crossroads store, bar, "juke joint," and gas station in the cotton
plantation area. Melrose, Louisiana, June 1940. Reproduction from color
slide. Photo by Marion Post Wolck
Without exception, the owners and customers of those places welcomed this redneck white boy.
"Ain't no juke joint without the blues"
Hey, Junior! What's the difference between a juke joint and a honky tonk?
I'm glad you asked. Here's the main differences:
The race of the customers.
The race of the girls in the beer posters.
The predominant type of music on the jukebox.
The price of beer.
The amount of violence.
tonk white folks wear nice clothes on Friday and Saturday nights, but
juke joint black folks wear their Sunday best. The women wear amazingly
colorful outfits, and gold and silver jewelry sparkles everywhere.
honky tonks have a kitchen; although 20 years or so ago most of them
did. Today, almost every juke joint has a kitchen. Honky tonk customers
have cars. They can stop at a late night fast food place on the way
home. Many juke joint customers do not own cars and got there on their
own two feet. To them, the juke joint is their late night fast food
place. Often, it is also their daytime source of fast food.
several years of visiting Delta juke joints, I've never witnessed a
fight in any of them. As a comparison, in the same period of visiting
honky tonks of my own culture, redneck, I've witnessed many fist
fights--male/male, male/female, female/female--a knife fight.
g's juke joint
Hi everyone from Heythuysen!-thanks so much for visiting
Hi everyone from Montego+Bay!
thanks so much for visiting
Hi everyone from Canada! thanks so much for visiting
Hi everyone from Rio+De+Janeiro! thanks so much for visiting
Hi everyone from China ! thanks so much for visiting
Hi everyone from Sweet Sweet USA thanks so much for visiting
love some feedback from everyone-plenty of cool new music-recipes-pictures-easy fixes-and new cool things-enjoy-
turn up volume and dig the sounds of our feature Artists
The great "vocal play" talents
The origins of the group date back to New York City in 1999 when
Roger Thomas started the group with his brother, Warren, and five other
talented singers they had come to know over the years from singing
around the city. Having been in and out of several traditional male
groups over the years, Roger developed an affinity for a cappella sounds
and a unique ability to create distinct harmony arrangements. When
invited to sing at a major a cappella competition in New York, they won
the competition, moved onto the nationals and took away two more wins.
Riding the wave of this new found success and still unable to decide
if Naturally 7 were going to be an a cappella group or a traditional
band, Roger had a novel idea: they could be both.
He remembered as a child, his brother Warren always wanted a drum set
but their mother always told him no because it was just too noisy. So
Warren learned to make true drum sounds, with different ways of making
the kick, toms, snare, cymbals, and other drum sounds, to compensate for
not having real drums to play. Roger approached Warren with the idea
from their childhood, and asked if he could become the band's drummer,
so to speak, to accompany Naturally 7 on up-tempo songs.
The idea evolved, and the other band members found unique aspects of
their own voices to determine which members would BE which instrument.
After all, Roger thought, if the human voice truly was an instrument, it
should not matter which instrument it needed to be. And for Naturally
7, it really didn't matter; "VOCAL PLAY" was born. What is the
difference between Vocal Play and a cappella? A cappella is defined as
singing without instruments. Vocal Play is singing AS instruments, and
BECOMING an instrument with the voice.
What makes Naturally 7 special, is that every instrument sound that
they sing is created from the human voice. There are no actual drums,
guitars, horns, flutes, or any other instrument that is heard when
listening to them perform; it's the band members playing each of their
December 21, 1940 – December 4, 1993
Frank Vincent Zappa
(December 21, 1940 – December 4, 1993) was an American composer,
singer-songwriter, electric guitarist, record producer and film
director. In a career spanning more than 30 years, Zappa wrote rock, jazz, orchestral and musique concrète
works. He also directed feature-length films and music videos, and
designed album covers. Zappa produced almost all of the more than
60 albums he released with the band The Mothers of Invention and as a solo artist.
