1953 doğumlu Mike Stern,BB King,Clapton ve Hendrix'in teşvik edici blues ve rock etkileriyle,gitar çalmaya 12 yaşında başladı.70'lerin ilk dönemlerinde Boston'daki Berklee College of Music'te bulundu ve caza yöneldi. Wes Montgomery ve Jim Hall'u,ayırd edici çalma sitiline en büyük ilhamı veren kişiler olarak örnek gösterdi.
1976'da,Pat Metheney'in önermesiyle,iki yıllığına Blood, Sweat & Tears'a girdi.İki albüm kaydetti.Aşağı yukarı aynı zaman süreci kadar da Billy Cobham'ın orkestrasında çaldı.1981'de Miles Davis'le konsere çıktı ve daha sonra onun üç albümünde,ki bir tanesi live olan 'We Want Miles' dır, yer aldı.
1985 yılında,Jaco Pastorius’ Word Of Mouth orkestrasıyla turneden sonra,tekrar Davis'e katıldı.Ardından soprano saksafon ustası David Sanborn'la bir araya geldi.Daha sonra Steps Ahead'de vibrafonist Mike Mainieri ve saksafoncu Michael Brecker'la çaldı.1986 yılında,Sanborn, Pastorius ve davulcu Dave Weckl'ın da katılımıyla,'Upside Downside' albümünü çıkardı.
İleriki birkaç yıl boyunca Michael Brecker beşlisi'nin bir üyesi oldu.Bob Berg'le,davulda Dennis Chambers,basta Lincoln Goines'in olduğu,bir turne grubu kurdu.1992 yılında,tekrar kurulmuş olan Brecker Brothers Band'e katıldı. Çıkardığı kendi albümleri büyük başarılar yakaladı.1993'deki 'Standards (And Other Songs)' albümüyle Guitar Player okuyucularından "Best Jazz Guitarist of the Year",Yılın En İyi Jazz Gitaristi ödülünü aldı.Sonradan gelen iki albümle de Grammy ödüllerine aday gösterildi. kaynak: www.senkop.com.tr
John McLaughlin (d. 4 Ocak 1942, Doncaster, Yorkshire), İngiliz caz ve rock gitaristi. McLaughlin, müzikte yeni teknolojiler denemiş ve gitar konçertoları bestelemiştir.
Gençlik döneminde Georgie Fame's Blues Flames, Graham Bond Organisation, Brian Auger's Trinity gibi gruplarda çalmış, 1968 yılında ise kendi grubunu kurmuştur.
1969’da Tony Williams'ın grubu Lifetime ile çalmaya başlamıştır. Bu grupla birlikte sahne aldığı dönemlerde, caz müziğin önemli isimlerinden olan Miles Davis’in klasikleşmiş iki albümünde ('In a Silent Way'-'Bitches Brew') çalmıştır. Caz ve rockı birleştiren ve önemli jazz fusion gruplarından biri olarak bilinen Mahavishnu Orchestra’nın gitaristi olarak ün yapmıştır.
1975'te tarzını değiştirerek akustik gitar ve Hint müziği ile ilgilenmeye başlamıştır. Batı ve doğu müziğini sentezleme çabasında olan Shakti isimli grubu kurması bu döneme rastlamaktadır.
Jean-Luc Ponty is a pioneer and undisputed master of violin in the arena of jazz and rock. He is widely regarded as an innovator who has applied his unique visionary spin that has expanded the vocabulary of modern music. At first, the violin proved to be a handicap; few at the time viewed the instrument as having a legitimate place in the modern jazz vocabulary. With a powerful sound that eschewed vibrato, Jean-Luc distinguished himself with be-bop era phrasings and a punchy style influenced more by horn players than by anything previously tried on the violin; nobody had heard anything quite like it before. Critics said then that he was the first jazz violinist to be as exciting as a saxophonist. Ponty's notoriety grew with remarkable leaps and by 1964, at age 22, he released his debut solo album for Philips, Jazz Long Playing. A 1966 live album called Violin Summit united Ponty on stage in Basel, Switzerland with such notable string talents as Svend Asmussen, Stéphane Grappelli and Stuff Smith.
