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1962dude420-blog · 3 years

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Today we remember the passing of Sterling Morrison who Died: August 30, 1995 in Poughkeepsie, New York

Holmes Sterling Morrison Jr. (August 29, 1942 – August 30, 1995) was an American guitarist, best known as one of the founding members of the rock group the Velvet Underground, usually playing electric guitar, occasionally bass guitar, and singing backing vocals.

Unlike bandmates Lou Reed, John Cale, Maureen Tucker and Nico, Morrison never released a solo album or made recordings under his own name. He was nevertheless an essential element of the group's sound as a guitarist whose percussive and syncopated rhythm playing and melodic lead parts provided the foil for Lou Reed's improvisational rhythm and lead guitar riffs.

Reed, Cale, Morrison and percussionist Angus MacLise constituted the original line-up of the Velvet Underground, taking the name from Michael Leigh's sadomasochistic novel of the same name. Reed sang and played guitar, Morrison played guitar, Cale played viola, bass and keyboards and MacLise was playing bongos, hand drums, tabla, tambourines and the cimbalom. MacLise was soon replaced by Maureen Tucker.

Morrison primarily played guitar on the band's first two albums, although when Cale, the band's usual bassist, played viola or keyboards in the studio or on stage, Morrison often filled in on bass. Some songs (including "Heroin" and "Sister Ray") had Reed and Morrison on their usual guitars while Cale played viola and Vox Continental organ respectively, with no bass guitar.

There were at least three songs where Cale played both piano and bass while Reed and Morrison played guitars and these were "I'm Waiting for the Man", "Femme Fatale" and "White Light/White Heat" and two songs where Cale played both viola and bass with Reed and Morrison on guitars: "Here She Comes Now" and "The Black Angel's Death Song", the former of which saw Cale doubling on piano. Although Morrison was a proficient bassist (as exemplified by his performances on "Sunday Morning", "Venus in Furs", "All Tomorrow's Parties" and "Lady Godiva's Operation"), he disliked playing the instrument.

After Cale left the group in 1968, Morrison usually exclusively played guitar; however, photographic evidence indicates that he continued to play bass onstage for certain songs if Doug Yule, Cale's replacement, was occupied with organ. Additionally, Morrison frequently sang backing vocals and the occasional lead vocal spot (he recited many verses of Reed's poetry in "The Murder Mystery" and sang one line in "I'm Sticking With You").

Morrison repeatedly remarked that "Venus in Furs", from the band's debut album, was his personal favorite of all of The Velvet Underground's songs, as he felt that the group had achieved with that one track, to a greater degree than any other, the sound the band had in mind.

In 1970, when the band was back in New York City to play an entire summer's engagement at Max's Kansas City, Morrison seized the opportunity to complete his undergraduate degree at the City College of New York. He remained in the Velvet Underground as lead guitarist after Reed left the band in acrimonious circumstances in August 1970. In 1971, however, he began graduate studies at the University of Texas at Austin, where he would earn a PhD in medieval literature (with a dissertation on the four signed poems of Cynewulf) in 1986. Morrison's last performance with the band was on August 21, 1971, at Liberty Hall in Houston, Texas. When it was time for the band to return to New York, Morrison packed an empty suitcase and accompanied them to the gate of their departing plane, before finally telling them he was staying in Texas and leaving the band, the last founding member to quit.

In 1992, the core Velvet Underground line-up of Reed, Cale, Morrison and Tucker decided to reform for a tour and possible album. Morrison argued that Doug Yule, who had replaced Cale in 1968, should be included to fill out the sound, but Reed and Cale vetoed him. The band extensively toured Europe in 1993, alternatively as headline act or supporting U2. Morrison's playing held up well, and his performances were generally agreed to be top-notch. But by the end of the tour, relationships had soured again and plans for a US tour and MTV Unplugged album were scrapped and as a result, the European tour turned out to be the last for the Velvet Underground. Morrison joined Maureen Tucker's band for a tour in 1994.

In late 1994, Morrison was diagnosed with non-Hodgkin's lymphoma and as his health deteriorated, he could no longer play guitar. He was visited by his former bandmates Reed and Tucker and according to Reed, when he visited Morrison for the last time, he was bedridden, had lost weight and his hair, but never complained about his lymphoma and described it as "leaves in the fall".

Morrison died of non-Hodgkin's lymphoma on August 30, 1995, one day after his 53rd birthday.

#August 30 #1995 #R.I.P.#Sterling Morrison #The Velvet Underground #Andy Warhol

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thekingofgear · 4 years

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The gear behind Radiohead’s ‘Kid A’ sound in Dublin

Highlight: Jonny’s original ondes Martenot

Radiohead’s tour dates in 2000 were the first time that Jonny publicly performed with an ondes Martenot, and also one of the few tours he performed with the original 80s Martenot played on Kid A and Amnesiac. Although today Jonny is known for popularizing the ondes Martenot in the english-speaking world, until the late-90s he hadn’t so much as seen a picture of one. He only knew it from the sweet melodies and dramatic electronic glissandi in recordings of Olivier Messiaen’s Turangalîla-Symphony. It wasn’t until 1999, when he learned of one for sale in Paris and purchased it with its Palme diffuseur, that Jonny finally became acquainted with the instrument. This acquisition would be pivotal for the recording of Kid A and Amnesiac, and in no short time Jonny was teaching himself the instrument (hence his unusual playing technique) and using it to define the sound of those albums. The songs Kid A, The National Anthem, How to Disappear Completely, Optimistic, Motion Picture Soundtrack, Pyramid Song, You and Whose Army, and Morning Bell / Amnesiac all feature the ondes Martenot – and that doesn’t include the b-sides from this era!

What differentiates the Martenot from other electronic instruments is its interface, the way that the player controls the sound. The Martenot features a very sensitive button (called the “touche”) to control volume, while pitch can be controlled by either a keyboard or a ring on a ribbon. Both the keyboard and the ring can create vibrato by rocking the hand back and forth, and one can hear Jonny play with keyboard vibrato on the album recording of Optimistic. the ring has full control of pitch over the range of the instrument, allowing anything from minute microtones to mutli-octave slides. When using a simple waveform, sliding between notes using the ring creates a sound similar to a theremin – but with greater control – which is why Jonny is often mistaken for playing one on songs like The National Anthem and Pyramid Song.

The ondes Martenot’s sound generators changed over the decades, so different versions are capable of different timbres. While the earliest versions used vacuum tubes, and the version most common today uses transistors, Jonny’s original Martenot is from a briefly made digital version. The digital version uses additive synthesis, and Jonny generally plays with setting that has relatively few overtones, which is why it’s often mistaken for a sine wave. Although monophonic, the Martenot is capable not only of melody but also of many special effects – in fact, most people unwittingly know the Martenot from the soundtracks of films like Ghostbusters and Journey to the Far Side of the Sun.

The 2000 tour was also one of the few times that fans could hear songs performed with the same instrument used on the recordings, since Jonny quickly obtained a replica for touring purposes. Jonny was nervous about the rare Martenot being damaged, so he commissioned a replica that could control the same eurorack synth modules that he uses on Idioteque. The result was the Analogue Systems French Connection, a controller with a less sensitive interface emulating the touche and ring of the Martenot. Jonny would use the French Connection all Radiohead tours from 2001 to 2012, as well as for some recordings and tv performances. And although Jonny did tour with his original Martenot again in 2016 (he had less reason to be nervous of it breaking after getting an ondes Musicales Dierstein in 2011), that too was short lived, because Jonny ceased using the Martenot for touring once he acquired the Asaden Ondomo.

