Hank Williams http://www.guitarworld.com/taxonomy/term/1136/all/%E2%80%9Chttp%3A/omnivorerecordings.com/music/the-garden-spot-programs-1950/%E2%80%9Chttp%3A/omnivorerecordings.com/music/the-garden-spot-programs-1950/%E2%80%9C en Lesson: Country-Funk - What Hank Williams and James Brown have in Common http://www.guitarworld.com/acoustic-nation-lesson-country-funk-what-hank-williams-and-james-brown-have-common <!--paging_filter--><p>Most of you are probably familiar with the two-beat “boom-chick” style of rhythm playing so prevalent in classic country music. You may be surprised to learn that the groove that drives, say, Hank Williams’s “Your Cheatin’ Heart” is not that far removed from the one that drives a funk song like the James Brown instrumental “Night Train.”</p> <p>The basic two-beat pattern shown in <strong>Figure 1</strong>, with accents falling squarely on the beat, is typical of classic country and its European antecedents, styles where melody predominates over rhythm. </p> <p>The first step on the road to funk is to inject more rhythmic energy into the pattern by doubling up on the bass notes and shortening the chord accents (<strong>Figure 2</strong>) while also replacing the major triad with a saltier dominant seventh chord. </p> <p>This twist on the two-beat is typical of pre-funk New Orleans R&amp;B, exemplified by recordings like Earl King’s original version of the Hendrix rave-up, “Come On (Part 1),” and Fats Domino’s swampy take on “When the Saints Go Marching In.” </p> <p>Next, let’s add some 16th-note syncopation to the first chord accent. Sixteenth notes are the basic rhythmic currency of funk (<strong>Figure 3</strong>). </p> <p><img src="/files/imce-images/Country%20Funk%20fig%20123%20620.jpg" width="620" height="169" align="left" style="padding:10px 20px 10px 0;" alt="Country Funk fig 123 620.jpg" /></p> <p>Hear these examples here:<br /> <iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F114292518"></iframe><br /> <iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F114292504"></iframe><br /> <iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F114292497"></iframe></p> <p>We’ll put more emphasis on the bass (<strong>Figure 4</strong>) with a line that would fit comfortably in a soul classic like Sam &amp; Dave’s “Hold On, I’m Comin’.” </p> <p>Finally, as illustrated in <strong>Figure 5</strong>, we can beef up the bass pattern further by harmonizing it in third intervals and adding percussive, 16th note ghost notes. (Playing tip: fret the chord but don’t press your fingers down.)</p> <p><img src="/files/imce-images/Country%20Funk%204%205%20620.jpg" width="620" height="152" align="left" style="padding:10px 20px 10px 0;" alt="Country Funk 4 5 620.jpg" /></p> <p>Hear these examples here:<br /> <iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F114292481"></iframe><br /> <iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F114292457"></iframe></p> <p>Apply this same idea to a 12-bar blues progression (<strong>Figure 6</strong>) and you have a dance groove and form that have been familiar since the early Sixties, when the older, shuffle-dominated blues/R&amp;B sound was branching into soul (epitomized by Booker T, et al.), Motown (check out Barrett Strong’s “Money [That’s What I Want]”) and modern blues (Freddy King’s instrumental “San-Ho-Zay” is built on the same pattern). </p> <p><img src="/files/imce-images/Country%20Funk%206%20620.jpg" width="620" height="506" align="left" style="padding:10px 20px 10px 0;" alt="Country Funk 6 620.jpg" /></p> <p>Hear it here:<br /> <iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F114292443"></iframe></p> <p>Meanwhile, the Godfather himself was setting the stage for the birth of funk with variations on the same groove, the king that can be heard in “Night Train.”</p> <p>Here’s James Brown’s “Night Train” performed by the master himself live at Boston Garden.<br /> <iframe width="620" height="465" src="//www.youtube.com/embed/BawG-N9_FR8" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/acoustic-nation-lesson-country-funk-what-hank-williams-and-james-brown-have-common#comments acoustic guitar Acoustic Nation acoustic nation Booker T. & The MG's country funk Hank Williams James Brown Jimi Hendrix soul Lessons Wed, 08 Oct 2014 13:03:08 +0000 Keith Wyatt 19313 at http://www.guitarworld.com Previously Unreleased Music from Hank Williams Surfaces on 'The Garden Spot Programs, 1950' http://www.guitarworld.com/acoustic-nation-previously-unreleased-music-from-hank-williams-surfaces-on-the-garden-spot-programs-1950 <!--paging_filter--><p>Omnivore Recordings will soon release the full-length version of <em>The Garden Spot Programs, 1950</em>, featuring 24 performances from Hank Williams. </p> <p>Rescued from obscurity, these shows originally aired more than six decades ago; <em>The Garden Spot Programs, 1950</em> collects material from the four episodes now known to exist. </p> <p>Due out May 20, 2014, the set follows the release of Omnivore’s collectible 10-inch vinyl Record Store Day EP sampler.