Dünyaca ünlü enstrümantal caz ve dünya müziği gitaristi Al Di Meola, 22 Temmuz 1954'de New Jersey, ABD'de doğdu. Küçük yaşta davul öğrenmeye başlayan Di Meola, 9 yaşında Beatles dinlemeye başladıktan sonra gitar çalmaya karar verdi. Caza olan ilgisinin artmasından sonra 1971'de Boston'daki ünlü Berklee Müzik Koleji'ne girdi ve burada klavyeci Barry Miles'ın öncülüğündeki caz-füzyon grubu ile çalışmaya başladı. 1974'de yine dünyaca ünlü caz ve dünya müziği piyanisti Chick Corea tarafından keşfedilen Di Meola, Corea'nın grubu "Return to Forever" ile çalışmaya ve hemen ertesinde büyük kitleler karşısında kendi konserlerini vermeye başladı. Klavyede Chick Corea, bas gitarda Stanley Clarke, davulda Lenny White ve gitarda Al Di Meola'dan oluşan Return to Forever, üç caz-füzyon albümü kaydetti. 1976'da Return to Forever'ın dağılmasıyla Al Di Meola, kariyerine tek başına devam etmeye karar verdi. 1976'da ilk albümünü çıkardıktan sonra Paco De Lucia ve John McLaughlin ile bir üçlü oluşturarak flamenko etkili iki albümde çaldı. Arjantin'li ünlü tango ve akordeon ustası Astor Piazzolla ile dost olduktan sonra Güney Amerika müziğine olan ilgisi arttı. Bunun etkisiyle tango müziğinin yoğunlukla etkin olduğu albümler çıkardı. Albümlerinde, bir virtüöz olmasının yanı sıra güçlü bir besteci olduğunu da gösteren Di Meola, Paco De Lucia ve John McLaughlin'le 1996'da tekrar bir araya geldi ve Guitar Trio albümünü çıkardı. Bu üçlü aynı yıl dünya turnesine çıktı. Al Di Meola son 25 yılın enstrümantal müzik alanında en önemli isimlerden biri olmayı başarmıştır.
16 ocak 1959 da Nijerya’da doğan Sade, Babası Nijeryalı ,Annesi ise İngilizdir.Gerçek ismi Helen Folasade Adu olan Sade. Babası ve annesi ayrılınca;
Annesi ile birlikte İngiltere’ye taşınan Sade burda St Martin's art college okulunda moda okurken eski okul arkadaşları tarafından açılan bir gruba vokalistlik yapmaya başladı. Soul müzik dinlemeyi çok seven Sade, özellikle de Curtis Mayfield, Donny Hathaway ve Marvin Gaye hayranıydı.Daha sonrasinda okul grubu sayesinde keşfedilen Sade ilk albümünü 1984 yılında yayınladı bu tarihten itibaren 6 albüm yayınladı.Özellikle Lovers rock albümü'nden çıkan «By Your Side» çok ses getiren Sade.
En çok albüm satan kadın şarkıcılar arasında yer almasına rağmen çok göz önünde olmaktan hoşlanmaz.
Diskografi:
* 1984: Diamond Life
* 1985: Promise
* 1988: Stronger Than Pride
* 1992: Love Deluxe
* 2000: Lovers Rock
* 2010: Soldier of Love
One of the great rock vocalists of the 1960s, Tim Buckley drew from folk, psychedelic rock, and progressive jazz to create a considerable body of adventurous work in his brief lifetime. His multi-octave range was capable of not just astonishing power, but great emotional expressiveness, swooping from sorrowful tenderness to anguished wailing. His restless quest for new territory worked against him commercially: By the time his fans had hooked into his latest album, he was onto something else entirely, both live and in the studio. In this sense he recalled artists such as Miles Davis and David Bowie, who were so eager to look forward and change that they confused and even angered listeners who wanted more stylistic consistency. However, his eclecticism has also ensured a durable fascination with his work that has engendered a growing posthumous cult for his music, often with listeners who were too young (or not around) to appreciate his music while he was active.