A closeup of Jonny’s ondes Martenot from The National Anthem. The Martenot’s distinctive short-depth (but full width) keys can be seen, as well as the pitch-controlling ring on Jonny’s finger.

Other notable bits:

Radiohead’s 2000 tour saw the first public uses of a ton of instruments that the band had only started using during the sessions for Kid A and Amnesiac. Perhaps most notably, it was the first time that Radiohead used looping and live sampling on tour. This was enabled by a host of performance oriented samplers, like the Korg Kaoss Pad, Line 6 DL4, and Akai Headrush, all of which were released only a year earlier in 1999. Colin bowed a double bass for the first time on Pyramid Song and Motion Picture Soundtrack – a rare treat, as Colin soon after switched to a Steinberger electric upright bass, followed in 2006 by Jonny taking over bowing on Pyramid Song with his guitar (most likely inspired by Jónsi of Sigur Ros, who opened for Radiohead on this very tour). Another rarity was the Vox Super Continental organ which Thom plays on Motion Picture Soundtrack, with the sound distorted through an Electro-Harmonix Micro Synthesizer pedal. Jonny brought his recently acquired Analogue Systems RS8000 on tour to perform Idioteque, marking the first time he’d performed with a eurorack modular synthesizer. It was also the first time Ed performed with a guitar modified to include a sustainer system. The heavily modified Eric Clapton Signature Stratocaster used for the Dublin show would be Ed’s favorite for more than a decade before becoming the inspiration for Ed’s current Fender EOB Signature Stratocaster.

A screenshot of Jonny sampling Thom’s vocals with his Korg Kaoss Pad KP1 during Everything In Its Right Place. One can also see his ondes Martenot atop his Fatar MIDI control, and the Martenot’s Akai Headrush E1 (that light grey rectangle) can be seen below them both.

Song by song:

This lists all gear used for the songs included in the official video of Radiohead’s performance at the Punchestown Race Course in Dublin on October 7, 2000. It does not include other gear used for other songs at the same show, or for the rest of the 2000 tour.

The National Anthem

Thom Yorke‘s gear for The National Anthem in Dublin

Shure Beta 87 vocal microphone

Ring modulator vocal effect from FOH mixing desk

Rickenbacker 330 in Fireglo finish

Tech 21 XXL distortion (most likely, might be another distortion pedal)

Marshall Bluesbreaker amplifier

Jonny Greenwood‘s gear for The National Anthem in Dublin

ondes Martenot (80s digital student model)

Akai Headrush E1 delay/looper (used for Martenot looping)

Roberts R737 radio (processed by Jonny’s guitar pedals)

Electro-Harmonix Small Stone V2 phasor

DOD 440 envelope filter

Demeter The Tremulator tremolo

Digitech Whammy WH1 pitch shifter

BOSS SD1 overdrive

BOSS RV3 reverb/delay

Roland RE201 Space Echo

Vox Egg footswitch (echo cancel for Space Echo)

Ed O’Brien‘s gear for The National Anthem in Dublin

Fender Eric Clapton Signature Stratocaster (ST1) “Sustainer Strat”

Crowther Hotcake and/or BOSS SD1 overdrive

BOSS DD5 delay

BOSS RV3 reverb/delay

BOSS FV300 volume pedal

Vox AC30TBX Dave Petersen Special

Colin Greenwood‘s gear for The National Anthem in Dublin

1972 Fender Precision Bass in Olympic White finish

Lovetone Big Cheese fuzz

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

Phil Selway - see end of article.

Jonny adjusting the frequency on his radio while adjusting a pedal (likely his Digitech Whammy) with his right foot.

Thom with his Fireglo Rickenbacker 330 during The National Anthem.

How To Disappear Completely

Thom Yorke‘s gear for How To Disappear Completely in Dublin

Shure Beta 87 vocal microphone

Lakewood M14 acoustic guitar

Jonny Greenwood‘s gear for How To Disappear Completely in Dublin

ondes Martenot (80s digital student model)

Akai Headrush E1 delay/looper (used for Martenot looping)

BOSS FV300 (used to mute Jonny’s playing for silent looping)

Ed O’Brien‘s gear for How To Disappear Completely in Dublin

Rickenbacker 360 12-String in Jetglo finish

Crowther Hotcake and/or BOSS SD1 overdrive

Digitech Whammy WH4 pitch shifter ?

Line 6 DL4 delay/looper (as looper) ?

BOSS DD5 delay

BOSS RV3 reverb/delay

BOSS FV300 volume pedal

Vox AC30TBX Dave Petersen Special amplifier

Colin Greenwood‘s gear for How To Disappear Completely in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

Phil Selway‘s gear for How To Disappear Completely in Dublin

Lemon shaker

In this screenshot from How To Disappear Completely, one can see Ed’s Jetglo Rickenbacker 360/12 guitar and his BOSS PN-2 tremolo/pan pedal.

Morning Bell

Thom Yorke‘s gear for Morning Bell in Dublin

Shure Beta 87 vocal microphone

Rhodes Suitcase Piano Mark I 73 electric piano

Jonny Greenwood‘s gear for Morning Bell in Dublin

Fender Telecaster Plus V1 guitar in Tobacco Burst finish

Coin (an actual coin, scrapped against the guitar’s strings to create the sound effects at the end of the song)

Electro-Harmonix Small Stone V2 phaser

BOSS SD1 overdrive

Roland RE201 Space Echo

Vox Egg footswitch (echo cancel for Space Echo)

Vox AC30TB Dave Petersen Special amplifier

Ed O’Brien‘s gear for Morning Bell in Dublin

Shure Beta 87 vocal microphone

Fender Telecaster Standard guitar in white finish

Crowther Hotcake and/or BOSS SD1 overdrive

Line 6 DL4 delay/looper (as looper, using reverse function)

BOSS FV300 volume pedal

Vox AC30TB Dave Petersen Special amplifier

Colin Greenwood‘s gear for Morning Bell in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

A closeup of Thom’s hands at the Rhodes piano during Morning Bell.

Idioteque

Thom Yorke‘s gear for Idioteque in Dublin

Shure Beta 87 vocal microphone

Jonny Greenwood‘s gear for Idioteque in Dublin

Analogue Systems Sequencer System in RS10 cabinet

Analogue Systems RS8000 Integrator modular synthesizer

Ed O’Brien‘s gear for Idioteque in Dublin

Metal percussion shaker (possibly a guiro shaker)

Fender Telecaste Standard guitar

Crowther Hotcake and/or BOSS SD1 overdrive

Lovetone Ring Stinger ?

Line 6 DL4 delay/looper (as looper)

BOSS DD5

BOSS FV300 volume pedal

Vox AC30TB Dave Petersen Special amplifier

Colin Greenwood‘s gear for Idioteque in Dublin

Yamaha CBX-K1XG keyboard (sends MIDI notes to a sampler)

Ed with his metal shaker during Idioteque.

