Rocka My Soul Swing Low, Sweet Chariot This Little Light Of Mine This Train Al eI sPh y s i cFo rMe, All For Me Grog Arthur McBride Buffalo Gals Sloop John B. The Wild Rover Three Drunken Maidens When I Was Single. Whiskey In The Jar - Liebeslieder: Der Liebe Macht Du, du liegst mir im Herzen Es dunkelt schon in der Heide Guter Mond, du gehst so stille Banks Of The Ohio Barbara Allen Beautiful Brown Eyes Bunclody Careless Love Carnival Of Venice Cielito Lindo Cockles And Mussels Down In The Valley Early One Morning Greensleev es I Never Will Marry I Once Loved A Lass John Riley Mary Ann Red River Valley Scarborough Fair The Blue Bells Of Scotland The Curtains Of Night The Quilting Party - Abend- und Schlaflieder: Abend wird es wieder Ade zur guten Na c h t,8 9.
Hush Little Baby - Lieder aus aller Welt: 6. Lieder aus aller Welt Der Kuckuck und der Esel Der Wettstreit Der Winter ist vergangen Die Gedanken sind frei Ein Vogel wollte Hochzeit machen Gaudeamus igitur Mein Hut, der hat drei Ecken After The Ball Dicey Riley Foggy Dew Hava Nagila Home On The Range Home, Sweet Home Jenny Jones Johnny, I Hardly Knew Ye La Cucaracha London Street My Singing Bird Oh My Darling Clementine The Band Played On The Black Velvet Band The Boston Burglar The Castle Of Dromore The Last Rose Of Summer The Leaving Of Liverpoo l The Lonesome Road The Mulberry Bush The Old Grey Mare Alle Jahre wieder Ihr Kinderlein Tigerfeet (Live) - Only Entertainment - So Long.
And Thanx For All The Booze (CD) Lasst uns froh und munter sein Leise rieselt der Sc h n e e,1 4 4. Stille Nacht, heilige Nacht With musician-friendly lead sheets, melody cues, and other split-track choices on the included CD, this first-of-its-kind package makes learning to play jazz easier than ever before.
Spieltechnische Hinw eise und Informationen runden das Angebot an Spielh ilfen ab. Didaktisch aufgearbeitet und z. Where is love? Where or when, Who can I turn to, Wouldn't it be lovely, You'll never walk alone, Younger than springtime. When the lights go out, When you're gone, You don't care about us, You're still the one. Let It Snow! Easy Pop Piano 2 St. Mozart: Die Zufriedenheit - J. Haydn: Sinfonie Nr. Satz - F. Schubert: Wiegenlied op.
Tigerfeet (Live) - Only Entertainment - So Long. And Thanx For All The Booze (CD) Ich liebe dich - P. Satz - E. Grieg: Solvejgs Lied op. Brahms: Ungarischer Tanz Nr. RemskijKorsakow: Scheherazade op. Satz - A. Robinson's quango, He thought of cars. You're the top, Zing went the strings of my heart. Picture of you, Isn't it a wonder, A different beat, Words, Father and son, So good, Coming home now, Key to my life, Love me for a reason, When the going gets through, You needed me, When you say nothing at all, All the time in the world, I'll never not need you.
Tambourine man, Home on the range, House of the rising sun, How did you feel? How do you think I began the world? Auf den beiden CD's ist die Songbegleitung e ingespi elt. Bojangles, Mr. What the world needs now is love, Wooden heart, Yesterday's men. As I sadly be her side, The carny, Danna, Do you love me? Auf der CD sind die Songs mit einer professionellen Band eingespi elt. Feeling stronger every day, Free, Just you 'n me, Man vs.
In addition to the theory chapters, many melodic lines and phrases in the style of "Cannonb all" Adderley are presented. All the lines have been transposed into one key and grouped by the harmonic background they can be played agai nst. The accompanying play-a long CD enab les the students to first practice the material in one key, and then master each line in all twelve keys, working around the circle of fourths.
Heilige Nacht! ZZ Top: Tush. It contains 12 melodies based on works of wellknown and some lesser known 19th-century composers, arranged to be suitable for soloists with piano accompaniment. The CD includes solos played by several instruments, as well as piano accompaniments only, with which instrumentalists can practice and play along. This piano accompanime nt book does not contain the CD which is availabl e only with the matching instrumental folios.
The wind beneath my wings, You can always count on me. Download now. Related titles. Carousel Previous Carousel Next. Jump to Page.
Search inside document. Let It Snow! Hello Fadduh! Si demain Got You All in Check C. Human Hark! No No No Chri Chri Perdname Paolo Conte Ms.