Buckley emerged from the same ’60s Orange County, CA, folk scene that spawned Jackson Browne and the Nitty Gritty Dirt Band. Mothers of Invention drummer Jimmy Carl Black introduced Buckley and a couple of musicians Buckley was playing with to the Mothers’ manager, Herbie Cohen. Although Cohen may have first been interested in Buckley as a songwriter, he realized after hearing some demos that Buckley was also a diamond in the rough as a singer. Cohen became Buckley’s manager, and helped the singer get a deal with Elektra.
Before Buckley had reached his 20th birthday, he’d released his debut album. The slightly fey but enormously promising effort highlighted his soaring melodies and romantic, opaque lyrics. Baroque psychedelia was the order of the day for many Elektra releases of the time, and Buckley’s early folk-rock albums were embellished with important contributions from musicians Lee Underwood (guitar), Van Dyke Parks (keyboards), Jim Fielder (bass), and Jerry Yester. Larry Beckett was also an overlooked contributor to Buckley’s first two albums, co-writing many of the songs. devamı için...
John Barry, OBE (born John Barry Prendergast on 3 November 1933 in York, England) is an English film score composer. He is best known for composing 11 James Bond soundtracks and was hugely influential on the 007 series' distinctive style.
Acid Mothers Temple & the Melting Paraiso U.F.O. (and subsequent offshoots) is a Japanese psychedelic band, the core of which formed in 1995.[1] The band is led by guitarist Kawabata Makoto and early in their career featured many musicians, but by 2004 the line-up had coalesced with only a few core members and frequent guest vocalists.
The band has released albums frequently on a number of international record labels as well as the Acid Mothers Temple family record label, which was established in 1998 to document the activities of the whole collective.
A freak-out group for the 21st century founded in 1995 by members of the Acid Mothers Temple soul-collective. Led by Kawabata Makoto.
Meredith Jane Monk (born November 20, 1942 in New York City) is an American composer, performer, director, vocalist, filmmaker, and choreographer. Since the 1960s, Monk has created multi-disciplinary works which dwell in the spaces between music, theatre, and dance, recording extensively for ECM Records.
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Meredith Monk, is a composer, singer, director/choreographer and creator of new opera, music theater works, films and installations. A pioneer in what is now called “extended vocal technique” and “interdisciplinary performance,” Monk creates works that thrive at the intersection of music and movement, image and object, light and sound in an effort to discover and weave together new modes of perception. Her groundbreaking exploration of the voice as an instrument, as an eloquent language in and of itself, expands the boundaries of musical composition, creating landscapes of sound that unearth feelings, energies, and memories for which we have no words. She has alternately been proclaimed as a “magician of the voice” and “one of America’s coolest composers.” During a career that spans more than 40 years she has been acclaimed by audiences and critics as a major creative force in the performing arts.
devamı için http://www.meredithmonk.org/monk/index.html
The West Coast Pop Art Experimental Band was an American psychedelic rock band of the late 1960s, based in Los Angeles, California.
In about 1960, Bob Markley (b. Oklahoma, c.1935 - 2003[citation needed]), the adopted son of an oil tycoon, and a law graduate, moved to Los Angeles with hopes of becoming a star. He was already a local TV personality in Oklahoma, but his initial attempts to develop a Hollywood career, either in movies or as a pop singer, met with little success.
At around the same time, brothers Shaun (b Colorado Springs, 1946) and Danny Harris (b Colorado Springs, 1947), children of composer Roy Harris, also moved to Los Angeles, and by 1963 had both begun playing with a teen surf band, the Snowmen. When they started attending Hollywood Professional School in 1964, they met up with Michael Lloyd (born 1948), who had been playing in several groups, latterly the Rogues. The Harris brothers and Lloyd decided to form a new band, initially called The Laughing Wind, and they recorded demos for a mutual friend, record producer Kim Fowley. Fowley already knew Markley, and suggested that the band use some of the latter’s lyrics.