Colin triggering samples with the Yamaha CBX-K1XG during Idioteque.

Optimistic

Thom Yorke‘s gear for Optimistic in Dublin

Shure Beta 87 vocal microphone

Gibson ES-125 electric guitar

Marshall Bluesbreaker amplifier

Jonny Greenwood‘s gear for Optimistic in Dublin

Fender Starcaster guitar (vintage 1970s)

BOSS SD1 overdrive

Roland RE201 Space Echo

Vox Egg footswitch (echo cancel for Space Echo)

Vox AC30TB Dave Petersen Special amplifier

Ed O’Brien‘s gear for Optimistic in Dublin

Shure Beta 87 vocal microphone

Fender Telecaster Standard guitar in white finish

Crowther Hotcake and/or BOSS SD1 overdrive

Vox AC30TBX Dave Petersen Special amplifier

Colin Greenwood‘s gear for Optimistic in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier hea

Ampeg SVT 8x10 cabinet

In this screenshot from Optimistic, Ed can be seen singing into a Shure Beta 87, while Jonny plays his 70s Fender Starcaster in the background.

In Limbo

Thom Yorke‘s gear for In Limbo in Dublin

Shure Beta 87 vocal microphone

Tambourine

Jonny Greenwood‘s gear for In Limbo in Dublin

Fender Starcaster guitar (vintage 1970s)

BOSS SD1 overdrive

Roland RE201 Space Echo

Vox Egg footswitch (echo cancel for Space Echo)

Vox AC30TB Dave Petersen Special amplifier

Ed O’Brien‘s gear for In Limbo in Dublin

Shure Beta 87 vocal microphone

Rhodes Suitcase Piano Mark I 73 electric piano

Colin Greenwood‘s gear for In Limbo in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

Thom with his tambourine during In Limbo.

Thom at the Rhodes piano and Jonny with his Fender Telecaster and arm brace during In Limbo.

Paranoid Android

Thom Yorke‘s gear for Paranoid Android in Dublin

Shure Beta 87 vocal microphone

Lakewood M14 acoustic guitar

Jonny Greenwood‘s gear for Paranoid Android in Dublin

Shure Beta 87 vocal microphone (“ugly”, “piggy”)

Young Chang upright piano

Fatar CMS-61 MIDI controller (sends MIDI notes to trigger synth string samples)

Fender Telecaster Plus V1 guitar in Tobacco Burst finish

Electro-Harmonix Small Stone V2 phaser

DOD 440 envelope filter

BOSS LS2 line selector

Vox AC30TB Dave Petersen Special amplifier

Marshall Shredmaster distortion

BOSS FV300 volume pedal

Fender Eighty-Five amplifier

Ed O’Brien‘s gear for Paranoid Android in Dublin

Shure Beta 87 vocal microphone

Fender Telecaster Standard guitar in white finish

Crowther Hotcake and/or BOSS SD1 overdrive

Digitech Whammy WH4 pitch shifter

BOSS LS2 Line Selector

BOSS DD5 delay

Vox AC30TBX Dave Petersen Special amplifier

Mesa Boogie Trem-O-Verb amplifier

Colin Greenwood‘s gear for Paranoid Android in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

Jonny at the Young Chang upright piano during Paranoid Android – a rare instance of Jonny not using the Rhodes piano for this section.

Motion Picture Soundtrack

Thom Yorke‘s gear for Motion Picture Soundtrack in Dublin

Shure Beta 87 vocal microphone

Vox Super Continental organ

Electro-Harmonix Micro Synthesizer (vintage "big box" version used to distort the organ’s sound)

BSS Audio AR-133 Active D.I. Box (used to connect the pedal to the PA mixer)

Jonny Greenwood‘s gear for Motion Picture Soundtrack in Dublin

Fatar CMS-61 MIDI controller (sends MIDI notes to trigger harp and choir samples)

Colin Greenwood‘s gear for Motion Picture Soundtrack in Dublin

Double bass

Thom playing the Vox Super Continental organ. The EHX Micro Synth and BSS Audio DI box can be seen on top of the organ, along with a power strip with power supplies.

Colin with his double bass and bow, presumably checking to ensure he has enough rosin and tension on the bow.

Everything In Its Right Place

Thom Yorke’s gear for Everything In Its Right Place in Dublin

Shure Beta 87 vocal microphone

Rhodes Suitcase Piano Mark I 73 electric piano

Jonny Greenwood’s gear for Everything In Its Right Place in Dublin

Korg Kaoss Pad KP1 sampler (fed from Thom’s vocals)

Electro-Harmonix Small Stone V2 phasor

DOD 440 envelope filter

Demeter The Tremulator tremolo

Digitech Whammy WH1 pitch shifter

BOSS SD1 overdrive

BOSS RV3 reverb/delay

Roland RE201 Space Echo

Vox Egg footswitch (echo cancel for Space Echo)

Ed O’Brien’s gear for Everything In Its Right Place

Pedals are fed from Thom’s Rhodes Piano.

Line 6 DL4 delay/looper (as looper)

Akai Headrush E1 delay/looper (as looper)

BOSS DD5 delay

BOSS FV300 volume pedal

misc others

Colin Greenwood‘s gear for Everything In Its Right Place in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

A screenshot of Thom at the Rhodes piano during . One can also see the distinctive red control panel of Jonny’s Vox AC30TB Dave Petersen Special.

Ed adjusting his Line 6 DL4 and Akai Headrush E1 – both configured as loopers – during Everything In Its Right Place.

In this screenshot from Everything In Its Right Place, one can see Jonny’s 80s ondes Martenot and Fatar CMS-61 (left), as well as his BOSS SD1 and BOSS RV3 pedals (right).

Just

Thom Yorke‘s gear for Just in Dublin

Shure Beta 87 vocal microphone

Fender Telecaster Deluxe guitar (vintage 1970s)

Thom uses the guitar’s pickup selector as cutoff switch during outro section.

Proco Turbo Rat distortion (most likely, might be another dirt pedal)

Marshall Bluesbreaker amplifier

Jonny Greenwood‘s gear for Just in Dublin

Fender Telecaster Plus V1 guitar in Tobacco Burst finish

Electro-Harmonix Small Stone V2 phaser

DOD 440 envelope filter

Digitech Whammy WH1 pitch shifter

BOSS LS2 line selector

Vox AC30TB Dave Petersen Special amplifier

Marshall Shredmaster distortion

BOSS FV300 volume pedal

Fender Eighty-Five amplifier

Ed O’Brien‘s gear for Just in Dublin

Fender Stratocaster (70’s) in white finish with black pickguard

Crowther Hotcake and/or BOSS SD1

BOSS FV300 volume pedal

Mesa Boogie Trem-O-Verb amplifier

Colin Greenwood‘s gear for Just in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ed can be seen with his white 70s Strat in this screenshot from Just.

Phil Selway’s Drum Setup

Phil’s drum kit is not especially visible in footage from the show. However, he described his setup at the time in the July, 2001 issue of Rhythm magazine:

“I don’t have my whole kit set up here today. I generally have 12”, 14” and 16” toms and a Noble & Cooley snare that I put on my left-hand side. I’d normally have drum triggers and a pad on the kit too, to the right of my 12” tom. The kick drum and both snares have triggers on – just for individual samples, because we don’t tend to use loops live.

