Blue Suede Shoes Beatles
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Carl Perkins & Friends: Blue Suede Shoes - A Rockabilly Session $9.13 Studio: E1 Entertainment Release Date: 07/17/2007... |
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Carl Perkins and Friends - Blue Suede Shoes: A Rockabilly Session $26.98 The appearances of two ex-Beatles, including the late George Harrison, are among the principal attractions in this hour-long 1985 TV show, which spotlights one of the prime movers behind the rock-and-country blend known as rockabilly. Carl Perkins, who died in 1998, was the composer of "Blue Suede Shoes" and other classics, as well as a highly influential guitar player. Here he's joined by a host ... |
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Carl Perkins - Original Sun Greatest Hits $13.96 16 great Sun Records tracks. Produced for Compact Disc by Bill Inglot. Booklet has light wear. SM.... |
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Ultimate Rock 'N' Roll (100 Of The Best, Blue Suede Shoes, Duke Of Earl, Wild Thing, Love Me Do And Many More!) Ulitimate Collection Of Rock 'N' Roll Classics From the '50's And '60's Featuring Such Artists As Elvis, Beatles, The Drifters, The Coasters, Johnny Rivers, Chuck Berry, Brenda Lee, Everly Brothers And Many More! Paperback, 319 Pages, Published 1996.... |
blue suede shoes beatles
Rap/Hip-Hop: Just a reminder...?
What the hell have y'all won?
... Only thing you can identify with is losing
Ten #1 albums in a row, who better than me?
Only The Beatles, nobody ahead of me
I crush Elvis and his Blue Suede Shoes
Made the Rolling Stones seem sweet as Kool-Aid too
'96, '97, '98, '99
2000, 2001 and beyond
Oh-two, oh-three, oh-four, oh-five
Oh-six and seven, oh-eight, oh-nine
Back-to-back, double plat', I did what you won't
Men lie, women lie, numbers don't
Ain't nothin changed for, me 'cept the year it is
I think I have to send you a reminder, here it is
As of right now, I think it's safe to say that the three groups/artists that just about everybody knows regardless of how into music you are or are not are: The Beatles, Micheal Jackson, and Elvis
however, i think that'll probably change soon. Despite how horrid mainstream hip hop is right now, I know a number of Weezy fans who like Wu Tang Clan just as much and it has generally been a tendancy that parents share their love of music with their children. If these people who I know (19-20) all like Wu Tang Clan after all these years of 36 Chambers being out, then I think that will live on. I know some might argue and say it is a far stretch, but I am moderately convinced that they'll be around and in people's memory in a fashion similar to the three I mentioned above.
Electric Guitar Styles
A guide to the essential styles of guitar playing, from the '50s to the present
By its very nature, the guitar is a rhythm instrument. Sure, it can be used to create vocal-like, single-note melodies and sizzling lead breaks, but more often it's found at the heart of the rhythm section, driving the progressions of your favorite rock and pop tunes. So, what does it take to be a good rhythm player? Well, the most obvious answer is to know a lot of chords. But while a knowledge of chords and chord construction is vital, it is not sufficient by itself. To be a truly proficient rhythm guitarist, a player must be familiar with a variety of styles and how the guitar typically functions in each. For instance, does the guitar play a busy part with double stops and triads, or take the opposite approach with fully-voiced, sustained chords? Is the guitar just one component of a tightly-structured rhythm section, or does it have considerable freedom to create its own part? What's the underlying rhythm the guitar plays-straight eigh ths, shuffle eighths, 16th-note funk-and how is that rhythm played?
In this article, we'll answer these questions by taking a look at a broad survey of styles, from the '50s to the '90s, with an emphasis on the most famous players in each genre.
'50s Rock 'n' Roll
When '50s rock 'n' roll is mentioned today, one can't help but think of Chuck Berry, the founding father of early rock 'n' roll guitar. Berry popularized the driving, muted eighth-note figure referred to by many as the "Chuck Berry rhythm." Notice how both voicings use only two chord tones: root/5th, and root/6th. This makes the riff easily applicable for major and dominant 7th type chords. Heard in such Berry classics as "Johnny B. Goode" and "Roll Over Beethoven," it is still used to this day as the basic rhythm for many songs. For example, Bachman Turner Overdrive added some eighth-note syncopation to it and came up with the opening riff to their huge 1974 hit "Takin' Care of Business".
