Fluent Essays

Album Review 1: Due May 29thChoose one of the albums listed below and write an album review. The review consists of three parts:Part 1: Do research into the Album. Who is the artist? What is the name of the album? What year was the album recorded? What record label? Who was the producer? Who are the musicians i.e. personnel? Provide a track listing of the songs. Mention any chart position information [#1 Billboard etc.], you can restrict this information to the USA, UK and Canada where applicable. Having completed Assignment 1 & 2, this info should be easy to find. You can cite your source in the bibliography, not in-text. This part should be submitted in point form:Artist: Tim CroftsAlbum: The Lost YearsYear: 1981Label: Panda RecordsProducer: Phil SpectorMusicians: Tim Crofts [synth, vocals]Joey George [drums]Track Listing: 1. Do Your Homework2. Read the Instructions3. No Seriously 4. I Mean ItChart Positions: #1 in the UKPart 2: Do some research. Write a short passage outlining the importance of this album in the career of the artist/band, and its success commercially and/or influence on future artists. Also note anything characteristic about the albums sound or production method. This should be SINGLE SPACED. Part 1 and Part 2 should take up one page SINGLE SPACED. Part 3: LISTEN TO THE ENTIRE ALBUM. Write a reflection on the album based on the research you have done. Did the album meet expectations? Why or why not? Why is this music appealing? Consider what we have discussed in class. Did one or more tracks make a stronger impression? Which ones and why? This is an informed opinion. I’m not just interested in whether you like something. Use your research and what we have discussed in class and then form an opinion. Part 3 should be one page SINGLE SPACED. In total, the album review assignment should be at least two pages. ANY AND ALL CITATION SHOULD BE INCLUDED IN THE BIBLIOGRAPHY. 3 SOURCES. NO DIRECT QUOTATION. NO IN-TEXT CITATION. Albums: Find them yourselves using Spotify, Youtube, or Apple Music.Metallica- Justice for allCulture Club- Colour by NumbersWhitney Houston- Whitney HoustonLiving Colour- VividDead Kennedys- Fresh Fruit for Rotting VegetablesBryan Adams- Cuts Like a KnifeKate Bush- Hounds of LoveSalt ’n’ Pepa- Hot, Cool and ViciousLL cool J- Bigger and Deffer musc_2019___tips_for_online_sources.pdf musc_2019_assigment_1___artist_profile_good_copy_.pdf musc_2019_assigment_1___bullet_point_draft.pdf Unformatted Attachment Preview TIPS FOR ONLINE SOURCES • • • • • • • • • Wikipedia is great for ar+sts’ biographical informa+on and discographies. Wiki’s cita+ons are worth exploring as well. Considered a great place TO START your research. Museum websites and historical associaCons are helpful for biographical informa+on, career highlights and legacy, as well as the ar+st’s influence. These sites are also good for double-checking informa+on found on Wikipedia. Online Encyclopedias are great reliable sources, providing in-depth informa+on on your ar+st. (See instruc+on below for gaining access to Grove Music Online). Music & Pop Culture Magazines Online Archives: Music journalism and cri+que magazines, such as Rolling Stone Magazine, are great for ar+st interviews, album reviews, and insight on musical trends. These types of ar+cles, reviews, and interviews can provide insight into an ar+st’s forma+ve influences, their cri+cal acclaim, playing style, their influence on other musicians, songwri+ng, musical philosophies, etc. Instrument-specific magazines like Guitar World and Modern Drummer oKen highlight side-men/women with front-page features and lengthy interviews. The trouble with online back issues is they are not always free/full access. Newspaper’s online archives: As with magazines, newspaper archives are usually paid access only. Fortunately, Dalhousie students have free access to online newspaper databases. (See instruc+ons below for gaining access to ProQuest Historical Newspapers). iTunes / Apple Music / All Music: These ar+st bios oKen provide a brief overview of the ar+st’s career, focusing on ar+s+c achievements, the ar+st’s musical peers, and career highlights. These write-ups can provide insight into the genre and music industry as well. Google books: Quick and easy to use. Your search words will be highlighted on the PDF page of the book. Downside is limited free/full access to material. Billboard Charts provide chart success for singles and albums, in fact the measurement of song or album’s success. Online news