“My acoustic drums are all premier Signia Marquis. They look after me really well and have done for six years – they sent me a Club kit recently, which I love. Cymbals are a mix of Zildjian Ks and As usually. I like quite dry cymbals – things that sound quite contained. It’s quite a simple set-up, really, and I don’t want for anything. Apart from snares. You can never have too many snares.”

The Zildjian K Cymbals are as follows:

13” Hi-Hats

12” Splash

15” Thin Crash

16” Crash

18” Ride

The triggers are by ddrum, and are used to control Phil’s Clavia Nord Drum 1.

Phil’s Nord Drum can be seen in this screenshot from Idioteque.

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wildchildfullofgrace83 · 5 years

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Raymond Daniel Manczarek Jr.

February 12, 1939 – May 20, 2013

Remembering Ray Manzarek on the 6th anniversary of his passing. Ray has often been described as the "glue" that held The Doors together as a band. His keyboard work is unmistakable and helped to give The Doors a sound like no other rock band of their day. Truly a brilliant musician, he could expertly play a mesmerizing organ with one hand while handling a steady hypnotic keyboard bass line with the other...and could sing at the same time with virtually no errors.

A brief biography of a life well lived:

Born in Chicago, Illinois to a family of Polish descent, Ray Manczarek took piano lessons at a young age but preferred to play basketball. When his coach refused to let him play his preferred position, he decided to quit sports and focus on music as his primary passion. He then went on to college and received a degree in economics before enlisting in the U.S. Army. Upon his discharge (private first class), he enrolled in UCLA's graduate film program. It was at this time that he met the love of his life, future wife Dorothy Fujikawa. He also befriended a quiet undergraduate film student named Jim Morrison, who he found he had much in common with.

In 1965, Ray Manzarek (he later dropped the 'c' from his last name) was currently in a band with his two brothers (Rick and Jim Manczarek) called Rick and the Ravens. Ray invited Jim Morrison to join the band on stage and history was forever changed. Jim Morrison soon joined the band officially as their lead vocalist, despite his shy nature and aversion to singing in front of a live audience. Soon after, they cut demos at World Pacific Studios, with John Densmore on drums. The tracks would evolve and eventually be released as Doors songs. Ray's brothers left the band after becoming disillusioned by the poor respose they had received to the demos. John Densmore then invited his friend, Robby Krieger, to play guitar for the band. Thus, The Doors were born.

The band became the 'house band' at a small club called The London Fog, but were fired due to poor audience attendance. The same day, they were invited to be the 'house band' at a top local music venue in Los Angeles, the Whisky A Go Go. They were disappointed as they were signed to Columbia Records only to soon find themselves on the "drop list". Thankfully, Jac Holzman from Elektra Records had come to see their shows at the Whisky and grew to appreciate their unique style, although he had initially been unimpressed. On the same night the band was fired from the Whisky A Go Go, Jac Holzman decided to sign them to a record contract at Elektra. Fate was in their favor.

The Doors became one of the most popular and influential bands in rock music history. Between 1967 and 1971, they gained fame and changed music history with their unique blend of rock, poetry, blues, jazz and psychedelia. The band did not feature a permanent bass player, so while studio albums frequently had studio musicians fill in the bass lines, Ray took up playing a Fender Rhodes piano bass with one hand at live shows. His other hand was busy playing organ on the Vox Continental (eventually he switched to a Gibson G-101). Additionally, he sang backing vocals and lead vocal on occasion in concert.

After the death of Jim Morrison (July 3, 1971), the band made two additional studio albums featuring Ray and Robby on lead vocals and had live appearances as a three man band. However, they soon realized that The Doors were four equal and irreplaceable parts; the magic was no longer present with the absence of a founding member. Ray, John and Robby decided to part ways.

After The Doors disbanded, Ray Manzarek embarked on a solo career. He released two solo albums on his own before joining band Nite City. The 80's brought his adaptation of Carl Orff's Carmina Burana. Later, he worked with Iggy Pop, Echo and the Bunnymen, Weird Al and others, while also producing and occasionally performing with the punk band X.

During the 80's and beyond, Ray showed his talent in filmmaking by producing or contributing to several music videos and films. The late 90's and 2000's also showed Ray's abilities as an author. He released his autobiography ("Light My Fire: My Life with The Doors") to positive reviews, and additionally authored "The Poet in Exile" and "Snake Moon".

In addition to being one of the greatest musicians in modern music, Ray was also a loyal family man. He married wife Dorothy on December 21, 1967 (with Jim Morrison and Pamela Courson as witnesses). They remained married until Ray's death. Son Pablo was born in 1973 and Ray and Dorothy were blessed with several grandchildren.

Ray had his life stolen by bile duct cancer at the age of 74, on May 20, 2013. His wife and family members were by his side. His body was cremated. He is eternally missed.

#ray manzarek #the doors #classic rock

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sub-media · 5 years

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Used by just about every rock band of the '60s, from The Beatles, to the Animals, to The Doors, the Vox Super Continental combo organ cemented itself as one of the most iconic keyboards of all time. #keys #keyboard #organ #vox #thebeatles #thedoors #theanimals #geartalk http://bit.ly/2GFykgx

#Retro Tech

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bryaneyberg · 4 years

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Posted @withregram • @electricpianoco One of the most iconic keyboard rigs ever: Fender Rhodes piano bass and Vox Continental organ, as made famous by Ray Manzarek of the Doors. This is our featured calendar image for March. . . . . Photo retouching by @jacobwattsphoto #voxcontinetnal #comboorgan #fenderrhodes #pianobass #electricpiano #vintagekeys #softparade #raymanzarek #rigrundown #cepcompression (at Boston, Massachusetts) https://www.instagram.com/p/CL7J9ssg-yV/?igshid=43tfk3wxw2vi

#voxcontinetnal #comboorgan #fenderrhodes #pianobass #electricpiano #vintagekeys #softparade #raymanzarek #rigrundown #cepcompression

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kdo-three · 6 months

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The Doors - When the Music’s Over (1967) Jim Morrison / Ray Manzarek / Robby Krieger / John Densmore from: "Strange Days" (LP)

Art Rock | Proto-Goth

JukeHostUK (left click = play) (320kbps) (26MB | 11:00+/-)

Personnel: Jim Morrison: Vocals Ray Manzarek: Keyboards: Vox Continental Organ Fender Rhodes Piano Keyboard Bass Robby Krieger: Guitar John Densmore: Drums

Produced by Paul A. Rothchild

Remastered by Bruce Botnick / Paul A. Rothchild / The Doors

Recorded: @ Sunset Sound Recorders in Hollywood, California USA May–August 1967

Album Released: on September 25, 1967

Elektra Records

Rhino Records: 2007 CD Reissue

#The Doors #Doors #When the Music’s Over #Strange Days #Elektra Records #1960s #Jim Morrison #Ray Manzarek #Robby Krieger #John Densmore #Proto-Goth #Art Rock

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odk-2 · 2 years

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Five Soul Kitchens

1) The Doors - Soul Kitchen (1967) Jim Morrison / Robby Krieger / Ray Manzarek / John Densmore from: "The Doors" (1967) (LP)