In 1965, Fowley arranged a private party in Markley’s house at which the Yardbirds performed, and which the Harris brothers and Lloyd also attended. Markley was impressed by the large number of teenage girls attracted by the band, and the much younger musicians were impressed by Markley’s financial resources and potential ability to fund good quality equipment and a light show. Fowley encouraged them to join forces and, with the addition of drummer John Ware, The West Coast Pop Art Experimental Band was formed. The general approach was intended to parallel that being developed on the east coast by Andy Warhol and the Velvet Underground. Markley used his legal background to ensure that he held all rights to the band’s name. devamı için http://en.wikipedia.org/wiki/The_West_Coast_Pop_Art_Experimental_Band
Francisco de Paula Aguirre (October 20, 1875 – 1939) was a Venezuelan composer.
Aguirre was born in Caracas, dedicates part of his life at the composition of waltzes, his works became popular pieces of the Venezuelan culture, also was a precursory of the player piano rolls manufacture in the country. Between his works, emphasize "Claveles de Galipán", "Que Bella son las flores", "Dama Antañona" and the joropo "Amalia". Francisco de Paula Aguirre, dies in 1939 [1].
Cornelius Cardew (7 May 1936–13 December 1981) was an English avant-garde composer, and founder (with Howard Skempton and Michael Parsons) of the Scratch Orchestra, an experimental performing ensemble. He later rejected the avant-garde in favour of a politically motivated "people's liberation music".
Cardew was born in Winchcombe, Gloucestershire. He was the second of three sons whose parents were both artists — his father was potter Michael Cardew. The family moved to Wenford Bridge Pottery Cornwall a few years after his birth where he was later accepted as a pupil by the Canterbury Cathedral School which had evacuated to the area during the war due to bombing. His musical career thus began as a chorister. From 1953-57, Cardew studied piano, cello, and composition at the Royal Academy of Music in London. In 1957, he performed in the British premiere of Pierre Boulez's Le Marteau sans maître (having learnt to play the guitar for the occasion as no professional guitar player was available). Having won a scholarship to study at the recently established Studio for Electronic Music in Cologne, Cardew served as an assistant to Karlheinz Stockhausen from 1958 to 1960. He was given the task of independently working out the composition plans for the German composer's score Carré, and Stockhausen noted:
As a musician he was outstanding because he was not only a good pianist but also a good improviser and I hired him to become my assistant in the late 50s and he worked with me for over three years. I gave him work to do which I have never given to any other musician, which means to work with me on the score I was composing. He was one of the best examples that you can find among musicians because he was well informed about the latest theories of composition as well as being a performer.
Most of Cardew's compositions from this period make use of the integral and total serialist languages pioneered by Boulez and Stockhausen.
chance and the American avant-garde
In 1958, Cardew witnessed a series of concerts in Cologne by John Cage and David Tudor which had a considerable influence on him, leading him to abandon post-Schönbergian serial composition and develop the indeterminate and experimental scores for which he is best known. He was particularly prominent in introducing the works of American Avant-Garde composers such as Morton Feldman, La Monte Young, Earle Brown, Christian Wolff, and Cage to an English audience during the early to mid sixties and came to have a considerable impact on the development of English music from the late sixties onwards.
Cardew's most important scores from his avant-garde period are Treatise (1963-67), a 193-page graphic score which allows for considerable freedom of interpretation, and The Great Learning, a work in seven parts or "Paragraphs," based on translations of Confucius by Ezra Pound. The Great Learning instigated the formation of the Scratch Orchestra. During those years, he took a course in graphic design[2] and he made his living as a graphic designer at Aldus Books in London.
In 1966, Cardew joined the free improvisation group AMM which had formed the previous year and included English Jazz musicians Lou Gare, Eddie Prévost, Keith Rowe, and one of his first students at the Royal Academy Christopher Hobbs. Performing with the group allowed Cardew to explore music in a completely democratic environment, freely improvising without recourse to scores.
While teaching an experimental music class at London's Morley College in 1968, Cardew, along with Howard Skempton and Michael Parsons formed the Scratch Orchestra a large experimental ensemble, initially for the purposes of interpreting Cardew's The Great Learning. The Scratch Orchestra gave performances throughout Britain and elsewhere until its demise in 1972. It was during this period that the question of art from whom was hotly debated within the context of the Orchestra, which Cardew came to see as elitist despite its numerous attempts to make socially accessible music.