sources, discussion forums, fan pages and blogs can be useful for finding weird and unusual informa+on about your ar+st but be very cri+cal of informa+on found on these sites. (See below under “Use Cau+on”). Dalhousie students have free access to great research databases through the library website including Grove Music Online and ProQuest Historical Newspapers. Taking advantage of these free resources is easy: • Visit hXps://libraries.dal.ca/ • Under “Search Library Resources” click the “Databases” tab • For Grove Music Online: search “grove,” sign in with your Dalhousie library login, click “Grove Music Online,” search your ar+st/topic • For ProQuest Historical Newspapers: Visit hXps://libraries.dal.ca/, under “Search Library Resources” click the “Databases” tab, search “newspapers,” click on “ProQuest Historical Newspapers,” search your ar+st/topic USE CAUTION and a CRITICAL MIND when using online sources, in par+cular: • • • • • Blogs and fan pages: Most anyone can post to these sites anonymously, so informa+on found here would need to be verified by another source. Wikipedia: While ar+st biography and discography informa+on is generally accurate be wary of session musician details on Wikipedia. Double check with another source. Medium.com is a glorified discuss board. See below. Discussion Forums/Boards concerning instruments, sound gear, and music history can be useful in tracking down ar+st profile details. Keep in mind anyone can post on these forums, so not only are these sites overloaded with informa+on, the reader then has to take the extra step to verify informa+on found in forums. Celebrity news reels, TMZ, social media, tabloids: These “fake news” sources are in constant compe++on for the most scandalous story and should not be cited. Joey Ambers B00TooOld MUSC 2019: Rock ‘n’ Roll Era & Beyond: Assignment 1 – Ar@st Profile: Grady Mar@n Grady Mar4n (1929-2001) was a prolific session guitarist based in Nashville from the 1950s un4l the 1990s. Mar4n has appeared on countless recordings as a guitarist, both electric and acous4c. He also recorded playing fiddle and the electric six-string ‘4c tac’ bass, illustra4ng his versa4lity as a musician. Mar4n was familiar playing various musical styles including country, rockabilly, and pop. Along with his fellow session musician team, Mar4n worked with many popular music legends including Roy Orbison, Willie Nelson, Brenda Lee and Patsy Cline. While these ar4sts are household names, the musicians on their records, like Grady Mar4n, have not received much recogni4on. Like many children growing up in Tennessee in the 1930s, and like so many of his musical peers growing up in the American South, Grady Mar4n tuned into radio broadcasts of the iconic Grand Ole Opry show. The Grand Ole Opry aired live from Nashville’s Ryman Auditorium, considered the Mother Church or epicenter of country music. The Opry featured performances from the top country music stars including Hillbilly singer Roy Acuff and harmonica player DeFord Bailey, two ar4sts the young Mar4n was especially fond of. Mar4n moved to Nashville at just fi[een to play fiddle professionally with a radio singer named Big Jim Bess. Mar4n’s early career featured many stepping stones. He worked in Nashville for a few years, making friends, industry connec4ons, and a name for himself as a fiddler and guitarist. In 1949 Mar4n got hired to play with Grand Ole Opry star Li^le Jimmy Dickens. Ge_ng close to the Opry’s inner circle would be considered a major breakthrough in those days, opening many music industry doors. In 1949 Mar4n recorded electric guitar on Red Foley’s “Cha^anooga Shoe Shine Boy.” The single featured Mar4n’s raw, bluesy guitar solo and enjoyed thirteen weeks at number one on the country charts, as well as claiming the top spot on the pop charts for eight weeks. “Cha^anooga Shoe Shine Boy” was a major stepping stone in Mar4n’s career as a session guitarist in Nashville. In the 1950s, the opening of new recording studios on Nashville’s Music Row led to steady session work for Mar4n as Nashville became a major player in the recording industry. Under the supervision of studio owners Owen and Harold Bradley, a core group of musicians working in these studios evolved and were later dubbed the “A-Team.” Along with Grady Mar4n, the “ATeam” included bassist Bob Moore, pianist Floyd Cramer, and drummer Buddy Harman, who would appear on Nashville’s top recordings from the 1950s and ‘60s. Similar to later session crews like the Funk Brothers (Motown in Detroit), the