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Michael Jackson - Black Or White (House With Guitar Radio Mix)

The first major composer of popular music with a uniquely American style was Stephen Foster (1826-1864). He established a pattern that has shaped American music ever since -- combining elements of the European musical tradition with African-American rhythms and themes. Of Irish ancestry, Foster grew up in the South, where he heard slave music and saw minstrel shows, which featured white performers in black make-up performing African-American songs and dances. Such material inspired some of Foster's best songs, which many Americans still know by heart: "Oh! Susanna," "Camptown Races," "Ring the Banjo," "Old Folks at Home" (better known by its opening line: "Way down upon the Swanee River").

Michael Jackson - Black Or White (House With Guitar Radio Mix)

By the early 1950s, however, jazz had lost some of itsappeal to a mass audience. A new form of pop music, rock androll, evolved from a black style known as rhythm and blues: songswith strong beats and often risqué lyrics. Though written byand for blacks, rhythm and blues also appealed to white teenagers,for whom listening to it over black-oriented radio stations lateat night became a secret pleasure. To make the new music moreacceptable to a mainstream audience, white performers andarrangers began to "cover" rhythm and blues songs -- singing themwith the beat toned down and the lyrics cleaned up. A typicalexample is "Ain't That a Shame," a 1955 hit in a rock version byits black composer, Antoine "Fats" Domino, but an even bigger hitas a ballad-like cover by a white performer, Pat Boone.

Shrewd record producers of the time realized that a magneticwhite man who could sing with the energy of a black man wouldhave enormous appeal. Just such a figure appeared in the personof Elvis Presley (1935-1977), who had grown up poor in the South.Besides an emotional singing voice, Presley had sultry good looksand a way of shaking his hips that struck adults as obscene butteenagers as natural to rock and roll. At first, Presley, too,covered black singers: One of his first big hits was "Hound Dog,"which had been sung by blues artist Big Mama Thornton. Soon,however, Presley was singing original material, supplied by a newbreed of rock-and-roll songwriters.

Brand new one-hour music intensive radio special available for broadcast on all US-based stations! One-hour music intensive radio special features legendary bluesman Buddy Guy in his own words and music. Buddy Guy's own comments come from an exclusive interview session, and include many recollections and insights that will heard on your station for the first time. Hosted by journalist Anthony DeCurtis, this program also features 15 classic tracks from throughout Guy's career. Buddy Guy tells his own story, looking back on his life and career as only he can. He begins the story with his poor, sharecropping roots in Lettsworth, LA, and guides up through all his stops along the way to the Rock & Roll Hall of Fame - the first time he met the blues on a John Lee Hooker record, the birth of his trademark guitar style while regularly jamming for customers at a gas station, his explosion on the Chicago blues scene, his influence on many of rock's great guitarists (Clapton, Hendrix, Stevie Ray Vaughn, Rolling Stones, John Mayer and many more), and much more. Throughout "Can't Quit the Blues," Buddy Guy opens up and reveals himself as a man with a soul as great as his musical skills. He is extremely grateful to all those who helped him along the way, and always happy to share his knowledge with those inspired by him. At 70 years-old, he continues to live a great life, always thankful of how he came to be one of the world's great blues guitarists. "If I had my life to live over," he says, "I would come back the same road that I came and pick up the acoustic guitar and hope to make somebody happy and smile." * Host: Anthony DeCurtis (Rolling Stone) * Producer: Joyride Media (Paul Chuffo, Joshua Jackson) * Length: 59 minutes with two breaks for local spots * Broadcast Window: Begins November 2006 * Terms: Available to all US-based radio broadcasters at no cost * Promotion: 0:30 promo spot included on CD * Contact: Andy Cahn,, 215-279-7632

The first time I heard "Morning Morgantown" was up in Scotland on late-night radio. I was fascinated. We'd actually met her through Joe Boyd. Joe had been involved with Dylan's appearance at the Newport Folk Festival. He had a long connection with those people. When we recorded The 5,000 Spirits or the Layers of the Onion, he sent a copy of the album to the Newport committee. They were putting on a festival of new names on the block. They had Joni Mitchell and Leonard Cohen. They booked us for it, too. That was November, '67. So when we met her, she hadn't yet made her first album. We sat around, me and Robin (Williamson) and Joni, and we swapped songs. She sang a few of her songs, and we sang a few of ours. She said she really liked what we were doing. I was flattered! Robin and I were into open-tunings, so we were taken as much by her guitar-playing as her beautiful

The first time I heard Joni play, I recall a borrowed cottage in the Lake District - winter 1968. The room with the TV in it had no heating. Wrapped in coat, jumpers and scarves, I watched a speckly black and white image of a young woman at a piano - playing a song that made me forget being cold. I was overcome with admiration for her being able to play and sing alone in front of an audience. I don't remember the song - I only know it was as heartbreakingly beautiful as she was and that I have carried that image with me always, like an old photograph. And so now I choose a piano-led song of hers from 1970 - which was probably when I next heard her. "Blue" . . .how well it conveys to me an era - and an LA canyon culture - one that I didn't ever know but which I feel I can hear so clear through the words of this song. She moved on into jazzy styles I had less feeling for at the time, which only goes to underline the courage with which she left her - in her label's opinion - more commercial songs behind. She never gave up doing what she wanted to do. But when I hear her voice - from whichever decade - it is with an immediate recognition. Many may try to imitate her but what is the point? It seems to me that to try to sound like someone else is no real compliment but a waste of a musical talent that could be going its own way. Own way - that would be much more like her. 041b061a72


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