You Can Fly! Contact with the other Stones, however, has been limited and strictly long distance. I took walks and kept moving. I like to go south for the winter! So, has he been worried about contracting the virus? For a musician whose heroes since the early days have been great black artists such as Muddy Waters, Solomon Burke, Chuck Berry and Jimmy Reed, he finds continuing racism baffling.
I have a choice. It was great fun, a great experience and I put it to use when the Stones got back together. The show began with Take It So Hard, a great riff-laden blast that would grace any Stones album, and it came with a great bit of theatre.
It has the multi-octave vocal range of opera. It has the rootsy storytelling of folk and the bardic tradition. It uses the musical palette of the blues and the dynamics of Russian orchestral music. Nevertheless, a thread can be traced along its main path. Before we go any further, I would like to throw in a warning. As a general rule, never move back in with your parents. As another general rule, beware of anyone making bold statements about the origins or provenance of genres.
They both claimed that Malcolm McLaren and Vivienne Westwood were solely responsible for the creation of punk. This is, of course, total bollocks. So much for authority. The roots of heavy metal are in the percussion and vocalisations used by the earliest humans.
Tribal drumming is the earliest historical ancestor of the heavy metal sound. The Brazilian metal band Sepultura incorporated tribal drumming into their mix on two albums in the mid-nineties to brilliant effect. Humans have always been drummers. The simplest of all life forms. Only truly happy when hitting things with sticks. Or, in the case of Keith Moon, blowing up toilets. Rhythm is innate to human beings, but while it is easy to imagine drumming to be the part of heavy metal with the longest unchanged history, the modern drum kit is a relatively recent innovation.
Drumming as we know it today using a multi-drum setcame together slowly over the course of the nineteenth and early twentieth centuries. Between pre-history and the Middle Ages, drumming had evolved from simple tribal drumming with organic, local objects to organised military use with more complex drums.
Such use is recorded as far back as Genghis Khan. Simultaneously, drumming developed within orchestras.
In both cases, percussionists would specialise — using only one drum each. Around military-style percussionists began combining the contrasting sound of two drums, a technique known as double drumming. Foot pedals were developed, snares were invented. The hi-hat was back-engineered from a crashed flying saucer.
Slowly but surely, percussionists became drummers. Familiar drummer-like traits began to emerge, such as van ownership, sarcasm and grumpiness. As soon as the drummer evolved out of the primordial soup, the drummer jokes started. If the foundation of heavy metal is drumming, the walls are built of guitars. The blues is the earliest recognisable ancestor to heavy metal. The egalitarian tribal cultures of pre-colonial West Africa had their own distinctive and complex music forms. African tribal music evolved into the more advanced West African music which was transported across the Atlantic with the slave trade.
Over time, these African sounds evolved into distinct African-American sounds, via work songs, spirituals that merged African rhythms with European- influenced Christian music.
This transporting of a musical style across the Atlantic will become a familiar motif in the development of metal. Blues originated as a purely vocal musical form. There is a bitter irony in the fact that blues is now predominantly played by middle- class white dudes. Blues developed into a wide variety of styles, varying according to geography. Rural styles differed from those that emerged in the urban environs of Chicago, Detroit and Memphis. Early blues singers were almost exclusively women.
Bessie Smith was the first blues superstar: in the twenties and thirties she commanded up to a thousand dollars per show. Early recordings of blues artists are haunting. His voice is transporting — so utterly evocative of another time and place. He is a mysterious figure, about whom little is known. Deep, thick, gravelly and resonant, it sparkles with wit and intelligence. His personality shines through in his recordings.
He turned out to be an arsehole. Arrogant, bad-tempered and pretty much impossible to work with. He is the most direct link between the old blues and the emergence of heavy metal.
Blues mixed with other black American musical forms such as gospel and jazz to produce rhythm and blues. His piano playing style and vocal gymnastics are like those of a man possessed. He was the ultimate showman. Another high-energy piano player was the very sweaty Jerry Lee Lewis.
He just looks so fucking cool. Apart from the whole thirteen-year- old wife business. It was Chuck Berry who took rock and roll piano playing and transposed it to the newly electrified guitar — an entirely new approach to the instrument.
Meanwhile Bo Diddley took a different path, developing his own uniquely primal and rhythmic style of rock and roll. But in racially segregated America it was nearly impossible for a black artist on their own to cross over into mainstream acceptance.
Meanwhile, rural white America was documenting its own mythology in country and western music. Basically people took black music and racist music and mixed them together to make millions of dollars for the white men who owned the record labels.