Wrecking Crew (Phil Spector in LA), and Booker T & the MGS (Stax in Memphis), the A-Team played on seemingly countless recordings with minimal recogni4on. These studio musicians are rarely singled out for their musical efforts or talents. They worked as a team to create a cohesive sound and arrangement that suited the song being recorded. The studio process on Music Row in Nashville during the 1950s and ‘60s was like a produc4on line of pop and country hits, much like Motown’s efficient process in Detroit. Hits from Nashville during the ‘50s and ‘60s were recorded so quickly and efficient largely due to the playing, arranging and improvising of the session musicians, including guitarist Grady Mar4n. The A-Team, with guitarist Grady Mar4n, recorded on many notable pop and country hits during the 1950s and ‘60s. Mar4n’s infec4ous electric guitar riff can be heard on Roy Orbison’s “Pre^y Woman,” recorded on Music Row in 1964. Mar4n worked with country legend Ray Price on his 1970 song “For the Good Times.” The song was wri^en by Kris Kristofferson, who was at the 4me just another starving songwriter in Nashville. Ray Price’s recording of “For the Good Times” jumpstarted Kristofferson’s lengthy and decorated career as a singer-songwriter. Arguably, Grady Mar4n’s most historically significant recordings are the Decca Records sessions with Patsy Cline that took place just before she died. These sessions at Owen Bradley’s studio on Music Row produced hits like “Crazy” (1961), “Walking A[er Midnight” (1961) “She’s Got You” (1961), and “Sweet Dreams” (1963). Patsy Cline died tragically in a helicopter crash on March 5th, 1963. She was just thirty years old, a mother of two, and at the peak of her career. Her version of “Sweet Dreams” was released just weeks a[er her death and rose to the top of the country charts. This recording captured an important piece of country music history and provided a haun4ng posthumous keepsake for fans. Grady Mar4n’s guitar playing was influen4al in the sense that he was heard on just about every record coming out of Nashville from the 1950s un4l the 1970s. His versa4lity as a guitarist allowed him to master many styles like the acous4c guitar Tex-Mex flourishes on Marty Robbins’s “El Paso” (1959), raucous hollow-body electric guitar riffs on 1950s rockabilly recordings, or clean-sounding electric and acous4c guitar for the pop stylings of Roy Orbison and Patsy Cline in the early 1960s. Mar4n’s claim to guitar fame was apparently accidental. Mar4n is credited with discovering the iconic fuzz tone on electric guitars, also known as distor4on. Mar4n accidentally achieved this fuzz tone when the mixing board wiring shorted during the recording session for Marty Robbins’s “Dont “Worry” in 1961. The faulty wiring caused Grady Mar4n’s electric six-string (‘4c tac’) bass to sound fuzzy, dirty, and distorted. Mar4n’s tone accident inspired an electric guitar effect pedal called the Maestro Fuzz Tone. This popular electric guitar pedal can be heard on Keith Richards’s signature guitar riff from The Rolling Stones’ hit single “Sa4sfac4on,” released in 1965. A signature guitar tone is sought-a[er asset and key component to a guitarist’s sound, a no4on that would con4nue to inspire and taunt guitarists in popular music for decades to come. BIBLIOGRAPHY: Fanelli, Damien. “Essen4al Listening: 10 Great Fuzz Guitar Songs.” Guitar World. May 29, 2018. h^ps://www.guitarworld.com/ar4sts/10-great-fuzz-guitar-songs “Grady Mar4n.” Wikipedia. Accessed May 13, 2020. h^ps://en.wikipedia.org/wiki/ Grady_Mar4n Gray, Michael. “Guitar Great Grady Mar4n Dies At 72.” CMT News. December 4, 2001. h^p:// www.cmt.com/news/1451304/guitar-great-grady-mar4n-dies-at-72/ Kienzle, Rich. “Grady Mar4n.” Country Music Hall of Fame and Museum. Accessed May 13, 2020. h^ps://countrymusichalloffame.org/ar4st/grady-mar4n/ “Obituaries; Grady Mar4n, 72; Veteran Nashville Studio Musician.” Los Angeles Times. December 5, 2001. h^ps://searchproquest.com.ezproxy.library.dal.ca/news/docview/ 421668026/5BD341DC0F0E4124PQ/1?accoun4d=10406 Sullivan, Steve. Encyclopedia of Great Popular Song Recordings, Volume 1. Toronto: The Scarecrow Press, 2013. Wolfe, Charles K. “Mar4n, (Thomas) Grady.” Grove Music Online. January 13, 2015. h^ps:// www.oxfordmusiconline.com.ezproxy.library.dal.ca/grovemusic/view/10.1093/gmo/ 9781561592630.001.0001/omo-9781561592630-e-1002276031?rskey=2fokwL&result=1 MUSC 2019: Rock ‘n’ Roll Era & Beyond: Assignment 1 – ArBst Profile – ROUGH DRAFT ArBst Profile: Grady Mar(n 