While in his teens, he acquired a taste for percussion-based avant-garde composers such as Edgard Varèse and 1950s rhythm and blues
music. He began writing classical music in high school, while at the
same time playing drums in rhythm and blues bands; he later switched to
electric guitar. He was a self-taught composer and performer, and his
diverse musical influences led him to create music that was often
impossible to categorize. His 1966 debut album with The Mothers of
combined songs in conventional rock and roll format with collective
improvisations and studio-generated sound collages. His later albums
shared this eclectic and experimental approach, irrespective of whether
the fundamental format was one of rock, jazz or classical. He wrote the
lyrics to all his songs, which—often humorously—reflected his
iconoclastic view of established social and political processes,
structures and movements. He was a strident critic of mainstream
education and organized religion, and a forthright and passionate advocate for freedom of speech, self-education, political participation and the abolition of censorship.
Zappa was a highly productive and prolific artist and gained
widespread critical acclaim. Many of his albums are considered essential
in rock and jazz history. He is regarded as one of the most original
guitarists and composers of his time. He also remains a major influence
on musicians and composers. He had some commercial success, particularly
in Europe, and for most of his career was able to work as an
independent artist. Zappa was posthumously inducted into the Rock and Roll Hall of Fame in 1995 and received the Grammy Lifetime Achievement Award in 1997.
Zappa was married to Kathryn J. "Kay" Sherman from 1960 to 1964. In 1967, he married Adelaide Gail Sloatman, with whom he remained until his death from prostate cancer in 1993. They had four children: Moon Unit, Dweezil, Ahmet Emuukha Rodan and Diva Thin Muffin Pigeen. Gail Zappa manages the businesses of her late husband under the name the
Zappa Family Trust.
Click on Picture to go to Zappa Play List on Music Playground Page
February 27, 1945 – February 23, 2004
Born in Lynchburg, Virginia Anderson was one of 12 children of James and Alberta Anderson. During his junior year of high school, Anderson enlisted in the U.S. Air Force, where he served as a communications technician for two years. He returned to Lynchburg to complete high school and graduate in 1965. With his honorable discharge, following high school, Anderson sang at military bases across America as part of the World Wide Air Force Talent Contest.
Anderson moved to Washington D.C. in 1969, where he and some friends formed a group called "The Second Eagle", with Anderson handling the vocals. Among the many jazz/rock tunes Second Eagle covered were some from the album Jesus Christ Superstar, which had been released long before there were ever any definitive plans for a stage production.
In 1971, a talent agent from the William Morris Agency saw Anderson perform some songs from the show at St. Stephen's Church and recognized his potential as a solo performer.
Anderson played the role of Judas in the pre-Broadway touring company's production of Jesus Christ Superstar but was passed over for the initial 1971 Broadway production when producers opted for the more well-known Ben Vereen for the part, and was cast as an understudy. Although Anderson didn't know it at the time, one of his most significant opportunities came when he took over the role from Vereen and performed it on Broadway and in Los Angeles when Vereen fell ill. After Vereen recovered, both actors took turns playing the role. Castmate and close friend Ted Neeley was performing in the tour as well, but – like Anderson – was cast as chorus and the Jesus understudy. Yvonne Elliman was also in the tour as Mary Magdalene. While performing in Los Angeles, Anderson was flown to London for a screen test. Two weeks later, he left that production to begin filming in Israel alongside Neeley and Elliman, who were cast for the main roles as Jesus and Magdalene, respectively. The film, released in 1973 by director Norman Jewison, catapulted Anderson's career with two Golden Globe nominations as "Most Promising Newcomer" and "Best Musical Actor".
In the late 1970s, he reprised his performance as Judas for two regional productions in California, both under the auspices of the California Youth Theatre organization. The first reunited him with his Broadway and film co-stars Ted Neeley and Yvonne Elliman, and the second reunited him again with his close friend Ted.
Other movie appearances by Anderson include: The Black Pearl (1978) and Steven Spielberg's The Color Purple (1985). Television appearances include: Cop Rock, Days of our Lives and Hill Street Blues.
As a recording artist, Anderson was equally prolific. He signed with Motown Records in 1972. Several of the most recognizable albums to be released in the 1970s would bear the mark of Anderson, including his work with Stevie Wonder on his double album, Songs in the Key of Life.