When '50s rock 'n' roll is mentioned today, one can't help but think of Chuck Berry, the founding father of early rock 'n' roll guitar. Berry popularized the driving, muted eighth-note figure referred to by many as the "Chuck Berry rhythm." Notice how both voicings use only two chord tones: root/5th, and root/6th. This makes the riff easily applicable for major and dominant 7th type chords. Heard in such Berry classics as "Johnny B. Goode" and "Roll Over Beethoven," it is still used to this day as the basic rhythm for many songs. For example, Bachman Turner Overdrive added some eighth-note syncopation to it and came up with the opening riff to their huge 1974 hit "Takin' Care of Business".
Also in the '50s, artists like Carl Perkins ("Blue Suede Shoes") and a young Elvis Presley ("That's Alright Mama," "Hound Dog") were burning up the record charts with an infectious blend of country, blues, and jazz that came to be known as "rockabilly." Thanks to guitarist Brian Setzer (Stray Cats, Brian Setzer Orchestra), rockabilly enjoyed a revival in the '80s and is now firmly ensconced in the current swing revival. This style is based upon the shuffle eighth-note rhythm, and guitarists tend to use "jazzier" sounding 6th-, 9th-, and 13th-type chord voicings to flesh out their parts
'60s Rock and Folk
The guitar's popularity exploded in the early '60s: The Ventures were inventing guitar instrumental rock, the Beach Boys were singing about the surfing craze and drag racing, and waiting in the wings were the Beatles. Rhythm guitar was "cool," and every kid wanted to learn the opening chords to the Ventures' mega-hit, "Walk Don't Run". The movable shape of the barre chord opened up a world of possibilities and was in large part responsible for the adventurous progressions found in the music of the Beatles, psychedelic, and modern rock. Keep in mind that the barre chord's full sound makes it a perfect choice for voicings in a two-guitar band or trio situations, but it should be used with care in conjunction with a keyboard, as the sound can get too dense.
The guitar's popularity exploded in the early '60s: The Ventures were inventing guitar instrumental rock, the Beach Boys were singing about the surfing craze and drag racing, and waiting in the wings were the Beatles. Rhythm guitar was "cool," and every kid wanted to learn the opening chords to the Ventures' mega-hit, "Walk Don't Run". The movable shape of the barre chord opened up a world of possibilities and was in large part responsible for the adventurous progressions found in the music of the Beatles, psychedelic, and modern rock. Keep in mind that the barre chord's full sound makes it a perfect choice for voicings in a two-guitar band or trio situations, but it should be used with care in conjunction with a keyboard, as the sound can get too dense.
Sharing the airwaves in the early and mid '60s was folk music. The popularity of Peter, Paul & Mary, the Kingston Trio, and Bob Dylan brought the music to the fore, drastically boosting sales of acoustic guitars along the way. This folk style of strumming can now be heard in songs by a range of artists, from the Beatles, Creedence Clearwater Revival, the Eagles, and Tom Petty to R.E.M., Counting Crows, Oasis, and Matchbox 20. Open position chords are where it's at for this timeless style, which is based upon simple eighth-note strumming patterns. Third Eye Blind's "Semi-Charmed Life" offers a revved-up version of a time-honored folk progression.
Another highly useful "folkism" is the classical-inspired, fingerpicked arpeggiated pattern made famous by Jimmy Page in Led Zeppelin's folk/hard rock ballad, "Babe, I'm Gonna Leave You."