Following the demise of the Orchestra, Cardew became more directly involved in left-wing politics and abandoned avant-garde music altogether, adopting a populist though post-romantic tonal style. He spent 1973 in West Berlin on an artist's grant from the City, where he was active in a campaign for a children's clinic. During the 1970s, he produced many songs, often drawing from traditional English folk music put at the service of lengthy Marxist-Maoist exhortations; representative examples are Smash the Social Contract and There Is Only One Lie, There Is Only One Truth. In 1974, he published a book entitled Stockhausen Serves Imperialism, which denounced, in Maoist self-critical style, his own involvement with Stockhausen and the Western avant-garde tradition.
Cardew was active in various causes in British politics, such as the struggle against the revival of neo-Nazi groups in Britain, and subsequently was involved in the People's Liberation Music group with Laurie Scott Baker, John Marcangelo, Vicky Silva, Hugh Shrapnel, Keith Rowe and others. The group developed and performed music in support of various popular causes including benefits for striking miners and Northern Ireland.
Cardew became a member of the Communist Party of England (Marxist-Leninist) in the 1970s, and in 1979 was a co-founder and member of the Central Committee of the Revolutionary Communist Party of Britain (Marxist-Leninist). His creative output from the demise of the Scratch Orchestra until his death reflected his political commitment. Cardew stated his attitude towards the avant-garde in Stockhausen Serves Imperialism:
Cardew's efforts to politicise culture in Britain were influenced by his relationship with Hardial Bains, the Canadian communist leader and a leading anti-revisionist politician. Bains contributed the lyrics to Cardew's signature song from his later period, We Sing for the Future.
Cardew died on 13 December 1981, the victim of a hit-and-run car accident near his London home in Leytonstone. The driver was never found.
Musician John Tilbury, in his book Cornelius Cardew—A Life Unfinished suggests that the possibility that Cardew was killed because of his prominent Marxist-Leninist involvement "cannot be ruled out". Tilbury quotes a friend of Cardew's, John Maharg; "MI5 are quite ruthless; people don't realise it. And they kill pre-emptively".
A 70th Birthday Anniversary Festival, including live music from all phases of Cardew's career and a symposium on his music, took place on Sunday, 7 May 2006, at the Cecil Sharpe House in London.
Kids these days listen to the darndest things. So it follows that they're in a position to make the darndest music, which is one way, perhaps, to describe what Anja Plaschg is doing with Soap&Skin, a project that's already turned a few heads in the young singer's native Austria. Plaschg recorded Lovetune for Vacuum, her debut album, while still a teenager, and the record is in many ways a document of what an ugly, awkward, erratic-- and, occasionally, glorious and transcendent-- process growing up can be. Tracks teeming with tension and lyrics detailing obsession and strife rub right up against moments of clarity and respite, just as Plaschg's chosen instrument, the piano, is sometimes usurped by more gnarled sounds of electronic origin. For all its connotations of purity, a vacuum, after all, is also a place where you can't breathe.
Plaschg is part of a generation of music-lovers not bound by the strictures of geography and commerce, free to gorge on sounds in limitless abundance. So is it any wonder that Lovetune sounds like some unholy union of Nico and Regina Spektor and Aphex Twin and a sizable chunk of the Fonal and Monika rosters? And, sure, some You Are Free-era Cat Power too, and Autechre, and maybe Stina Nordenstam, and certainly Björk, and a good deal of the classical/art song vanguard as well. The Nico namedrop has the most currency, particularly given Plaschg's native tongue and the fact that she has already portrayed the iconic musician/model in a play back home. Indeed, it's tempting to posit Lovetune as the sort of record Nico might be making today had she not taken off on her bicycle that fateful day in 1988.
Which brings us to Plaschg's most singular quality: her voice, a thing of great authority but not much grace that helps smooth over the parade of influences here into a unified whole. Even when she attempts the ethereal, as on "Cry Wolf", that voice still has an earthy, guttural weight to it, and when she uncloaks it completely to let out a full-on scream on "Spiracle" (live YouTube clips of this are worth seeking out), it blasts forth with all the violent colors of German Expressionist painting. There's a beauty-in-ugliness thing going on through much of Lovetune, in fact. "Marche Funèbre" throbs along on clusters of dense strings rendered severe and imposing by repetition, while the clatter of toys on "Cry Wolf" (the most Fonal-like moment here) sounds grating even as it suggests a yearning toward childhood. "Wolf" has an interesting parallel in the similarly clattery "DDMMYYYY", only there the toys have mutated into demon typewriters and fax machines performing what sounds like a rather nasty dissection. Call it growing pains.
