his music at http://cdbaby.com/

“Music is our witness and our ally. The beat is the confession which recognizes, changes, and conquers time.”

–James Baldwin

The Merseybeat takes a sharp turn and vibes with its voice…a capella. The Chants hailed from Liverpool 8, a black district that esteemed their own cultural influences in music. They are considered the first British Doo-wop group according to SoulPool.

They had outstanding vocal harmony and listened to the future r&b brought over by American GI’s like the Del Vikings (doo-wop), Johnny Otis, Little Richard, and The Miracles. They also were influenced by American fifties groups: The Ravens, The Flamingos, The Drifters, and The Coasters.

Joe and Edmond Ankrah started a vocal group called The Shades, later renamed The Chants because a rock n’ roll group in London had the same name.

The members of The Chants changed over the years. Nat Smeda and Alan Harding were members. By 1964, the members were Rob Eccles, Brendan McCormick, John Bedson, and Bob Gilmore.

Joe first met Paul McCartney at The Tower Room where The Beatles had a gig. The Beatles played backup for The Chants several times, including their debut at The Cavern, in 1962. They then found a regular backup band called the Harlems.

Soon, in 1963 Brian Epstein spread his managing wing over the group, but it didn’t work out and The Chants then signed with Ted Ross. He got them a recording agreement with Pye Records during the 1963-1964 Merseybeat eruption of musical creativity.

They released quite a few singles, two of them are Trying, Trying, and Man Without a Face. Their first single, I Don’t Care impressed Bessie Braddock, an MP of Merseyside and she added her voice to their supporters.

The chants were well into the cabaret circuit when the 1970’s rolled around. In 1975 they broke up. Joey and Edmond Ankrah, joined with Ashanti and appeared on lTV’s New Faces and Eddie and Chris Amoo joined The Real Thing, which was a Liverpool soul group and in June 1976 they topped the UK charts with You Are To Me Everything.

SoulPool says that, “Yet it is forgotten that as the Beatles and other groups went global, kids locally started to listen and dance to the “gut-bucket” soul music pouring into the city from Detroit, Chicago and Memphis, and local favourites were binned accordingly.”

Again, SoulPool notes that the contribution made to the Merseybeat by black groups and artists aren’t yet given due recognition. Though the documentary Who Put the Beat in Merseybeat? (1996) does give some credit to the black groups. Let’s hope that trend continues.

Note: a capella

1876, earlier alla capella (1847), from It., “in the manner of the chapel,” lit. “according to the chapel,” from cappella “chapel.” Originally in ref. to older church music (pre-1600) which was written for unaccompanied voices; applied 20c. to unaccompanied vocal music generally.

Online Etymology Dictionary, © 2001 Douglas Harper

For More Information:

http://www.geocities.com/SunsetStrip/Villa/9500/chants.htm
http://www.nostalgiacentral.com/music/chants.htm
http://www.geocities.com/soulpooluk/cityblues.htm
http://www.findarticles.com/p/articles/mi_qn4158/is_20000707/ai_n14327504
http://www.kinemagigz.com/’r’.htm#The_Real_Thing_
http://ftvdb.bfi.org.uk/sift/title/544772?view=synopsis
http://ftvdb.bfi.org.uk/sift/title/544772

Chordie Guitar Chords

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I have a new article at guitarnoise .com, the title is listed below.

Jean Baptiste Django Reinhardt: Gypsy Genius

My Other Articles

• A Giant Guitarist To Note
• Legendary House
• Judy Collins: Biography of a Child Prodigy

Reinhardt played swing, jazz, bebop, and more. Enjoy the articles.

guitarnoise

Videos

http://www.about-django.com/news/videos/minorswing.htm

http://www.youtube.com/watch?v=zD6ZD1Igxr0

Don’t touch that control, Swing ’s Jumpin’ Up Next.

http://swingguitar.blogspot.com/

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Hey, if your search brought you here and you don’t see your genre of music mentioned here yet, don’t despair It will make the music scene here soon. Check back.