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Personnel: Jim Morrison: Lead Vocals Robby Krieger: Gibson SG Ray Manzarek: Vox Continental Organ / Backing Vocals / Keyboard Bass John Densmore: Drums Larry Knechtel: Bass

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2) X - Soul Kitchen (1980) Jim Morrison / Robby Krieger / Ray Manzarek / John Densmore from: "Los Angeles" (LP)

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Personnel: Exene: Vocals Billy Zoom: Guitar John Doe: Bass / Vocals D.J. Bonebrake: Drums

Produced by Ray Manzarek

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3) Echo and The Bunnymen - Soul Kitchen (1987) Jim Morrison / Robby Krieger / Ray Manzarek / John Densmore from: ”Echo & The Bunnymen” (LP) (2003 Reissue Bonus Track)

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Personnel: Ian McCulloch: Vocals / Guitar Will Sergeant: Lead Guitar Les Pattinson: Bass Pete de Freitas: Drums

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4) Patti Smith - Soul Kitchen (2007) Jim Morrison / Robby Krieger / Ray Manzarek / John Densmore from: "Twelve" (LP)

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Personnel: Patti Smith: Vocals Lenny Kaye: Guitar Tony Shanahan: Bass Jay Dee Daugherty: Drums

Recorded: @ Electric Lady Studios in New York City, New York USA 2007

Released: on April 17, 2007

Columbia Records

♫♫♫ ♫♫♫ ♫♫♫

5) The Black Angels - Soul Kitchen (2014) Jim Morrison / Robby Krieger / Ray Manzarek / John Densmore from: "A Psych Tribute to The Doors" (LP)

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#Soul Kitchen #The Doors #Cover Version #X #Patti Smith #Echo and The Bunnymen #The Black Angels

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unbleuparfait · 5 years

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Dreams

Khác với nhiều người, mình biết tới Fleetwood Mac không phải qua The Chain (mặc dù The Chain rất hay và mình sẽ nói về bài hát này ở post khác), mà qua Dreams - một bài hát mà vì lý do nào đó khoảng 1 năm đổ lại đây, bỗng dưng có tiếng tăm trở lại.

Thực ra ban đầu mình cũng không biết Fleetwood Mac là ai, chơi nhạc được bao lâu hay có những giải thưởng gì, tự dưng tìm thấy bài phân tích ở trên youtube nên dần dần mình cũng hứng thú với ban nhạc. Vậy nên mình sẽ mở đầu bài viết khả năng cao là sẽ dài dằng dặc này bằng một số giới thiệu (nói trước là sẽ khá cứng nhắc) về band, album chứa bài hát và về bài hát.

1. Fleetwood Mac là ai?

Fleetwood Mac là 1 ban nhạc blues rock có khởi nguồn đến từ London (Anh), được sáng lập vào năm 1967 bởi:

Peter Green: guitar, vocals, harmonica

Mick Fleetwood: drums, percussion

Jeremy Spencer: slide guitar, vocals, piano

Về đội hình nói chung của Fleetwood Mac, thật khó để có thể kể hết ra, vì đến wikipedia còn phải lôi cả bảng liệt kê đội hình theo từng thời kì, từng album nên mình mạn phép chỉ giới thiệu về đội hình chính trong era “Rumours” (1977):

Stevie Nicks - vocals, tambourine (người Mỹ)

Lindsey Buckingham: guitar, vocals, keyboards (người Mỹ)

Christine McVie: keyboards, vocals (người Anh)

John McVie: bass guitar (người Anh)

Mick Fleetwood: drums, percussion (người Anh)

Nếu bạn để ý thì có thể thấy rằng, đến thời điểm này Fleetwood Mac không còn là band nhạc thuần Anh nữa, mà đã có sự góp mặt của 2 người Mỹ. Bản thân mình thấy đây là một trong số những thứ đưa được âm nhạc của band đến gần với thị trường Mỹ, và dường như là trở thành huyền thoại trên đất Hoa Kì (đến mức giới trẻ Hoa Kì phát ngán), điển hình là anh bạn quay MV cho tôi tên là Liam =))))) Còn để giới thiệu về độ nổi tiếng của band thì úi xời giải thưởng với thành tựu một đống. Riêng Rumours bán được 40 triệu bản toàn thế giới, là album có số lượng người mua nhiều thứ 8 toàn cầu, thắng giải Grammy Album Của Năm vào năm 1978, đứng top trong nhiều bảng xếp hạng,… (- wikipedia)

2. Album Rumours (1977)

Rumours là album thứ 11 của Fleetwood Mac, được phát hành vào 04/02/1977 (mùng 4 tháng 2 không phải mùng 2 tháng 4 theo kiểu đọc của người Mỹ nha) bởi Warner Bros. Records. Album được thu ở California vào năm 1976, produce bởi mọi người trong band cùng với Ken Caillat và Richard Dashut (hai sound engineer mà sau đó cũng produce album thứ 12 mang tên Tusk). Mọi người muốn thu một album “pop” nên tính chất âm nhạc của album này không mang tính Blues như trước mà thay vào đó, theo hơi hướng pop rock và soft rock. Khi nghe qua album có thể thấy có rất nhiều âm thanh đặc trưng khá “intense” do sử dụng Fender Rhodes và Hammond B3 organ. Nói thêm về hoàn cảnh ra đời của album Rumours…. Thật sự là mình rất nể tất cả mọi người trong band luôn vì khoảng thời gian đó rất căng thẳng đối với từng thành viên Fleetwood Mac. Christine McVie và John McVie đang lục đục ly hôn, Stevie Nicks và Lindsey Buckingham đang on off, không rõ ràng và Mick Fleetwood cũng đang ly thân với vợ khi phát hiện ra vợ ông ngoại tình với bạn thân của ông (i feel you Mick). Trong khoảng thời gian căng thẳng như vậy, một số thành viên nghiện ma túy rất nặng và truyền thông luôn tìm cách khai thác bất cứ một thông tin gì đến từ ban nhạc, thậm chí là bịa chuyện (đcm). Chính Stevie Nicks đã trả lời phỏng vấn báo chí:

“All of us were drug addicts, but there was a point where I was the worst drug addict. I was a girl, I was fragile, and I was doing a lot of coke. And I had that hole in my nose. So it was dangerous. ” - Stevie Nicks, không rõ nguồn vì nhiều báo lấy thông tin này mà không ghi nguồn =)))

“I used to carry a gram of cocaine in my boots, at all time. And it was the first thing i thought of when i woke up in the morning and the last thing i thought of before i went to bed.” - Stevie Nicks, Oprah’s Master Class

Mình định trích thêm mấy thứ như kiểu Mick Fleetwood xác nhận thông tin về câu chuyện “7-mile cocaine line” nhưng thôi, chúng ta đọc cái này không phải để biết về mấy cái đó. Quay lại câu chuyện chính… VÌ THẾ, nên mặc dù album bắt đầu thu từ tháng 2 năm 1976 nhưng mãi đến tháng 8 năm 1976 album mới hoàn thành.