1929-2001 • Guitarist/Session Musician/Band Leader/Arranger • Based in Nashville, associated with rockabilly, country and pop ar(sts, ac(ve career from 1950s to 1990s • Part of the “A-Team” of studio musicians in Nashville • Recorded with Roy Orbison, Johnny Horton, Brenda Lee, Patsy Cline, Willie Nelson. • Emphasize his reach and volume of recordings; the big hits; versa(lity as a player • He played electric and acous(c guitar, fiddle, electric six-string bass ((c tac bass) What are the formaBve influences for this arBst? How did they learn their trade and in which kinds of music? • Grew up listening to the Grand Ole Opry radio broadcasts, especially enjoyed singer Roy Acuff and harmonica player DeFord Bailey • Moved to Nashville at 15 to play fiddle professionally, western swing groups • Country Jazz with his group Grady Mar(n & the Slewfoot 5 (electric guitar) If there was a breakthrough moment in their career, when did it occur? Describe this moment. What were the factors in play? • Mar(n got hired to play in Grand Ole Opry star Jimmy Dickens’s band (connec(ons/ experience) • Recorded guitar on Red Foley’s “Cha`anooga Shoe Shine Boy” (1949), #1 hit, propelled his session guitarist career in Nashville • Opening of new recording studios on Nashville’s Music Row led to steady employment as Nashville became a major player in the recording industry, development of the “ATeam,” similar to later session crews like the Funk Brothers (Motown/Detroit), the Wrecking Crew (Phil Spector/LA), Booker T & the MGS (Stax/Memphis) Was this arBst involved in any major recordings? i.e. songs that are considered “classic” or notable contribuBons in the history of popular music. • Roy Orbison “Pre`y Woman” (1964)– electric guitar, one of the most famous guitar riffs • Willie Nelson “On the Road Again” – toured with for years Willie as well • Ray Price “For the Good Times” • Patsy Cline “Crazy” (1961), “Walking Aeer Midnight” (1961) “She’s Got You” (1961). “Sweet Dreams” (1963) last recording sessions before Cline’s un(mely death, “Sweet Dreams” released aeer her death. (Country music legacy/importance). Did this arBst influence future musicians in the field? If so, who, and briefly describe. • The fuzz tone/accidental distor(on on Marty Robbins’s “Dont Worry” (1961). One of the first instances of distor(on. Fuzz tone on the guitar became a key component of rock music in the ‘60s. Use Maestro Fuzz Tone guitar pedal used on The Rolling Stones “Sa(sfac(on” (1965) played by Keith Richards as an example. (Cite: CMHOF site) • Reiterate Grady Mar(n’s number of recordings as influence, the A-Team’s influence as a whole on other studios, industry norms Other Info: • Awards: Was inducted into the Rockabilly Hall of Fame, Country Music Hall of Fame, Che`y Award (2000) named aeer Chet Atkins for significant instrumental achievement SOURCES: Sources can be cut down later aeer you have decided which informa(on you are using for your ar(st profile. Acquiring more than enough informa(on and condensing it down to relevant details for your assignment is a good way to start. Make sure to keep track of what informa(on comes from which website in case you need to cite it in the final copy of your assignment. Wiki: h`ps://en.wikipedia.org/wiki/Grady_Mar(n Museum: h`ps://countrymusichalloffame.org/ar(st/grady-mar(n/ All Music: h`ps://www.allmusic.com/ar(st/grady-mar(n-mn0000802915 Online Forum (Vinyl Record collec(ng) h`ps://www.discogs.com/ar(st/322817-Grady-Mar(n Instrument/Player Magazine h`ps://www.guitarworld.com/ar(sts/10-great-fuzz-guitar-songs Instrument/Gear Website h`p://gretschpages.com/forum/vintage-gretsch-guitars/ remembering-grady-mar(n/64704/page1/ Online Encyclopedia h`ps://www-oxfordmusiconline-com.ezproxy.library.dal.ca/grovemusic/ view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002276031? rskey=2fokwL&result=1 Online News Source h`p://www.cmt.com/news/1451304/guitar-great-grady-mar(n-dies-at-72/ Historical Organiza(on h`p://www.rockabillyhall.com/gradytribute.html Google Books h`ps://books.google.ca/books? id=QWBPAQAAQBAJ&pg=PA316&lpg=PA316&dq=did+grady+mar(n+play+on+oh+pre`y+woma n&source=bl&ots=ZShHmCKwKS&sig=ACfU3U3fVdWqUOzpLW2MD5bdvSHQMPnfw&hl=en&sa=X&ved=2ahUKEwjrlp6UprHpAhWyct8KHQzkBM MQ6AEwCHoECAgQAQ#v=onepage&q=did\%20grady\%20mar(n\%20play\%20on\%20oh\%20pre`y \%20woman&f=false Newspaper (Obituary) h`ps://search-proquest-com.ezproxy.library.dal.ca/news/docview/ 421668026/5BD341DC0F0E4124PQ/1?accoun(d=10406 ... 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