Jimi Hendrix--the greatest musician of the Sixties. "Purple Haze" is far from my favorite Hendrix, but this video shows his matchless, effortless technique:
I don't know how wide a scope or how far back we're going here but to name a few: James Brown, Ray Charles, Chuck Berry, Nat King Cole, Bo Diddley, not to mention Prince, Whitney Houston. Tho I'm not an expert on what to look for as far as musician's know-how playing an instrument. My judging goes by "if it's awesome, it's awesome." I agree with Turnbull on Jimi Hendrix. His guitar skills were unbelievable and he made it seem so easy.
I would kick myself it I didn't also include the entire Motown sound which introduced so many great black artists. Being originally from Michigan I take pride in the great music that came out of Detroit. Talk about Black female groups (Supremes, Martha and the Vandellas, The Marvelettes to name a few) were so good! Then of course there's Smokey, Stevie Wonder, Marvin Gaye, Gladys Knight, and two of my personal favorite Motown groups: The Four Tops and The Temptations. I KNOW there are so many I'm missing but we certainly cannot deny the many GREAT talents that come from the Black community. Makes me wanna go to my pandora and click on "Motown."
TIS
"Mankind must put an end to war before war puts an end to mankind. War will exist until that distant day when the conscientious objector enjoys the same reputation and prestige that the warrior does today." JFK
BF, thanks for that excellent blues. The only song I remember of Little Milton's was "We're gonna make it."
TIS, a big part of Berry Gordy Jr.'s Motown genius was that he didn't want the music he produced to be pigeonholed or stereotyped as "Soul," or "R&B," etc.--which would have shunted it off to the ghetto of mainstream pop music. Instead, he billed Motown as "the music of young America," which included everyone, not just blacks. Motown's artists and their music were unmistakably rooted in urban R&B, but everyone could enjoy and relate to it. To his solid rhythm section he added strings and horns. He also had a dance coach for his male acts (as in "The Temptation Walk") and a finishing school for his female acts.
Ntra la porta tua lu sangu � sparsu, E nun me mporta si ce muoru accisu... E s'iddu muoru e vaju mparadisu Si nun ce truovo a ttia, mancu ce trasu.
Re: Black Music Month
[Re: Turnbull]
#942565 06/06/1803:39 PM06/06/1803:39 PM
BF, thanks for that excellent blues. The only song I remember of Little Milton's was "We're gonna make it."
TIS, a big part of Berry Gordy Jr.'s Motown genius was that he didn't want the music he produced to be pigeonholed or stereotyped as "Soul," or "R&B," etc.--which would have shunted it off to the ghetto of mainstream pop music. Instead, he billed Motown as "the music of young America," which included everyone, not just blacks. Motown's artists and their music were unmistakably rooted in urban R&B, but everyone could enjoy and relate to it. To his solid rhythm section he added strings and horns. He also had a dance coach for his male acts (as in "The Temptation Walk") and a finishing school for his female acts.
I never really knew for instance, if people like Bob Seger and Mitch Ryder (another of my favorites) was considered "Motown" because their "sound" was different from the others.
Re: the Temptations walk. Yes I picture them in their peach colored suits, lacey shirts....smooth as silk. LOL Btw, if I may rant on. One of the best instrumental (IMHO) openings to a song is the Temps "Papa Was A Rolling Stone." You just gotta get on your feet.
TIS
"Mankind must put an end to war before war puts an end to mankind. War will exist until that distant day when the conscientious objector enjoys the same reputation and prestige that the warrior does today." JFK
"War is over, if you want it" - John Lennon
Re: Black Music Month
[Re: Turnbull]
#942567 06/06/1803:55 PM06/06/1803:55 PM
BF, thanks for that excellent blues. The only song I remember of Little Milton's was "We're gonna make it."
TIS, a big part of Berry Gordy Jr.'s Motown genius was that he didn't want the music he produced to be pigeonholed or stereotyped as "Soul," or "R&B," etc.--which would have shunted it off to the ghetto of mainstream pop music. Instead, he billed Motown as "the music of young America," which included everyone, not just blacks. Motown's artists and their music were unmistakably rooted in urban R&B, but everyone could enjoy and relate to it. To his solid rhythm section he added strings and horns. He also had a dance coach for his male acts (as in "The Temptation Walk") and a finishing school for his female acts.
Your welcome Turnbull! Glad you enjoyed that song. It's a commonly played here in Mississippi.
If you think you are too small to make a difference, you haven't spend the night with a mosquito. - African Proverb
Ciment, I saw Fats Domino and Bo Diddley many times at the Alan Freed R&R shows at the Brooklyn Paramount in the Fifties.
Fats often was the headliner. He had his own, fair-sized band with him. The stage lights would go out, Freed's big band musicians would leave the stage, and Fats' guys would come out. A piano would roll out for Fats. Then the lights went on and Fats would barrel through his current hits (he had more Top 40 hits than any act but the Beatles). Fats always smiling. Great band, too--his sax player, Herbert Hardesty, was tops.
Bo Diddley played a custom-made, square-shaped Gretsch guitar. Used only one amp, but had a huge, distinctive sound. Snaky dance steps, too. Had two guys behind him--drummer and maracas player.
Ntra la porta tua lu sangu � sparsu, E nun me mporta si ce muoru accisu... E s'iddu muoru e vaju mparadisu Si nun ce truovo a ttia, mancu ce trasu.
The Mafia Is Not Primarily An Organisation Of Murderers. First And Foremost,The Mafia Is Made Up Of Thieves. It Is Driven By Greed And Controlled By Fear.
Between The Law And The Mafia, The Law Is Not The Most To Be Feared
"What if the Mafia were not an organization but a widespread Sicilian attitude of hostility towards the law?"
Ciment, I saw Fats Domino and Bo Diddley many times at the Alan Freed R&R shows at the Brooklyn Paramount in the Fifties.
Fats often was the headliner. He had his own, fair-sized band with him. The stage lights would go out, Freed's big band musicians would leave the stage, and Fats' guys would come out. A piano would roll out for Fats. Then the lights went on and Fats would barrel through his current hits (he had more Top 40 hits than any act but the Beatles). Fats always smiling. Great band, too--his sax player, Herbert Hardesty, was tops.
Bo Diddley played a custom-made, square-shaped Gretsch guitar. Used only one amp, but had a huge, distinctive sound. Snaky dance steps, too. Had two guys behind him--drummer and maracas player.
Loved those times wish I can re-live those moments.
Chicago West Side's Magic Sam. Died of a heart attack at age 32.
"...the successful annihilation of organized crime's subculture in America would rock the 'legitimate' world's foundation, which would ultimately force fundamental social changes and redistributions of wealth and power in this country. Meyer Lansky's dream was to bond the two worlds together so that one could not survive without the other." - Dan E. Moldea
I can never understand why some music is labeled as black...I just like music. Black and white people have always written/sang music and its up to you whatever you like. Black music...am I now a white guy that likes black music? Does my black friend now like white music? What a lot of bullshit. We like whatever music we like, and we don't "celebrate" or highlight anyone's achievements just because they happen to be white or black...it causes more divisions.