Có thể nói, Fleetwood Mac đã tạo ra thứ âm nhạc pop hoàn hảo, ngay trong thời điểm căng thẳng nhất với tất cả mọi người trong band nhạc. Bản thân Nicks cũng mô tả về album như vậy, trong khi với Buckingham, thì sự căng thẳng giữa các thành viên khiến cho quá trình thu âm bị ngắt quãng và cả album cảm giác thiếu sự thống nhất mà chỉ đơn giản là một tổng thể của các phần khác nhau… đoạn này trên wiki viết thì hiểu mà không biết diễn đạt dư lào =)))) Nhưng không thể phủ nhận được album này thực sự rất hay và đã release rất nhiều bản hit như “Go Your Own Way”, “Don’t Stop”, “The Chain”,… và không thể không nhắc tới: DREAMS

3. Dreams - những giấc mơ về sự cô đơn

Bản thân mình thích bản demo của Dreams nhất, và mọi người cũng thường hay so sánh giữa bản demo (take 2) với bản release để làm nổi bật cái đẹp của bản thu cuối cùng. Tuy nhiên đối với mình thì bản nào cũng có cái đẹp của riêng nó, vậy nên mình sẽ phân tích từng bản một.

Dreams - Take 2

Có thể nói đây là bản demo khá được ưu ái khi xuất hiện trong album Rumours (Super Deluxe) của band nhạc =))) có lẽ bởi vì sự thành công của Dreams vang dội trên khắp các mặt trận, là single duy nhất của band nhạc đứng top 1 Billboard Hot 100. Bản demo không được mix quá cao siêu gì, chỉ đơn giản là giọng của Nicks đi kèm với pattern keyboard Nicks tự đệm bằng cây piano Fender Rhodes, một vài chỗ sẽ có tiếng elec guitar (hoặc vox continental, cái này thì mình không quá chắc chắn và rõ vì thông tin liên quan đến bản demo rất ít).

Khi Nicks chơi bài hát này cho cả band, mọi người không hào hứng lắm =)))) Cũng không ngạc nhiên vì bài hát không quá cao siêu, chỉ có 2 chords và pattern chơi tạo cảm giác nhàm chán (thật sự, ai nghe bài này đầu tiên cũng đều thấy chán vcl luôn, vì nó cứ như thế mãi, nó không có đoạn cao trào hay gì cả). Nhưng Nicks bảo “ Please! Please record this song, at least try it’. Because the way I play things sometimes… you really have to listen “.

Để mà phân tích về cấu trúc phối của bản này thì chắc khó, vì vốn đây là bản demo mà, nên mình sẽ đánh vào bối cảnh sáng tác và ý nghĩa từng câu chữ khi phân tích bản này. Stevie Nicks viết Dreams khoảng đầu năm 1976 ở Record Plant studio ở California, chỉ trong 10 phút.

“When we were first recording the Rumours record we spent two months in Sausalito at the Record Plant, and as far as I’m concerned that’s when we actually recorded the record. It took another eight months after that , but the tracks were all done there. Um, while they’re doing all kinds of stuff and there’s nothing for me to do, I went next door to Sly Stone’s studio within the building, this big, like, black and red room with a kind of a stairway that went down into this, like, kind of tunnel thing where people would set up and play around this like light house sort of setup. And I took my little Fender Rhodes piano in there and I wrote Dreams. And I spent about an hour in there, and then I went back in to Fleetwood Mac and actually was brave enough to just play, play it for them, cause I really thought it was good, [smiles] and uh, and they liked it and we recorded it that night. That is the story of Dreams. - Stevie Nicks, VH1 Storytellers, 1998

(Khi chúng tôi mới thu Rumours chúng tôi dành 2 tháng ở Sausalito ở Studio Record Plant, và nếu tôi không nhầm thì lúc đó là lúc mà chúng tôi mới bắt đầu thực sự thu âm. Sau đó chúng tôi mất thêm 8 tháng nữa, nhưng các bài hát đều đã xong xuôi. Ờm, khi mà mọi người làm rất nhiều thứ và tôi không phải làm gì thêm nữa, tôi sang studio của Sly Stone ở bên cạnh, trong cùng 1 tòa nhà, một phòng to , màu đen và đỏ với cầu thang dẫn tới một tầng hầm mà mọi người sẽ set up và chơi nhạc. Và tôi mang theo cây Fender Rhodes của mình vào trong đó và viết Dreams. Tôi mất khoảng 1 tiếng trong đó, và tìm Fleetwood Mac, thực sự đủ dũng cảm để chơi bài hát cho họ nghe, vì tôi thấy nó khá hay * cười mỉm *. Và tờ, họ thích bài hát và chúng tôi thu âm ngay tối hôm đó. Đó là câu chuyện về Dreams)

Đồng thời đó cũng là khoảng thời gian mà mối quan hệ giữa Nicks và Buckingham dần đi đến hồi kết, khi mà Buckingham muốn được tự do và bài hát như một lời chấp nhận. Nicks không hề muốn rời xa Buckingham nhưng cũng không muốn níu giữ điều gì khi Buckingham dần rời xa bà và “want your freedom”. Mở đầu Dreams như một bản tự sự, đầy tuyệt vọng nhưng cũng không hề thảm hại, mà chỉ nói ra sự thật, nói ra nỗi lòng của Nicks, một cách khéo léo, đầy ẩn dụ và không cố tình mang ác ý. (Trái ngược với Go Your Own Way do Buckingham viết, mang tính động chạm rất cao, đù má passive agressive vcl =)))))

” Now here you go again, you say You want your freedom Well who am I to keep you down It’s only right that you should Play the way you feel it But listen carefully to the sound Of your loneliness Like a heartbeat drives you mad In the stillness of remembering what you had And what you lost, and what you had, and what you lost ”

Mặc dù chấp nhận rằng Buckingham không còn muốn ở bên mình, Nicks vẫn giữ một niềm tin rằng, sau khi bà rời đi, người cũ sẽ trở nên vô cùng cô đơn, đến độ phát điên, như để tự trấn an bản thân mình. Đoạn chorus ở tiếp theo, với một số câu đá đểu khá thâm thúy nhưng vẫn văn vẻ và lịch sự =))))

“Thunder only happens when it’s raining Players only love you when they’re playing Say women they will come and they will go When the rain washes you clean, you’ll know, you’ll know”

Nicks không viết là “If” (nếu) mà lại là “When” (Khi), có vẻ là đang khẳng định rằng người cũ cần phải được gột rửa bản thân, cho đến khi mà ông biết chấn chỉnh lại góc nhìn của ông về phụ nữ nói chung, bằng không, ông sẽ cô độc suốt đời. Nicks chỉ viết là “Nói rằng”, cũng không đề cập đến ai nói, nhưng dường như bà đang ám chỉ người cũ. Cảm giác rằng, Nicks muốn nói ”Có phải bởi vì tao là phụ nữ nên mày không đối xử với tao như một người bình thường? Vì tao thấy người phụ nữ nào mày cũng đối xử tệ như vậy hết. Nên là mày hãy gột rửa tất cả, đừng cho rằng mày sống và suy nghĩ thoáng, vì mày còn phải học hỏi nhiều và dài dài về sau.” (nói ra như thế này thì thô vl =)))) Cũng có thể nghĩ về câu “Players only love you when they’re playing” như Nicks đang ám chỉ Buckingham (mẹ kiếp) Vào Verse 2, Nicks đổi lời ở 5 câu đầu tiên:

“Now here I go again, I see the crystal visions I keep my visions to myself, it’s only me Who wants to wrap around your dreams and, Have you any dreams you’d like to sell? Dreams of loneliness Like a heartbeat drives you mad In the stillness of remembering what you had and what you lost, and what you had, and what you lost ”

Ở đây, có thể thấy rõ ràng Nicks đang tự sống trong ảo ảnh do chính bản thân mình tạo ra. Bà muốn trở thành người có thể đi cùng Buckingham đến cuối con đường, nhưng tất cả sẽ không bao giờ thành sự thật mà chỉ đơn giản là một mộng mơ của bà. Kể cả khi có cô đơn tới cỡ nào, có nhận ra rằng bản thân đã đối xử tệ với bà thế nào, và kể cả khi Nicks có tha thứ và yêu mình, thì Buckingham vẫn không hề muốn hai người quay lại.