Anderson also made numerous appearances at several notable clubs in Los Angeles during the 1970s and, with Columbia Records' talent scout Larkin Arnold, signed a record deal for which Anderson would release four albums on the Epic label beginning in 1983. In total, Anderson released nine jazz and Soul albums as a solo artist, including hits "How Deep Does It Go," "Pieces Of A Heart," "Hot Coffee," and the mega-hit from his self-titled 1986 album, "Friends and Lovers" (a duet with Gloria Loring) which reached the number-two spot on the charts that year and endeared Anderson to soap opera fans. Anderson also appeared on albums with other leading artists.
In 1992, Anderson reprised his role as Judas in Jesus Christ Superstar for a "20th Anniversary of the Movie" tour, alongside Ted Neeley who also reprised his role as Jesus. Both men had agreed to do the tour only if they got to work together. Initially planned for three months, the production lasted five years and grossed over $100 million, visiting over 50 North American cities, including the Paramount Theater at Madison Square Garden in New York City, the Universal Amphitheater in Los Angeles, the Fox Theaters in Detroit, St. Louis and Atlanta, the Morris Mechanic Theatre in Baltimore, The Orpheum in San Francisco, Providence Performing Arts Center in Providence, RI, the Wang Center and Shubert Theater during multiple returns to Boston as well as dates in Washington, D.C., Philadelphia, Miami, Toronto, Vancouver and Montreal. All these showings allowed Anderson to reprise his role over 1,700 times.
In 1997, Anderson performed on Broadway in an adaptation of William Shakespeare's Twelfth Night called Play On! featuring the music of Duke Ellington, playing The Duke. Beginning in 1998, and in later years of his life, he reprised his role as Judas in Superstar to sold-out auditoriums around the world.
One of his later albums, Why We Are Here! was recorded at the Agape International Spiritual Center, then located in Santa Monica California. He continued to perform, with Linda Eder in a show called "Once in a Lifetime" produced by Eder's then-husband Frank Wildhorn.
In 2002, a national tour of Superstar began with ex-Skid Row singer Sebastian Bach playing Jesus, and Anderson once again as Judas. Bach received mixed reviews while Anderson was again praised. In April 2003, following a disagreement with the director, Bach walked out on the cast and was replaced with Broadway actor Eric Kunze, who was touring as a priest and a Jesus understudy. Anderson eventually left the show after being diagnosed with leukemia; he was replaced by Lawrence who had appeared as Simon and understudied Judas in the previous national tour.
Anderson lost his battle with leukemia on February 23, 2004. He was slated to reprise his role with Neeley for the "AD (nee Farewell) Tour" 2006-2010. Corey Glover, famous for being the lead singer of the band Living Colour, was cast for the tour's Judas. Glover left the show on December 2008 and actor James Delisco took over the role, leaving the tour in 2009. John Twiford joined the tour in late 2009 as the final Judas.
Great Great Songs
click a song to play
The Great Great Rachelle Ferrell-her voice creates every emotion possible in me and we know very few can reach that pinnacle-she aint no joke controlled rage. 6 +octave range a lyric soprano and a dynamite pianist and a true student of music and beautiful eclectic sister to boot. let me stop. laude have mercy!
Rachelle Ferrell began singing at the age of six, which many
speculate contributed to the "development of her startling six and
change octave range." Her range also includes the ability to sing in the whistle register, as stated in an editorial review in which she references her highest notes in "It only took a minute" as
"Minnie Riperton-like wailing". She received classical training in violin at an early age and by the time she was a
he was able to play the piano at a professional level. She enrolled in Berklee School of Music in Boston where she honed her musical abilities in arrangement, singing and song writing.
From 1975-90, Ferrell sang backup for Lou Rawls, Patti La Belle, Vanessa Williams, and George Duke, Ferrell's debut,
was released in 1990 in Japan, five years prior to its US release.
Recorded with bassist Tyrone Brown, pianist Eddie Green and drummer Doug
Nally, an all-star cast of accompanists also leave their mark on her
record. They include trumpeter Terence Blanchard, pianists Gil Goldstein and Michael Petraucciani, bassists Kenny Davis and Stanley Clarke, tenor saxophonist Wayne Shorter and keyboardist Pete Levin. Her unique take on now-standards like Sam Cooke's "You Send Me", Cole Porter's "What Is This Thing Called Love", and Rodgers & Hart's "My Funny Valentine", captured the hearts and souls of the Japanese jazz buying public.