Rhythm & Blues
R&B, a unique mixture of blues, gospel, and soul, finally began getting the attention it deserved in the mid '60s. The man who virtually wrote the book on R&B guitar is Steve Cropper. That's him on "Green Onions" (Booker T. & the MGs), "Sittin' on the Dock of the Bay" (Otis Redding), and "Soul Man" (both Sam & Dave and Blues Brothers versions). Cropper often eschewed fully-voiced chords, opting instead for stripped-down parts involving the use of 3rds, 4ths, and 6ths. For example, on the intro to "Soul Man," instead of playing fully-voiced chords, he plays only the 5th and 3rd of each voicing, all on the same strings This style of "hook" rhythm playing can create magic in a song.
Hendrix
Although widely remembered for his baffling soloing techniques, sound effects, and wild stage antics, the multi-faceted Jimi Hendrix laid down some of the smoothest and most soulful R&B rhythms ever. On ballads like "The Wind Cries Mary" and "Little Wing," you'll hear his trademark hammer-on 3rds and sliding 4ths along with his groundbreaking chord/scale rhythm technique. Hendrix tended to play his chord/scale rhythm fills by superimposing scale patterns over basic barre chord shapes. If you know your scale patterns and follow a simple rule (major chord/major scale, minor chord/minor scale), you'll find a wealth of notes to choose from. Left-hand muting is a key factor in keeping the surrounding strings from ringing. Keep in mind that in this style, it's easy to go overboard and play too many notes, sounding more like a soloist than a rhythm guitarist. A good rule of thumb is to play simple rhythms, while waiting for spaces in the phrasing of the vocalist to employ your fills.
R&B, a unique mixture of blues, gospel, and soul, finally began getting the attention it deserved in the mid '60s. The man who virtually wrote the book on R&B guitar is Steve Cropper. That's him on "Green Onions" (Booker T. & the MGs), "Sittin' on the Dock of the Bay" (Otis Redding), and "Soul Man" (both Sam & Dave and Blues Brothers versions). Cropper often eschewed fully-voiced chords, opting instead for stripped-down parts involving the use of 3rds, 4ths, and 6ths. For example, on the intro to "Soul Man," instead of playing fully-voiced chords, he plays only the 5th and 3rd of each voicing, all on the same strings This style of "hook" rhythm playing can create magic in a song.
Hendrix
Although widely remembered for his baffling soloing techniques, sound effects, and wild stage antics, the multi-faceted Jimi Hendrix laid down some of the smoothest and most soulful R&B rhythms ever. On ballads like "The Wind Cries Mary" and "Little Wing," you'll hear his trademark hammer-on 3rds and sliding 4ths along with his groundbreaking chord/scale rhythm technique. Hendrix tended to play his chord/scale rhythm fills by superimposing scale patterns over basic barre chord shapes. If you know your scale patterns and follow a simple rule (major chord/major scale, minor chord/minor scale), you'll find a wealth of notes to choose from. Left-hand muting is a key factor in keeping the surrounding strings from ringing. Keep in mind that in this style, it's easy to go overboard and play too many notes, sounding more like a soloist than a rhythm guitarist. A good rule of thumb is to play simple rhythms, while waiting for spaces in the phrasing of the vocalist to employ your fills.
Although widely remembered for his baffling soloing techniques, sound effects, and wild stage antics, the multi-faceted Jimi Hendrix laid down some of the smoothest and most soulful R&B rhythms ever. On ballads like "The Wind Cries Mary" and "Little Wing," you'll hear his trademark hammer-on 3rds and sliding 4ths along with his groundbreaking chord/scale rhythm technique. Hendrix tended to play his chord/scale rhythm fills by superimposing scale patterns over basic barre chord shapes. If you know your scale patterns and follow a simple rule (major chord/major scale, minor chord/minor scale), you'll find a wealth of notes to choose from. Left-hand muting is a key factor in keeping the surrounding strings from ringing. Keep in mind that in this style, it's easy to go overboard and play too many notes, sounding more like a soloist than a rhythm guitarist. A good rule of thumb is to play simple rhythms, while waiting for spaces in the phrasing of the vocalist to employ your fills.
About the Author
This author likes playing music with his trusty guitar and Mesa Boogie Dual Rectifier preamp. He just likes tubes. Transistors, not so much.