</p> <p>From hits to standards to songs rarely (if ever) performed, this is pure Hank Williams, including playful between-song banter. The release was painstakingly transferred, restored and mastered from original transcription discs by Grammy-winning engineer Michael Graves. </p> <p>Watch a trailer for the release, courtesy of Omnivore Recordings:</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/dr6-DuFS0aE" frameborder="0" allowfullscreen></iframe></p> <p>Williams’ daughter, Jett, is excited that her father’s lost material is not only seeing the light of day decades later, but will be available on CD, digital and LP.</p> <p>The CD packaging contains rare photos and liner notes from the collection of set co-producer and Williams biographer Colin Escott. Also available on LP, the first pressing will be on limited edition, translucent red vinyl (with black vinyl to follow), containing Escott’s informative notes and a download card. </p> <p>Escott writes in his notes: “Set the time machine for early morning on KSIB-AM, Creston, Iowa. February 1950. Country radio was beginning its slow transition from live music to DJ shows. Live music and DJ shows were augmented by transcribed shows. After buying 15 minutes of airtime on small-market stations, sponsors would prerecord shows with well known artists, duplicate them, and ship them out on 12- or 16-inch transcribed discs.”</p> <p>“That’s how Hank Williams came to be on KSIB in February 1950. Sandwiched between the local ‘live’ acts, it was almost as if he were visiting with Skeets and those Radio Rascals. His sponsor was one of the nation’s largest plant nurseries, Naughton Farms, seven hundred miles south in Waxahachie, Texas. </p> <p>Given that Naughton was a big player in the nursery business, Hank’s shows were almost certainly shipped to many small stations, but only KSIB’s copies survived. Those of us who have studied Hank’s life and career had no idea that these recordings existed.”</p> <p>“It’s incredible to me that we’re still finding new recordings by my dad — great ones at that,” says Jett Williams. “No one even suspected that these recordings existed. We partnered with Omnivore Recordings for this release, and I especially love it that they’re taking my dad back to vinyl.”</p> <p><strong>Track Listing:</strong></p> <p>1. The Garden Spot Jingle<br /> 2. Lovesick Blues<br /> 3. A Mansion On The Hill<br /> 4. Fiddle Tune<br /> 5. I’ve Just Told Mama Goodbye<br /> 6. Closing/Oh! Susanna<br /> 7. The Garden Spot Jingle<br /> 8. Mind Your Own Business<br /> 9. Lovesick Blues<br /> 10. Fiddle Tune<br /> 11. At The First Fall Of Snow<br /> 12. Closing/Oh! Susanna<br /> 13. The Garden Spot Jingle<br /> 14. I Can’t Get You Off Of My Mind<br /> 15. I Don’t Care (If Tomorrow Never Comes)<br /> 16. Fiddle Tune<br /> 17. Farther Along<br /> 18. Closing/Oh! Susanna<br /> 19. The Garden Spot Jingle<br /> 20. I’ll Be A Bachelor ’Til I Die<br /> 21. Wedding Bells<br /> 22. Fiddle Tune<br /> 23. Jesus Remembered Me<br /> 24. Closing/Oh! Susanna</p> <p>Tracks 1 - 6 taken from Naughton Farms Garden Spot Show #4<br /> Tracks 7 - 12 taken from Naughton Farms Garden Spot Show #9<br /> Tracks 13 - 18 taken from Naughton Farms Garden Spot Show #10<br /> Tracks 19 - 24 taken from Naughton Farms Garden Spot Show #11</p> <p>Find out more <a href=“http://omnivorerecordings.com/music/the-garden-spot-programs-1950/“>here</a>.</p> http://www.guitarworld.com/acoustic-nation-previously-unreleased-music-from-hank-williams-surfaces-on-the-garden-spot-programs-1950#comments Acoustic Nation Hank Williams News Thu, 03 Apr 2014 19:48:49 +0000 Acoustic Nation 20920 at http://www.guitarworld.com Jack White and Bob Dylan Record "Lost" Hank Williams Songs http://www.guitarworld.com/jack-white-and-bob-dylan-record-lost-hank-williams-songs <!--paging_filter--><p>Thirteen contemporary artists, including Jack White and Bob Dylan, were tasked with taking unfinished lyrics and ideas written by the late Hank Williams and turning them into full-fledged songs. The collection, titled <em>The Lost Notebooks of Hank Williams</em>, will be released on October 3. </p> <p>The notes in question were found after the country legend's death in a leather briefcase that had belonged to him. Hank Williams died in 1953 at the age of 29.</p> <p>According to <em>Rolling Stone</em>, this was originally conceived as a solo project for the senior Dylan (whose son Jakob appears on the song "Oh, Mama, Come Home"), but he ended up singing on a single track, "The Love That Faded."</p> <p><strong><em>The Lost Notebooks of Hank Williams</em> Track Listing:</strong> </p> <p>Alan Jackson – ‘You've Been Lonesome, Too’<br /> Bob Dylan – ‘The Love That Faded’<br /> Norah Jones – ‘How Many Times Have You Broken My Heart?’<br /> Jack White – ‘You Know That I Know’<br /> Lucinda Williams – ‘I'm So Happy I Found You’<br /> Vince Gill and Rodney Crowell – ‘I Hope You Shed A Million Tears’<br /> Patty Loveless – ‘You're Through Fooling Me’<br /> Levon Helm – ‘You'll Never Again Be Mine’<br /> Holly Williams – ‘Blue Is My Heart’<br /> Jakob Dylan – ‘Oh, Mama, Come Home’<br /> Sheryl Crow – ‘Angel Mine’<br /> Merle Haggard – ‘The Sermon On The Mount’</p> http://www.guitarworld.com/jack-white-and-bob-dylan-record-lost-hank-williams-songs#comments Bob Dylan Hank Williams Jack White White Stripes News Thu, 04 Aug 2011 14:28:48 +0000 Josh Hart 12079 at http://www.guitarworld.com