Elsewhere, such as on "Turbine Womb" and "Brother of Sleep", Plaschg's piano conjures images of serene repose, a temporary calm within the emotional storm that is just about any teen's inner state. "Extinguish Me" and "Mr. Gaunt Pt 1000" even tend toward the saccharine. She may be synthesizing a whole mess of influences, but there's no questioning Plaschg's talent for marrying what we might consider "comfort music"-- sentimental, indulgent fare that's easy to cling to-- and the "distance music" of her more outré electronic and classical forbearers. By the end of closing track "Brother of Sleep", all is becalmed, right on through to the quiet sounds of the natural world that occupy the track's final minute. Yet just when we think it's over, along comes a single, ominous drum beat, suggesting the cycle of alternating clarity and agitation is poised to begin yet again. Soap has the ability to cleanse, but misapplied, it sure can sting too.
Deep Purple, 1968 yılında Londra, İngiltere'de kurulmuş olan bu efsanevi grup,dünyanın en ünlü hard rock gruplarından biridir. Led Zeppelin ve Black Sabbath ile birlikte hard rock ve heavy metalin öncülerindendir. Ancak bu efsanevi grubu bir kategoriye sokmak ve öyle değerlendirmek güçtür. Zira bünyesinde pek çok değişik tarzdaki müziği harmanlamıştır[1]. Grubun temellerini atan gitarist Ritchie Blackmore ise bugün grupta yer almamaktadır. Grup adını Peter De Rose’un bestelediği aynı isimli parçadan almıştır. Bu ismi almasının sebebi Ritchie Blackmore'un babannesinin bu şarkıyı çok seviyor olması ve grup ismi olarak bunu Ritchie Blackmore'a önermesidir. Smoke On The Water, Highway Star, Black Night, Child in Time, Fireball, Perfect Strangers, Woman From Tokyo, ve Soldier of Fortune, Burn adlı parçaları en bilindik parçalarıdır. Grup 1960'ların sonundan itibaren rock müziğe yön vermiş birkaç gruptan biridir.
Rock and Roll denince genelde akla ilk gelen isim tabiiki Rock and Roll'un Kralı Elvis Presley'dir. Ancak şarkı bazında yaklaşıldığında akla ilk gelen Be-Bop-a-Lula olur. Ne yazık ki gerçek bir klasik olan bu şarkının yaratıcısı parçayla aynı derece efsane olamamıştır. Aslında Gene Vincent, Rock and Roll efsanesinin isimsiz kahramanlarından biridir. Belki döneminde hiçbir zaman bir numara olamadı, altın plaklar alamadı. Bir Elvis gibi efsane olamadı ama o herzaman Be-Bop-a Lula ile gönüllerde kaldı. Briyantinli saçları, giydiği deri ceketleri ve çizmeleri vede sert uslübu ile 50'li yılların sevilen ve taklit edilen sanatçılarının başında geliyordu.
Gene Vincent, 11 Şubat 1935 ' de Norfolk Virginia ' da dünyaya geldi. Aslında annesinin söylediğine bakılırsa Gene'nin asıl doğum günü 17 Şubat 1935 ' dir. Kız kardeşi Evelyn, Gene hakkında yapılan bir röportajda Britt Hagarty'e Gene'nin Washington'da 22 Şubat 1935 'de doğduğunu söylemiştir. Bu yüzden Gene Vincent'ın doğum tarihi tıpkı hayatı gibi çelişkili ve karmaşıktır. Asıl ismi Eugene Vincent Craddock ' dur. Gene Vincent'ın bugün mezarında ve deniz kuvvetlerindeki kayıtlarında da Eugene Vincent Craddock yazılıdır. Onun çok yakından tanıyanlar Gene, bazı arkadaşları ise Vince diğer çağırırlardı.