Như mình đã nói, ai mà nghe bản demo rồi chắc chắn không tránh khỏi suy nghĩ rằng bài hát vô cùng nhàm chán, chỉ có 2 chords và không hề có cao trào đặc sắc. Bản thân mình mới đầu khi nghe cũng cảm thấy thế, nhưng vì một lý do nào đó mà mình lại rất chú ý vào lời bài hát này, và từ đó dường như bị ám ảnh với bài hát luôn, có lẽ vì bài hát như nói lên tất cả những gì mình cảm thấy trong 2 mối quan hệ cũ gần đây nhất. Buồn cười ở chỗ, nếu mối quan hệ trước, mình cảm thấy đồng cảm với Nicks thì đến mối quan hệ tiếp theo, mình lại hiểu cho Buckingham, thực sự rất chua chát =))))) Bình thường mỗi khi có cảm xúc gì mình đều diễn đạt được qua nhạc mình viết: (đoạn in nghiêng không cần đọc hết đâu, vì có thể có bài mà bạn còn không biết tên) - Cảm xúc đang ở trong một mối quan hệ nhưng lại bị người còn lại bỏ lơ: (Không Hẳn Là Một Bản) Tình Ca - Cảm xúc xỉa xói chửi đểu một cách lãng mạng vì không muốn để lộ là mình đang chửi: Anh Còn Nhớ - Cảm xúc đau buồn khi vừa bị giai bỏ: Lắng (là cái bài nghe phim chưởng ý =)))) - Cảm xúc kiểu “i told you so” khi giai nó bỏ mà còn quay ngược lại dạy đời mình: Đồi - Cảm xúc cô đơn không ai bên cạnh: Loneliness And Isolation - Cảm xúc nhớ bạn bè: / bài hát viết trong lưu bút mà còn chưa đặt tên/ …�� Nói chung là nhiều. Nhưng với cái thứ chua chát mà Dreams mang lại cho mình, thực sự mình chưa thể diễn đạt được ra bằng chất liệu âm nhạc của bản thân, vì sao thì không biết, chỉ có thể đoán là mình lỡ biến Dreams thành một bài hát mang ý nghĩa cay nghiệt của riêng mình. Dreams là theme bí mật của show đầu tiên của mình - Take Two, sau khi mình trải qua một cú giáng mạnh đến từ một “người bạn cũ”, cú giáng đã khiến những suy nghĩ tiêu cực về bản thân mình vốn đã từng hiện hữu, lại càng trở nên mạnh mẽ hơn và chiếm lấy cả khối óc lẫn ăn mòn tinh thần mình mãi cho đến 2 tháng trở lại đây. Và bây giờ khi quay trở lại đối diện với bài hát này, Dreams như bản luận tội tình yêu của 2 cá thể đối lập đang hiện hữu ở trong con người mình. Cái văn bản trên nó đương nhiên là không có ngoài đời thật, không hiện hữu như một vật chất, mà nó chỉ lang thang đâu đó trong trí óc mình, giống như những giấc mơ mà thôi. Và cũng chẳng biết khi nào thì mình có thể get over được Dreams mà trải lòng qua những thứ thật sự là của mình, để sẵn sàng bước sang một trang mới, dù mình chả biết điều đó xảy ra khi nào và cũng aware được rằng có thể có khả năng nó sẽ không bao giờ xảy ra =)) Mình thích bài hát, thậm chí là ám ảnh, nhưng cứ khi nào hát là mình lại thấy đau quặn trong lòng mà không hiểu lý do. (wow viết xong một hồi không hiểu mình viết clg)

/. Khác với ý định ban đầu là chia 2 phần: Phần Khô và Phần Ướt, có vẻ bây giờ mình đang hơi đi quá sâu vào cảm xúc bản thân dành cho bài hát ở bên trên nên cũng kệ vậy nghĩ thế nào thì viết như thế =))) Thực ra trên youtube có bài phân tích rất hay và người ta mô tả cũng dễ hiểu hơn rất nhiều, vì làm dưới định dạng video thì dễ mô tả hơn cho người xem ý =)) mình vừa xem vừa nghe được. Mọi người có thể xem thêm ở video “How Fleetwood Mac Makes A Song”của The Nerdwriter. Nhưng mình vẫn sẽ tổng hợp lại và viết thêm một số thứ vì nửa còn lại của cái đoạn 3 này nó không thể dừng lại ở từng này chữ được =))))) Bản official bắt đầu với một đoạn báo tiếp nối tiếng snare khiến ta hơi “giật mình” chút, vì một khi ai đã quen với bản demo thì sẽ cảm giác bản này upbeat hơn nhiều và nặng nề hơn là làm mất đi tính ủy mị và mộng mơ của bài hát =)) Nhưng khi vào bài rồi thì sẽ thấy riff trống xuyên suốt cả bài mà cứ lặp đi lặp lại đó thực sự có chủ ý, cảm giác như đang mê hoặc người nghe. Thực chất bài hát đã được Buckingham thử nghiệm với nhiều kiểu khác nhau để tạo ra một không gian melancholic mà vẫn khiến mình phải nhún nhảy (?), vậy nên thay vì sử dụng nhiều đoạn đổi, đảo nhịp hay những câu riff phức tạp thì ông cho thu một riff trống đơn giản dài 8 bars và cho chạy loop =))) Xuyên suốt cả bài hát, và đặc biệt là những đoạn instrumental, tiếng guitar khá là whiny (điều mà sẽ không thấy có trong bản live) sẽ được làm khá rõ. Để bài hát dày thêm, đi nền sẽ là tiếng acoustic guitar cùng với một số đoạn tỉa elec guitar sound clean (hình như có thêm tí gain) rải rác (để hiểu thêm về phần này vui lòng xem vid, khó diễn đạt quá =))))) và tiếng Hammond B3 organ mà Christine chơi suốt cả bài. Nãy đang viết tưởng được rồi xong rồi thế đếch nào máy lại đơ xong rồi đếch lưu haha giờ tôi lại phải viết lại, thật là bức xúc.

