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Charlton (2014) - Metal

Chapter notes on the historical background of metal

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Ham Chew Yung
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97 views25 pages

Charlton (2014) - Metal

Chapter notes on the historical background of metal

Uploaded by

Ham Chew Yung
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
changes gave Clapton an opportunity to work with a vat egy of blues musicians, He particulary liked Jack Bruce's {born in 1943) bass playing, and when Ginger Baker (born 1 drums one night, Clapton asked the in 1938) satin on d ‘woof them to join hin to work a trio. At tha ime, they incended to play the blues in small clubs and did nor f see the tremendous success they would have as Cream. The group made its debue in 1966 at the Windsor Festival in gland, where they broughe their blues-styled songs and bila shigh volume co rock audience that was ripe for the exper improvisations Cream’s 1968 recording of Robert Johnson's "Cross Road Blues” (1936) was a suecessful link berween the old country blues and the new blues-based rock. Although the members of Cream obviously loved the rough quality cording, of Johnson's style, they did noc copy icin theit which they reticled “Crosstoads.” Johnson had played thychmie freedom out af which the blues form had developed (as pointed out in the discussion and Cetera enero: cee ten c eee cre listening guide +0 Johason’s recording in Chapter 2). Creams mote modern audience, however, eequited the sort of polish and formalism co which they had become accustomed, Cream was aso made up of three very tech: hically proficient instrumentalists, and where Johnson yy his singing, used his guitar primarily to accompa Cream displayed their talents chrough six all-inscrumental horuses of the nwelve-bar form. A listening guide © Cream’ recording of "Crossroads" is on page 122. TI recording hit number ewenty-eight on the Ametican pop harts it did nor chaet in England. ‘Other British covers of the late sities included the Jeff Beck Group’ recordings of Willie Dixon's“! Ain't Supe stitious” and "You Shook Me"; Creams recordings of Dixon's “Spoonful” Robert Johason’s “Four until Lace,” and Howlin’ Wolf's “Sittn’ on Top of the World”; and eppelin's recordings of Dixon's “I Can't Quit Ye ed Baby” and "You Shook Me.” A comparison of any of these recordings wich the original versions reveals chat the late sixties British blues groups remained less faithful he ‘old styles chan their ealy-sst Afr just over two years together, Cream disbanded. predecessors had they fle they had made the musical statement they ha gotten toge and all three wanted co move on to other experiences. Clapton and Baker formed 4 new group with Traff’s keybourdisusinger Steve Winwood and Family’ bassist Rich Grech. The new group, Blind sich, was short-lived, purting out only one album, Blind th (1969) Afier Blind Clapron nups for shore periods of time, including joked with a aith broke up, COOCOCOCCEECECECOECOEOCOOCCOCECCESO Liffening Gide “Light My Fire” «as recorded by the Doors (1967) ‘Tempo: ‘The tempo is approximately 126 beats peer minute, with four beats in each bat Form: After a five-bar introduction, the form is structured as ABAB and an impro- vised instrumental section 145 bars in Jengeh, then ABAB and an extension. ‘The A sections are eight bars long and the B sections are seven bars long. “The long instrumental section features the organ for the first seventy bars, he gitar with organ accompaniment for the next seventy bars, and then a repeat ofthe five-bar intoduction. The musical basis ofthe improvisation isa one-bar, cwo-chord ostinato (repeating pater). ‘The B sections function asa refrain and Ihave the same lyrics each time. poetry and film experiments than in music. Finally, after the completion of the L.A. Woman album (1971), he ook a break and moved to Pars co rest. He died of a heart attack while he was there. ‘With Morrison’ death, the Doors were reduced to an insecumencal wi, They tted ro continue as such but dis- banded to pursue solo projects. In 1978, they eleased the album An American Prayer, which contained their music

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