Gene Vincent, asıl kariyerini Deniz kuvvetlerinden ayrıldıktan sonra gerçekleştirdi. İlk kayıtlarının 1956 ' da, o günlerin popüler müziği Rock and Roll üzerine yaptı. İlk 45'liğinin A yüzündeki parçanın ismi Woman Love, gayet vahşi ve soluk soluğa bir şarkıdır. Bu parçadan aşağıda ufak bir dörtlük sunulmuştur;
"I'm looking for a woman
With a one track mind
Just a kissin' and a smoochin'
And a huggin' all the time" .....
Aslında bu 45 'lik piyasaya çıktığında DJ'ler şarkıyı oldukça komik bulmuşlardı.
Gene Vincent asıl başarıyı en büyük hiti olan Be-Bop A Lula ile yakaladı. Gene Vincent'ın grubu Blue Caps (Başkan Eisenhower'ın golf şapkasından esinlenerek konmuştur) ile bu şarkıyı ölümsüzleştirmiştir. Gurubun isminin türkçesi mavi Kasketlerdir.
Gene Vincent 'ın grubu The Blue Caps ilk kurulduğunda şu isimlerden oluşuyordu :
Cliff Gallup - Gitar
Jack Neal - Bas
Willie Williams - Gitar
Dickie Harrell - Davul
Daha sonra Grup 1957 'de bazı değişikliklere tanık oldu ve son halini aldı. Son haliyle The Blue Caps şöyledir :
Johnny Meeks - Gitar
Dickie Harrell - Davul
Bobby Jones - Bas
Paul Peek - Geri Vokal
Tommy Facenda - Geri Vokal
Gene Vincent 1960'lara kadar sorunlu bir dönem geçirir. Kötü otel odalarında konaklamalar, eski müzik aparatları, peşpeşe gelen sorunlar ve en son olarak da yaşanan vergi problemleri yüzünden Amerika'dan ayrılmaya karar verir. Aslında tüm bu olumsuzluklara rağmen Gene Vincent'ın ünü biraz da Rock and Roll'un popülaritesi sayesinde Amerika dışına da çıkmıştı. Sonunda Vincent sıfırdan başlama düşüncesi ile gayette popüler olduğu İngiltere'ye göç etme kararı aldı. Zira o dönemde İngiliz gençliği müziğe daha açtı ve Amerikan şarkıcılarına da tapıyordu. Neticede Be-Bop-a-Lula'da İngiltere'de bayağı tutulmuştu. Zaten Amerika'da da Elvis fırtınası esiyordu. Neticede Gene Vincent 1960'da İngiltere'ye taşındı. Vincent İngiltere'de ilk yıllarında umduğundan fazlasını buldu. İngiliz gençliği ona hayrandı ve Rock and Roll'un kurucusu olarak bakıyordu.
Derken Gene Vincent'ı yıkan ve sonunu yavaş yavaş hazırlayan o kötü olay gerçekleşti. 1960'da en iyi arkadaşı Eddie Cochran İngiltere Turnesine gelmişti. Londra doğru giderken A4 Wiltshire yolunda bindikleri araba kaza yapar. Bir elektrik direğine çarparlar. Kazada arabada bulunan Eddie Cochran, kan kaybından ölür. Eddie'nin nişanlısı Sharon Sheeley ve Gene Vincent ufak yaralarla kazayı atlatırlar. Ancak Gene Vincent bu üzücü olay karşısında kendini toparlayamaz. Sonuçta en iyi arkadaşını kaybetmenin üzüntüsünü yaşamaktadır. Hatta Eddie, Gene'nin şarkılarında gitar bile çalmıştı. Örneğin Gene'nin Get It isimli parçasının girişindeki bas gitar solo Eddie Cochran ' a aittir. Neticede kaza Vincent'ın hem kariyerini hem de özel yaşamını fazlasıyla etkiler. Gene artık ağır ağır düşüşe geçmiştir. Zaten olay sonrası teselliyi alkolde arayan Vincent enerjik yapısını da kaybetmeye başlamıştır. 1969 'da Be-Bop-A-Lula 'nın 1969 versiyonunu kayda alan Gene 1971'de B.B.C. için 5 şarkı kaydeder. (1.10.1971)Bu kayıttan 10 gün sonra 11.10.1971'de ise kanamalı ülserden hayata gözlerini yumar. Ancak Gene Vincent daima The Blue Caps'le 1950'lerin Rock and Roll'unun isyankar ruhu ile beslenmiş süper kaydı Be-Bop-A -Lula ile akıllarda kalır. Yaşadığı çelişkiler, sorunlar, üzüntüler, mutluluklar, başarılar hep bu şarkının büyülü havası içinde unutulup gider. (kaynak: http://www.metalium.org)
