Taschenbuch - 256 - Hillsboro Pr - Englisch ´Nashville was beginning to be felt as a presence in the record industry, not just for its country product, but for R&B as well. I did everything I could to catch the brass ring. I worked at it night and day.´ Ted Jarrett Ted Jarrett has been a central figure in Music City´s rhythm & blues scene since the 1950s, working as a hit songwriter, musician, producer, label chief, artist manager, talent scout, and disc jockey. You Can Make It If You Try provides a fascinating and instructive look at one man´s drive to succeed in the world of music. In rich and frank detail, Jarrett and co-writer Ruth White describe the circumstances under which Jarrett discovered and nurtured top R&B talent. They introduce the numerous musicians, nightclubs, record labels, and radio stations on the scene; and they explain the inspirations behind Jarrett´s best-known songs. Jarrett´s autobiography also offers insightful look into the interaction of white and ´black musical cultures in Nashville, and shares the personal challenges he faced in pursuing a life of music. TED JARRETT is a graduate of Fisk University. His compositions were first recorded by Nashville R&B stars such as Gene Allison, Earl Gaines, and Christine Kittrell, and soon were covered by a wide variety of acts including the Rolling Stones, Webb Pierce, Ruth Brown, and Hank Ballard. Still active at age eighty, Jarrett continues to work as a songwriter, producer, artist manager, and label executive. He is at the heart of the Country Music Hall of Fame® and Museum´s 2004-05 exhibition and Grammy-winning companion CD, Night Train to Nashville: Music City Rhythm & Blues, 1945-1970. RUTH WHITE, a fifty-year veteran of the music business, has worked in all phases of Nashville´s music industry. A native of Nashville, she majored in music at Ward Belmont College and became a song plugger in 1947. She worked as a copyright administrator for a number of music publishing companies and managed Porter Wagoner Enterprises. After retiring as manager of Reed Music Incorporated´s recording, publishing, booking, and management operations, she began a writing career. She is the author of Every Highway Out of Nashville; Mecklenburg: The Life and Times of a Proud People; and The Original Goober. She is married to country musician and publisher Howard White
Taschenbuch - 234 - Bloodbuster - 2012 - Italienisch ´Appena Modugno lamb le braccia al cielo, per cantare nuovamente ii ritornello, la maggior parte di quelli seduti gia aveva imparato la canzone: Volare, oh, oh.... Ci fu I´impressione, come se ognuno Si spic-cicasse di dosso, definitivamente, I residui di paure, di poverta, di miserie, del decennio che andava concludendosi´. (Don Backy, Rock and Roll Memorie di un juke box, Shakespeare & Company, 1996) Era la fine degli anni ´50. E la musica in Italia stava cambiando, in tutti i sensi. Stavano per arrivare favolosi anni ´60´, quelli del ´Boom´, e un´ondata di giovani cantanti, ben decisi a rompere i ponti con la ´musica vecchia´ stava invadendo Ia penisola. Con loro sarebbe cambiato anche ii cinema delle canzonette... Fuori i Claudio Villa e i Nunzio Gallo, dentro gli urlatori e i ribelli, gli ye-ye e beat, i molleggiati e i tarantolati: ecco i musicarelli degli anni ´60, protagonisti della migliore stagione del cinema musicale nostrano. Dopo aver scandagliato diversi generi della cinematografia popolare italiana, dall´horror al poliziesco del ´70, dagli spionistici pseu-do-bondiani alla fantascienza degli anni ´80, Bloodbuster si dedica ai canterelii, con la collaborazione dell´amico Maurizio Maiotti, editore e curatore di Jamboree, rivista tri-mestrale sul tema anni ´50160, complice ideale per Ia compilazione di quella che vuole essere una guida, utile e agevole, alla riscoperta non solo di una manciata di antichi film con canzoncine, ma anche di un´ltalia semplice e ingenua, mace e otti-mista, che ormai sembra lontana di quatche millennio. Perch& come dice ii critico Stefano Della Casa, autore di diversi scritti sull´argomento: ´Una canzone non pu6 cambiare il mo s. Pero puo sicuramente raccontarcelo´ II pazzo, pazzo mondo della canzone vi aspetta tra queste pagine Buon ascolto ehm... Buona lettura.
Taschenbuch - 294 Seiten - Louisiana State Univ Pr - 2014 - Englisch ´´I credit Huey with opening the door for funk, basically as we know it, in some ridiculously hip way, and putting it in the mainstream of the world´s music´´: –DR. JOHN, 2011 Rock and Roll Hall of Fame inductee ´´Huey ´Piano´ Smith stands tall as one of the major creators of New Orleans rhythm & blues. Drawing on meticulous research, John Wirt tells Smith´s story here in terms of both joyous artistic achievements and grim, demoralizing exploitation. Huey ´Piano´ Smith and the Rocking Pneumonia Blues illuminates the vital role of a great talent in an important chapter in Louisiana music history´: –BEN SANDMEL, author of Ernie K-Doe: The R&B Emperor of New Orleans Huey ´´Piano´´ Smith´s musical legacy stands alongside that of fellow New Orleans legends Dr. John, Fats Domino, Ernie K-Doe, and Allen Toussaint. His 1957 classic, ´´Rocking Pneumonia and the Boogie Woogie Flu,´´ made Billboard´s top R&B singles chart, and hundreds of artists including Aerosmith, the Grateful Dead, the Beach Boys, Johnny Riv-ers, and Chubby Checker have recorded his songs. The first biography of the artist responsible for hits ´´Don´t You Just Know It:´ ´´High Blood Pressure:´ and ´´Sea Cruise:´ Huey ´´Piano´´ Smith and the Rocking Pneumonia Blues fol-lows the musician´s extraordinary life from his Depression-era childhood to his teen years as a pianist for blues star Guitar Slim to his mainstream success in the 195os and ´6os. Drawing from extensive interviews and court records, author and journalist John Wirt also provides new insights on Smith´s professional disappointments and financial struggles in the 198os and ´9os as he battled over royalties from his most successful and profitable work. Throughout this intimate account, Wirt details Smith´s significant impact on rock and roll history and underscores both the longevity of his music—which has entertained and inspired for over five decades—and the musician´s personal endurance in the face of hard-ship and opposition. JOHN WIRT has covered music, film, and entertainment for the Richmond Times-Dispatch, the Daytona Beach News-Journal, and The Advocate´s Baton Rouge and New Orleans editions. Front cover photograph by Michael P. Smith, 0 The Historic New Orleans Collection, 2007.01o3.1.801 Louisiana State University Press Baton Rouge 70808