The Guitar Collection: Rhythm & Blues contains 65 key R&B songs from past greats such as Sam Cooke, Al Green, and James Brown, all the way up to instant classics by contemporary artists like Cee Lo Green, Bruno Mars, and Alicia Keys. Every book in The Guitar Collection series features guitar TAB transcriptions with complete lyrics, and the sheer variety and quality of the selections make them a no-brainer bargain for guitarists and musicians of all ages. Titles: Ain't That a Shame (Fats Domino) * Another Saturday Night (Sam Cooke) * At Last (Etta James) * Baby It's You (The Shirelles) * Body and Soul (Anita Baker) * Boogie Oogie Oogie (A Taste of Honey) * Breezin' (George Benson) * Bring It on Home to Me (Sam Cooke) * Chain Gang (Sam Cooke) * A Change Is Gonna Come (Sam Cooke) * Crossfire (The Orlons) * Cupid (Sam Cooke) * Disco Inferno (The Trammps) * Driftin' Blues (Charles Brown) * Earth Angel (Will You Be Mine) (The Penguins) * Flashlight (Parliament/Funkadelic) * Forget You (Cee Lo Green) * Georgy Porgy (Toto) * Girl on Fire (Alicia Keys) * Give Up the Funk (Tear the Roof off the Sucker) (Parliament/Funkadelic) * Got to Be Real (Cheryl Lynn) * Greatest Love of All (Whitney Houston) * Here We Go Again (Aretha Franklin) * Hit the Road Jack (Ray Charles) * Hold Me, Thrill Me, Kiss Me (Mel Carter) * I Don't Have the Heart (James Ingram) * I Got to Handle It (The Capitols) * I Live for Your Love (Natalie Cole) * I Turn to You (Christina Aguilera) * Just the Way You Are (Amazing) (Bruno Mars) * Lady Love Me (One More Time) (George Benson) * Let's Stay Together (Al Green) * Living in America (James Brown) * (Hey There) Lonely Girl (Eddie Holman) * Lookin' for a Love (The Valentinos) f* Lowdown (Boz Scaggs) * Mama Said (The Shirelles) * Mother-in-Law (Ernie K-Doe) * Mustang Sally (Wilson Pickett) * Nutbush City Limits (Ike and Tina Turner) * Oh Happy Day (The Edwin Hawkins Singers) * Ooh Child (The Five Stairsteps) * Pick Up the Pieces (Average White Band) * Pla
In this remarkable book, Douglas Wolk brings to life an October evening in 1962, at the Apollo Theatre in Harlem - an evening at the height of Cold War tensions. In great detail, Wolk pieces together what took place (and what was recorded) that night, and illustrates beautifully the enduring power of one of James Brown's - and popular music's - defining moments: Live at the Apollo.
For blues musicians, there is no better feeling than improvising a great solo. Spontaneously creating music that comes from the heart is very rewarding. But if you've never tried it before, soloing can be intimidating. Which notes do I play? How do I come up with new ideas? What if I make a mistake? Easy Soloing for Blues Keyboard helps you overcome these doubts. You'll learn easy methods to approach soloing with confidence. Instead of learning a lot of technical music theory, you'll get practical guidelines you can use in real life. The blues has influenced many types of music, so you'll be able to apply what you learn to a wide variety of musical situations. This is an excellent book for experienced musicians who are new to improvising, beginning players with a love for the blues, or busy people looking for a quick, low-stress introduction to soloing. A CD demonstrating all the examples featured in the book is included.
Gospel Classics reflects the importance of hymns and gospel songs in the musical fabric of Mark Hayes's life. The skillful arranger has artistically "breathed new life" into the well-known gospel songs included in this collection for advanced pianists. Church musicians and worshippers alike are certain to take great enjoyment in experiencing these fresh new settings and lush harmonies. Titles: He Hideth My Soul * Heavenly Sunlight * How Great Thou Art * I Will Arise and Go to Jesus * I'll Fly Away * In the Garden * The Old Rugged Cross * On Jordan's Stormy Banks * Sweet By and By * There Is a Balm in Gilead * When I Can Read My Title Clear * When the Roll is Called Up Yonder.