Anw, ngoài ra bài hát được phối thêm với vibraphone ở phần pre chorus và ở chorus thứ 2, thêm thắt tiếng trông bongo. Cả bài hát đã được Caillat đẩy phần bass của các cây nhạc cụ lên, ngoại trừ tiếng hi-hat xuyên suốt, giọng của Stevie Nicks và sound elec guitar ỉ ôi ai oán đã nói bên trên, nhằm tăng tính thôi miên cho bài hát mà vẫn nổi được vocal chính. Tóm lại, producers và cả ban nhạc đã release một bản thu classic, và gần như tiêu biểu cho dòng nhạc pop, “perfect pop” i would say. Khi nghe, ta có thể cảm thấy như bài hát không hề tạo ra cảm giác lỗi thời. Nó đã, vẫn đang và sẽ sống theo thời gian.

//ddets.

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kosmicsound150-blog · 4 years

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1962dude420-blog · 3 years

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Today we remember the passing of Ray Manzarek who Died: May 20, 2013 in Rosenheim, Germany

Raymond Daniel Manzarek Jr. was an American musician, singer, producer, film director, and author, best known as a member of The Doors from 1965 to 1973, which he co-founded with singer and lyricist Jim Morrison.

Manzarek was inducted into the Rock and Roll Hall of Fame in 1993 as a member of the Doors. He was a co-founding member of Nite City from 1977 to 1978, and of Manzarek–Krieger from 2001 until his death in 2013. USA Today defined him as "one of the best keyboardists ever".

Raymond Daniel Manczarek Jr. was born and raised on the South Side of Chicago, Illinois. He was born to Helena (1918–2012) and Raymond Manczarek Sr. (1914–1987), and was of Polish descent.

In 1956, he matriculated at DePaul University, where he played piano in his fraternity's jazz band (the Beta Pi Mu Combo), participated in intramural football, served as treasurer of the Speech Club, and organized a charity concert with Sonny Rollins and Dave Brubeck. He graduated from the University's College of Commerce with a degree in economics in 1960.

In the fall of 1961, Manzarek briefly enrolled at the University of California, Los Angeles School of Law. Unable to acclimatize to the curriculum, he transferred to the Department of Motion Pictures, Television and Radio as a graduate student before dropping out altogether after breaking up with a girlfriend. Although he attempted to enlist in the Army Signal Corps as a camera operator, he was instead assigned to the highly selective Army Security Agency as a prospective intelligence analyst.

Following his return to the U.S., he re-enrolled in UCLA's graduate film program in 1962, where he received a M.F.A. in cinematography in 1965. During this period, he met future wife Dorothy Fujikawa and undergraduate film student Jim Morrison. At the time, Manzarek was in a band called Rick & the Ravens with his brothers Rick and Jim. Forty days after finishing film school, thinking they had gone their separate ways, Manzarek and Morrison met by chance on Venice Beach in California. Morrison said he had written some songs, and Manzarek expressed an interest in hearing them, whereupon Morrison sang rough versions of "Moonlight Drive", "My Eyes Have Seen You" and "Summer's Almost Gone". During this period, Manzarek met teenage guitarist Robby Krieger and drummer John Densmore at a Transcendental Meditation lecture and recruited them for the incipient band. Densmore said, "There wouldn't be any Doors without Maharishi."

In January 1966, the Doors became the house band at the London Fog on the Sunset Strip. According to Manzarek, "Nobody ever came in the place ... an occasional sailor or two on leave, a few drunks. All in all it was a very depressing experience, but it gave us time to really get the music together." When the Doors were fired from the London Fog, they were hired to be the house band at the Whisky a Go Go. The Doors' first recording contract was with Columbia Records. After a few months of inactivity, they learned they were on Columbia's drop list. At that point, they asked to be released from their contract. Following a few months of live gigs, Jac Holzman "rediscovered" the Doors and signed them to Elektra Records.

The Doors lacked a bass guitarist (except during recording sessions), so for live performances Manzarek played the bass parts on a Fender Rhodes piano keyboard bass. His signature sound was that of the Vox Continental combo organ, an instrument used by many other psychedelic rock bands of the era. He also used a Gibson G-101 Kalamazoo combo organ (which looks like a Farfisa) for the band's later albums.

During the Morrison era, Manzarek was the group's regular backing vocalist. He occasionally sang lead, as exemplified by covers of Muddy Waters's "Close to You" (released on 1970s Absolutely Live) and "You Need Meat (Don't Go No Further)" (recorded during the L.A. Woman sessions and initially released as the B-side of "Love Her Madly"). He went on to share lead vocals with Krieger on the albums (Other Voices and Full Circle) released after Morrison's death.

Manzarek married fellow UCLA alumna Dorothy Aiko Fujikawa in Los Angeles on December 21, 1967, with Jim Morrison and his longtime companion, Pamela Courson, as witnesses. Manzarek and Fujikawa remained married until his death. They had a son, Pablo born on August 31, 1973, and three grandchildren. In the early 1970s, the Manzareks divided their time between an apartment in West Hollywood, California, and a small penthouse on New York City's Upper West Side. They subsequently resided in Beverly Hills, California (including ten years in a house on Rodeo Drive) for several decades. For the last decade of his life, Manzarek and his wife lived in a refurbished farmhouse near Vichy Springs, California in the Napa Valley.

In March 2013, Manzarek was diagnosed with a rare cancer called cholangiocarcinoma (bile duct cancer) and traveled to Germany for special treatment. During that time he reconciled with Densmore, and he spoke to Krieger before his death. He also performed a private concert for his doctors and nurses. Manzarek was "feeling better" until it took a turn for the worse according to his manager. On May 20, 2013, Manzarek died at a hospital in Rosenheim, Germany, at the age of 74. His body was cremated. Krieger said upon hearing the news of his death, "I was deeply saddened to hear about the passing of my friend and bandmate Ray Manzarek today. I'm just glad to have been able to have played Doors songs with him for the last decade. Ray was a huge part of my life and I will always miss him." Densmore said, "There was no keyboard player on the planet more appropriate to support Jim Morrison's words. Ray, I felt totally in sync with you musically. It was like we were of one mind, holding down the foundation for Robby and Jim to float on top of. I will miss my musical brother."

Greg Harris, president and CEO of the Rock and Roll Hall of Fame, said in reaction to Manzarek's death that "The world of rock 'n' roll lost one of its greats with the passing of Ray Manzarek." Harris also said that "he was instrumental in shaping one of the most influential, controversial and revolutionary groups of the '60s. Such memorable tracks as 'Light My Fire', 'People Are Strange' and 'Hello, I Love You' – to name but a few – owe much to Manzarek's innovative playing."

On February 12, 2016, at the Fonda Theatre in Hollywood, Densmore and Krieger reunited for the first time in 15 years to perform in tribute to Manzarek and benefit Stand Up to Cancer. That day would have been Manzarek's 77th birthday. The night featured Exene Cervenka and John Doe of the band X, Rami Jaffee of the Foo Fighters, Stone Temple Pilots' Robert DeLeo, Jane's Addiction's Stephen Perkins, Emily Armstrong of Dead Sara and Andrew Watt, among others.

In April 2018, the film Break On Thru: A Celebration of Ray Manzarek and the Doors premiered at the 2018 Asbury Park Music & Film Festival. The film highlights the 2016 concert in honor of what would have been Manzarek's 77th birthday, and new footage and interviews. The film won the APMFF Best Film Feature Award at the festival.

#May 20 #2013 #R.I.P.#Ray Manzarek #The Doors

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