Deltachord

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Tony Crane (lead guitar/vocals) and Billy Knisley (bass guitar/vocals) founded a group in 1960 called The Mavericks. The other original members were Dave Elias (rhythm guitar), Frank Sloane (drums), and Billy Butler (vocals).

The Mersey Beats derived their name from the local music newspaper, Mersey Beat, and got permission to use it from its owner Bill Harry in 1962, as one story goes, but the Merseybeats official website, www.merseybeats.co.uk says that Bob Wooler, the MC of the well-known Cavern Club renamed them in 1962. Still others say it was a local music reference anyway, by then. They later changed their name to the Merseybeats.

They were one of the best bands of the Merseyside, but they didn’t impact the American charts. They were the third group that Brian Epstein gathered under his wing, but they soon flew away because of differences in musical taste, a regrettable move in their career.

According to merseybeatnostalgia.co.uk “They had a residency at St. John’s Hall, Bootle on a Monday night and on one occassion had The Beatles as their guest group.” Their gigs at the Cavern Club with The Beatles exceeded those of all the other groups in that magical/mythical era.

Their first big 45, Its Love That Really Counts, a cover of The Shirelles’ hit, came in 1963 with a label named Fontana. In 1964, they released I Think of You, which sold a million copies. Don’t Turn Aound and Wishin’ and Hopin’ were also huge hits, while other songs that made good were Last Night, Don’t Let It Happen To Us, I Love You Yes I Do, I Stand Accused, Mister Moonlight, The Fortune Teller, and Lovely Loretta.

The Merseybeats had that rockin’ beat, but usually released ballads for their singles.

See The Merseybeats videos Don’t Turn Around and Milkman at:

http://www.youtube.com/watch?v=PsysUPLCkdU

Hear The Merseybeats:

http://www.merseybeats.co.uk/
http://www.pandora.com/music/artist/4014aecc59c8c5bf

More Information:

http://www.merseybeatnostalgia.co.uk/html/the_merseybeats.html
http://www.answers.com/topic/the-merseybeats
http://www.merseybeats.co.uk/
http://www.geocities.com/SunsetStrip/villa/9500/merseybeats.htm

Videos of Merseyside, British Invasion, American Rock ‘n Roll, Blues, artists and more at:

http://www.tv.com/top-of-the-pops-uk/show/8566/episode_guide.html

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Check out The Bravery’s new single Time Won’t Let Me Go at their website: http://thebravery.com/ or iTunes, off the album: The Sun & The Moon, coming in May.

Great sound, reminds me of that middle sixties era of shimmering cymbals and that beat, don’t forget the harmonization. That synthesizer, didn’t we just talk about that? Gorgeous. Ah!

Another time…

mymusictools
WholeNote

Robert Moog invented the first moog to utilize a keyboard in 1964. According to Wikipedia, the moog wasn’t a performance instrument at first, but was used as “a sophisticated, studio-oriented professional audio system which could be used as a musical instrument; the keyboard was simply a convenient and familiar way to control it.”

Herbert A. Deutsch relates an intriguing antedote in The Moogs First Decade 1965-1975. He tells the story of his and Robert Moog’s incident with the Canadian customs officials who were watching for people smuggling weapons across the border in 1965.

The first officer was suspicious of the contraption sitting on the back seat of Moog’s Volkswagen. They didn’t have a keyboard or anything else, on hand, that could identify it as a musical instrument. Two other officers came and took them in the office for questioning, though they enthusiastically explained that the contraption was a moog and about its musical capabilities, the customs officers were incredulous.

They wouldn’t let them go into Canada with the moog, nor take it back to the U.S. But a stroke of luck solved their dilemma, when a young customs officer happened along to listen to their story.

Here’s Deutsch quotes the young officer “Oh! Musique concrete–musique electronique–je comprende.” He let them go on to Toronto, where Professor Gustave Ciamarga waited for their arrival at the University of Toronto, along with his electronic music compostion students.