Sam Phillips, the producer who first recorded Elvis Presley, explicitly stated this intention to rip off black music and flog it to a white market. Marion Keisker, receptionist at Sun Records, says:. Elvis was the catalyst for rock and roll going global.
He took the rockabilly sound of the Maddox Brothers and Carl Perkins and added a fluid sexuality and an incredible voice. Early TV appearances were controversial. Despite the censorship, these appearances made him a megastar. Chuck Berry and Bo Diddley had scored hits, but Elvis took rock and roll to the masses. His commercialised take on it went worldwide — opening up the British audience to American roots music.
Everyone wanted to be Elvis. Second only to the Beatles in terms of direct influence over the architects of heavy metal, Elvis was a hero to most. Or every single Status Quo song. It is energetic and hugely, innately danceable. Rock and roll is like the product of alchemy. It is perfect music. And it was perfectly expressive for a generation that was just beginning to find its own identity.
Kids sublimed into adulthood without an intermediate stage. In the s economic circumstances changed — teenagers had money to spend on clothes and entertainment. And the seven-inch vinyl single was the perfect item to encapsulate their new purchasing power.
This teenage identity posed a threat to the existing order. It was bound up in notions of rebellion, and rock and roll provided a soundtrack to that rebellion. It was popular music with a hint of menace. It appealed to outlaws and bikers, as much as to the teen gangs and the rebels.
As ridiculous as that sounds in the twenty-first century, there was a precedent for rock and roll music as the seed of violence. The stand-out is the reaction to the American film Blackboard Jungle. The film was significant for its revolutionary-for-the-time portrayal of inner-city violence and discontent. The song, heard with unprecedented clarity and volume through state-of-the-art cinema speakers, caused riots.
Kids tore up and slashed seats and started fights. It represented rebellion — a world bigger than that of their parents. Suddenly, anything seemed possible. Music was an engine of transformation.
Unfortunately, rather than tearing down existing systems and building a Utopia in its ruins, the teenagers of the fifties spent all their spare money on clothes, becoming the first conspicuous consumers.
The fleet-footedness of capitalism took their rebellion and sold it back to them. It would be another fifteen years before teenagers truly attempted the rebellion hinted at by rock and roll, but that was a whole different era, and an awful lot would change before then.
Rock and roll got watered down and rendered safe through commercial engines. It seemed as though the flame had died. But on the other side of the Atlantic several youngsters were poised, like human growbags, to take the seeds shed by American rock and roll and nurture them into something even more powerful, and considerably heavier. In a dreary post-war Britain, shipping was to be the key to the rock explosion.
Obsessive young fans such as Paul McCartney and John Lennon in Liverpool and Mick Jagger and Keith Richards in London bought records directly off the transatlantic ships that docked in their local ports.
But while the sixties rock giants were still at school the UK had quickly developed its own rock and roll. These late-fifties bands lacked the primal urgency of the early American sound. There was another crucial element to the British mix that would change all this — skiffle. The sound of post-war austerity may have a distinctly un- rebellious, cardigans-and-wholesomeness image, but it was the punk rock of its time.
It led to an explosion of creativity. Everyone started a band. The British Invasion was about to begin. Acoustic guitars are a relatively quiet instrument compared with the volume produced by brass instruments and pianos. With electrification, guitars could compete for audibility within bands while avoiding the problems of feedback associated with using microphones.
Leo Fender produced the first solid-body guitar, the Broadcaster later renamed the Telecaster in Gibson followed in with the Les Paul, named after one of the most popular guitarists of the day, who had a hand in its development.
The solid design made it possible to shape the body of the electric guitar in any way you wanted. They are design classics and still staples of rock and roll. Electric guitars require amplification. The first guitar amplifiers were meek. Early Fender models were polite in the extreme and early British amps fared no better — those like the Watkins Westminster 10 watts of feeble power!
These amplifiers could fill a theatre. Vox amps were subsequently adopted by the Beatles, and though the company upgraded the power as much as possible, the Beatles stopped performing live because their audiences were louder than their backline. Vox amplifiers were the power behind the transformation of rock and roll into rock music, but it was Jim Marshall, a drummer turned drum teacher turned drum shop owner who developed the amplification that would power the transition of British rock music into heavy metal.
Marshall and engineer Ken Bran took a Fender Bassman apart and noted its circuitry. Tethered to a separate speaker cabinet, it kicked out a louder sound than the Fender Bassman, and it was cheaper than the imported amps.