Johnny Cash (26 Şubat 1932 – 12 Eylül 2003) Amerikan rock ve country müziğini önemli ölçüde etkilemiş bir gitarist, söz ve müzik yazarı ve June Carter Cash'in eşiydi. Derin ve özgün sesi, "yük katarı" diye de anılan Tennessee Üçlüsü adlı orkestrası, kendisine "siyah giysili adam" ün kazandıran kara giysileri ve tavırlarıyla ünlüydü. Tüm konserlerini sade bir takdimle başlatırdı: "Merhaba, ben Johnny Cash". Özellikle kariyerinin sonlarında doğru ana teması hüzün ve çile çekmek olan müzikler yaptı. "I Walk the Line", "Folsom Prison Blues", "Ring of Fire", "Man In Black" ve "Hurt" en ünlü şarkılarındandı. "One Piece At A Time", "The One on the Right is on the Left" ve "A Boy Named Sue" gibi esprili, eğlenceli şarkılar da yazdı. Hayat hikâyesini anlatan "Walk the line" filminde kendisini oynayan Joaquin Phoenix ile eşi June Carter'ı oynayan Reese Witherspoon'u ölümlerinden önce eşiyle birlikte seçtiler.
Elmore James (January 27, 1918 – May 24, 1963) was an American blues guitarist, singer, song writer and band leader. He was known as The King of the Slide Guitar and had a unique guitar style, noted for his use of loud amplification and his stirring voice.
The Four Aces is an American male quartet popular since the 1950s. Over the last half-century, the group amassed many gold records. Its million-selling signature tunes include "Love is a Many-Splendored Thing", "Three Coins in the Fountain", "Stranger in Paradise", "Dream", "Tell Me Why", "(It's No) Sin", "Shangri-la", "Woman in Love", "Perfidia", and "Sincerely". The original members, responsible for every song made popular by the group, included Al Alberts, Dave Mahoney, Lou Silvestri, and Rosario "Sod" Vaccaro.
Alberts went to South Philadelphia High School, Temple University, and the United States Navy, where he met Mahoney. Originally, Alberts sang with Mahoney playing behind him, and later they added Vaccaro on trumpet and Silvestri on drums. They played locally in the Philadelphia area, and Alberts started his own record label, Victoria Records, when they could not find a distributor to release their first record, "(It's No) Sin". It sold a million copies, and Decca Records soon signed the group, billing them as The Four Aces featuring Al Alberts.
Alberts left the group in 1956 to try to make it as a soloist, but never made the charts. He was replaced as lead singer by Fred Diodati, who had attended South Philadelphia High School a few years after Alberts.
Eventually all of the original members left, leaving Diodati to lead a new line-up which consisted of Fred Diodati, Tony Alesi, Joe Giglio and Harry Heisler. Unfortunately after almost nineteen years with the group, Tony Alesi developed a medical condition that forced him to leave the group. The current Aces configuration includes Fred Diodati, Joe Giglio, Harry Heisler, and Danny Colingo. These members sing all the songs the Original Four Aces had made popular at one time.
In 1975 a court awarded Diodati, Alesi, Giglio and Heisler the right to the name in a court suit in which the original members tried to re-establish their right. The court allowed the founding members to tour as "The Original Four Aces, Featuring Al Alberts", which they did, finally retiring the act in 1987. Fred Diodati, Joe Giglio, Harry Heisler and Danny Colingo, continue to legally use the name of the Four Aces and perform the songs that made the The Original Four Aces popular.
The original lead singer, Al Alberts, died of natural causes on November 27, 2009. He was 87 years old. Alberts was the first group member to die.