The writer for www.moogfoundation.org in On Bob Moog explains that he was known “for his humilty, yet he won “dozens of awards, including the Polar Music prize, and two Grammy’s.” He also was in awe of nature and found strength by living in the mountains of Western North Carolina.

Moog first made theremin kits with his father in 1954. His sales of theremins picked up after he had published an article in Electronics World in January of 1961. Around that time he met Herbert Deutsch, an experimental composer; his influence inspired Moog to create the Moog Modular Synthesizer. He had made and sold thermins for ten years.

The writer of Robert Moog and Moog Synthesisers states that Moog seized on the idea “of building new circuits that would be capable of producing sound.” He garnered that concept at a convention in 1963.

In 1965 the R.A. Moog company sold several modular synthesizer systems. Their biggest buyers were academic and experimental composers. In 1968 Wendy Carlos had instant success with Switched On Bach, playing a Moog synthesizer, which caused a huge rise in interest of the moog. One million copies of Switched On Bach were sold.

Robert Mogg died August 1, 2005 of a brain tumor.

The moog will be back.

For More Information:

http://en.wikipedia.org/wiki/Moog_synthesizer
http://moogarchives.com/
The First Moog Synthesizer
an Excerpt from:
THE MOOG’S FIRST DECADE
1965 - 1975
an article appearing in NAHO, Fall 1981 / New York State Museum / The State Education Department

http://www.moogfoundation.org/
http://www.till.com/articles/moog/
http://www.obsolete.com/120_years/machines/moog/index.html
http://www.moogmusic.com/history.php
http://www.answers.com/topic/robert-moog

Cool Sites

http://www.moogmusic.com/
http://www.zu33.com/moog/
http://arts.ucsc.edu/ems/music/equipment/synthesizers/analog/moog/Moog.html
http://www.synthzone.com/moog.htm

Moog Minimoog Demo Video

http://www.youtube.com/watch?v=WY2AeD0Tn4Y

Video of Robert Moog

http://www.youtube.com/watch?v=gno7xqWR9fg

Music Blog Directory

What about Gerry and the Pacemakers?

Gerry Marsden (guitar, lead vocals) and his brother, Freddie, (drums) were born in Liverpool. Gerry and the Pacemakers were second in a list of bands managed by The Beatles manager, Brian Epstein. They were most popular from 1964-1966. Gerry, formed the band in 1959.

They first named the band The Mars Bars, but they were faced with the threat of a law suit and changed their name. They had wanted backing from the company.

Their style was pop, but they had the beat, with the ryhthm guitar propeling their sound. Les Chadwick, played bass. Arthur Mack played piano until 1961, then Les McGuire took over that instrument. The movie Ferry Cross The Mersey was named after one of their hits.

Others singles of theirs include How Do You Do It?, I Like It, You’ll Never Walk Alone, which were back to back hits in 1963 in England. Don’t Let The Sun Catch You Crying, is another big single they had.

Richie Unterberger, of All Music Guide discloses that “it is not universally known that Gerry Marsden actually wrote much of the band’s material.” Unterberger also explains that Gerry and the Pacemakers, along with other Liverpool groups, couldn’t attain the level of creativity that The Beatles, and other top-notch British invasion groups did.

This isn’t to say they weren’t good, but they didn’t grow in style, and their mode grew outdated. They broke up in 1967.

Which of the Merseyside groups will be up next? Keep your eyes peeled to see. And what about those other top-notch bands of The British Invasion? When do we heard from The Merseyside metal, indie, punk, and jazz artists.

And, remember that moog?

Well, don’t get out of tune, but stay tuned to get your musical mind tickled.

For More Information:

http://www.geocities.com/sunsetstrip/palms/6315/film.htm
http://www.answers.com/topic/gerry-the-pacemakers
http://oldies.about.com/od/artistindexaz/Oldies_Artists_and_Bands.htm?terms=Gary+and+the+Pacemakers

Hear Gerry and the Pacemakers:

http://www.rhapsody.com/gerryandthepacemakers

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