This critically and commercially acclaimed tribute to the most popular jazz album of all time is now available in paperback. With transcriptions of the unedited session tapes; in-depth interviews with musicians; freshly discovered Columbia Records files; never-before-seen photographs; and a foreword by the last surviving member of the band, drummer Jimmy Cobb, Kind of Blue is a vital piece of music history--and will be essential for fans and scholars for years to come.
This book is great for keyboardists who have learned the basics of blues improvisation and composing. Beginning with a review of concepts and skills covered in Beginning Blues Keyboard, this book explores further into topics such as chord extensions, blues techniques, building bass lines, playing in the key, ii-V substitutions and slow blues. Blues forms such as the twelve-bar blues and the eight-bar blues are explored. Packed with sample licks and songs, this book is essential for any keyboardist serious about learning the blues.
Otis Redding's definitive Southern soul voice resonates down the years as a thing of profound beauty and unfathomable emotional depth. His unique vocal delivery gave Motown's pop artists a run for their money, while his stage presence matched pioneering funk magus - and fellow Georgia native - James Brown for sheer entertainment value.
The companion volume to the four-part prime-time PBS series, American Roots Music digs down deep, past today's pop and rock, to uncover the blues, gospel, folk, country & western, and other traditional genres at the heart of the nation's musical heritage. Telling the compelling tales of the pioneers, entrepreneurs, and artists who brought it to the world stage, it profiles the Singing Brakeman Jimmie Rodgers, Delta bluesman Robert Johnson, pardoned convict Lead Belly, Dust Bowl poet laureate Woody Guthrie, electric blues pioneer Muddy Waters, honky-tonker Hank Williams, protester Pete Seeger, and blues-guitar legend B. B. King, among hundreds of colorful personalities.
Including incisive essays, informative sidebars, and firstperson narratives from key artists, this book presents both personal and historical perspectives. Portraits, performance shots, and ephemera such as sheet music and record sleeves illustrate the authoritative text.
Between Reconstruction and Prohibition, Beale Street in Memphis thrived as a strip with a unique soul that reshaped American culture. Preston Lauterbach recounts the rise and fall of Beale Street through the life of the South's first black millionaire, an ex-slave who built an underworld dynasty in the booming river town and created a space for black culture to flourish. A thrilling narrative history, Beale Street Dynasty tells an intriguing, previously unknown story about race in an American city.
Dubbed the White Queen of Soul, singer Dusty Springfield became the first British soloist to break into the U.S. Top Ten music charts with her 1964 hit I Only Want To Be With You--a pop classic followed by many others, including You Don't Have to Say You Love Me and Son of a Preacher Man. Today she is usually placed within the history of the Beatles-led British Invasion or seen as a devoted acolyte of Motown. In this penetrating look at her music and career, Annie J. Randall shows how Springfield's contributions transcend the narrow limits of those descriptions and how this middle-class former convent girl became perhaps the unlikeliest of artists to achieve soul credibility on both sides of the Atlantic.
Randall reevaluates Springfield's place in sixties popular music through close investigation of her performances as well as interviews with her friends, peers, professional associates, and longtime fans. As the author notes, the singer's unique look--blonde beehive wigs and heavy black mascara--became iconic of the mid-sixties postmodern moment in which identity scrambling and camp pastiche were the norms in swinging London's pop culture. Randall places Springfield within this rich cultural context, focusing on the years from 1964 to 1968, when she recorded her biggest international hits and was a constant presence on British television. The book pays special attention to Springfield's close collaboration and friendship with American gospel singer Madeline Bell, the distinctive way Springfield combined US soul and European melodrama to achieve her own musical style and stage presence, and how her camp sensibility figured as a key element of her artistry.