Endorsement deals with The Who and Jimi Hendrix and later Led Zeppelin made the Marshall amp synonymous with the power of stadium rock and proto-metal.
The Beatles are the most successful and most influential band ever. Part of their influence is down purely to the scale of their success and their ubiquity in the s, but their relentless experimentation and testosterone-fuelled internal competitiveness led to them being at the very cutting edge of music throughout their surprisingly short career. The boot camp of marathon sets in Hamburg led to them being a ferocious live unit, and careful management softened their hard edges they were all leather suits, amphetamines and whores in Hamburg before Brian Epstein turned them into a singularly marketable act.
But it was the songs that sold them. Tight harmonies, combined with staggeringly inventive chord soundings they competed to be the first to learn new chords. I remember once hearing about a bloke who knew B7.
So on we got, on the bus, trooped across Liverpool. Changed a couple of buses, found this fella, and he showed us — dum, dum, dum, dum, dum dum B7 and we learned it, off him, got back on the bus, went home to our mates and went ZZZZZING!
GOT IT! The Beatles cracked America and opened a market for other British rock bands. And importantly everyone heard it. Their unprecedented and unmatched size is the biggest factor in their influence. Thank fuck they were good. The Rolling Stones started as a blues band. But while the Beatles were pitched by their management as cheeky lovable lads,16 the Stones cultivated a more sinister, rebellious image. There was something more grown-up about the Stones. They were less obviously pop.
They also made it big in America. And, quite possibly, the first heavy metal song. Dave Davies was an angry young man. His relationship with his brother Ray, frontman and vocalist of The Kinks, was violent. Ray comes across as a bully, an egotist genius, a thug poet. But Dave had a temper too. Dave was quiet, sensitive, but driven by a fraternal competitiveness more organic and real than that of Lennon and McCartney. Dave had a sound in his head. He was deeply unsatisfied with the polite, clean, shimmery Shadows-type sound produced by English amplification.
He wanted his guitar to roar. Listening on headphones you can actually hear the rattle of the broken speaker. The guitar urges Ray on to a more aggressive vocal delivery. Heavy metal has an antecedent. The dial has finally been turned to eleven. Alas, The Kinks never rubbed along with America. Their first tour in the States was marred by on-stage fights, arguments with union officials and ultimately blacklisting by the American Federation of Television and Recording Artists.
The ban meant they missed out on the peak of interest in British rock and roll and, according to Ray Davies, America missed the band at their live peak. The American market being cut off they focused on a more uniquely English sound. Their divine album The Village Green Preservation Society went against the rock and roll grain in favour of a much more interesting, parochial storytelling style.
But with their early blasts of power chord rock they had set a standard which all the other bands would attempt to attain. True rock and roll heaviness — the transition into rock music, then hard rock — emerged from London. The Kinks directly influenced The Who, the band who most consistently wielded a real sonic heft in the mid-sixties. The Who were a strange combination of art school sensitivity Townshend and street thug aggression the rest of them.
It is huge. Far bigger than it deserves to be. The guitars over that still sound like the Beatles. But the real story of the early Who was amphetamines. What we produced was not something I wanted any part of, particularly. I always felt uncomfortable. I always felt ill at ease. And my wife, for example, it drove her nuts! I felt imprisoned. But I also felt that as a band we were performing a function. This was the interesting point.
And I felt that that had connected with the audience. Write some more. People with whom I had absolutely nothing in common, whatsoever.
Pete Townshend in The Who is like the subtle controls of a spaceship tethered to the enormous explosive power of its rockets.
The Who were pushing the boundaries of heaviness, which was met with a reaction from an unexpected quarter, bringing everything full circle:. The guitar is distorted and harsh. The bass is pounding and rounded. The song is just barely within melody, and the bent guitar notes foreshadow later metal solos. But while all the British invasion bands — the Beatles, The Who, The Kinks, The Troggs, The Animals — wrote occasional heavy songs, one band was pushing heaviness with such consistency that they became the benchmark against which all of the later emerging heavy metal bands would be measured.
That band was Cream. His style was trad blues with a hint of English rock. He teamed up with drum genius and notorious arsehole Ginger Baker and bassist and apparently reasonably good bloke Jack Bruce. Cream played a harder-edged, considerably heavier version of the blues-rock that was all the fashion, with psychedelic elements that would soon be ubiquitous among British rock bands.
Ginger Baker complains that his hearing was permanently damaged by the volume Cream generated. Meanwhile, developments in technology helped to develop the sound even further. Amplifier distortion — later to become a key part of the heavy metal guitar sound — was initially engineered out of these early machines.
Aware of this new desire for distortion, engineers modified their designs to allow the amps to overdrive. Loud volumes and distorted sound called for a new approach to the guitar. Jangly open chords would get lost in the fuzz, so riffs were written which could cut through the mud. Tigerfeet (Live) - Only Entertainment - So Long. And Thanx For All The Booze (CD) heavy as Cream were, this competition for heaviness between the big British bands was overshadowed by the arrival in London of someone just that much heavier than anyone else.
He played every day, for hours, constantly having to learn new songs, always having to deliver with no mistakes. It was a relatively thankless existence, and he dreamed of making it on his own, as a solo artist. Highway Chile. It was there that Chas Chandler, bassist for The Animals, saw him, and offered to bring him to London to make him a star.
It was necessary for Hendrix to be airdropped into the swinging London music scene for his talents to be fully appreciated. He was soon a star in his own right. Pete Townshend claims that he and Eric Clapton struck up a friendship based on their shared awe of Jimi Hendrix.
It was strictly a dedication to Jimi. Townshend was also pissed off that Hendrix seemed to copy his gimmick of smashing up guitars on stage. And determined to get this precious event noticed by the audience.
I proceeded to make a big thing of breaking the guitar. I bounced all over the stage with it and I threw the bits on the stage and I picked up my spare guitar and carried on as though I really had meant to do it. It might even be put down to petulance, but expensive petulance for a musician who had yet to make any serious money.
This rivalry came to a head at the Monterey Festival in The story is best told by Townshend in the documentary Jimi Hendrix:. You know. Janis Joplin was there and. Brian Jones, Eric and me and a few other people just standing round. And then he got down off the chair and just said. Then in September Hendrix committed the ultimate act of auto- destruction by dying. Hendrix became a part of a tendency within the British rock and roll scene of revisiting the origins of blues — seeking out influence from a purer form, before it can morph into rock and roll.
The Rolling Stones started off as a blues covers band. The Yardbirds stood out as the foremost English blues band. They would later morph into Led Zeppelin. There is an irony that white English bands went back to America and re- popularised a black, American musical style which had by that point fallen out of favour.
So by the end of the sixties there was a significant clutch of bands playing heavy rock with doomy riffs and distorted guitars. I would even include Led Zeppelin and Deep Purple. Missing links. Humans with big skulls found preserved in bogs. The proto-metal of the late sixties was the primordial soup from which heavy metal was born.
It consisted of all the right amino acids and long molecule chains — elements that are recognisable as the constituent parts of heavy metal, but it had yet to be infused with the demonic spark of life that gave rise to the beast we know as heavy metal. With the passing of the s into the s a change came over the counter-culture.
The Beatles split up. The rivalry between Lennon and McCartney that had been the engine Tigerfeet (Live) - Only Entertainment - So Long. And Thanx For All The Booze (CD) their creativity finally tore them apart.
The Stones flirted with occultism through the genius avant-garde film-maker Kenneth Anger and things seemed to start going wrong. But their bad luck was only just beginning. In May their guitarist Brian Jones fell victim to drug addiction and left the band, drowning in his swimming pool only weeks later. At a free concert in Hyde Park they planned to commemorate Brian Jones with the release of white cabbage butterflies.
When the boxes opened, most of them were dead. In December a festival at the Altamont Speedway in California provided a disastrous full stop to the sixties dream. It was the worst idea ever. Entirely at odds with the peace-and-love sentiment of the audience, they beat people with steel poles, and a fan — Meredith Hunter — was beaten and stabbed to death. The trip was going bad.
And one band in particular was on hand to document that feeling. Black Sabbath were the lightning in the primordial soup. The half- brick that started the riot. Now we gotta tell the truth, and. In a rumour circulated that the UK government census was open to abuse. This was, of course, complete bollocks. Although the rumour was false,1 the idea of heavy metal as a religion was here to stay. Every religion has its own creation myth, and the religion that is heavy metal has Black Sabbath.
And lo it did come to pass, among the blasted furnaces of the Blackest Country, three wise men and a holy Fool did find their paths entwined. In the beginning was the word. The word was Blues. And the Earth was without form and void. Tigerfeet (Live) - Only Entertainment - So Long. And Thanx For All The Booze (CD) actually it turned out the name Earth was taken. But they managed to get a few gigs on the pub circuit. If you were a teenager in with a few quid in your pocket you could, if you wanted, buy the album Elton John, by Elton John.
Or, if you had better taste and an eye for a creepy album cover, you could have bought the album Black Sabbath by Black Sabbath.
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