Pričevanja Stran 1

     A guitar tune written in 1958 has the distinction of being the only instrumental song ever banned for radio play in the U.S.  The song’s name was “Rumble,” performed by a guitarist named Link Wray and his band, the Wraymen.  The offensiveness, apparently, had to do with the fear that the song might incite gang violence.  More on that in a moment.  First, some context.

V januarju 1958 je bilo v živo plesnih noči potekala v Fredericksburg, Virginia, ki jih je priljubljeni Washington jockey televizija disk imenovan Milt Grant gosti - za hišno zabavo Vranica Grant, teen plesno predstavo, podobno Dick Clark ameriški Podijum v Philadelphiji. Na enem od teh živih plesnih dogodkov, ki so januarja Link Wray in njegov bend, lokalna skupina iz območja, so se pozval, da pripravi s pesmijo, kot je "The Sprehodite," nato priljubljeno prizadela Diamonds. Kaj Wray in njegova skupina prišel z bila namesto instrumentalni, power-kitara pogon, blues tip pesem, ki je kasneje postala znana kot "Rumble".

     At the dance that night in Fredericksburg, the song was quite popular, as Wray and his band did four requested encores.  The dance crowd’s reaction to the song made Wray and his band think — along with disc jockey Milt Grant, their de facto manager — that they were on to something.  So they set about trying to get the song on tape for a demo to shop it around to record labels.  However, when they tried to record it, they could not quite duplicate the sound they had on the dance night, especially frustrating Wray.  That’s when he started moving speakers and mics around to get feedback, and then took a pencil and began punching holes through an amplifier to get the sound he wanted.  What Wray had done in his frustration was “invent” a new sound, a sound that would later be known as “fuzztone guitar.”  There was also some novel use of reverberation on the track as well.  The song they had recorded on their demo was then using the name “Oddball.”  And they began shopping it around to record labels, but there were no takers.  Capitol and Decca Records both turned down “Oddball.” Predvajalnik glasbe "Rumble" -1958 Audio clip: Adobe Flash Player (različica 9 ali več) je potrebno za predvajanje tega avdio posnetek. Prenesite najnovejšo različico. Prav tako morate imeti omogočen JavaScript v vašem brskalniku.

Vranica Grant je nato demo Archie BLEYER v Cadence Records v New Yorku. Ko BLEYER prvič slišal pesem, jo ​​in nov zvok, ki je Link Wray ustvarili sovražil. Kljub temu pa je posnel nekaj demo posnetkov, ne vem, kaj se bo zgodilo naslednje. BLEYER je pastorka in nekaj njenih najstniških prijateljev, pa je ljubil pesem. Ena zgodba pravi, da je bil tisti, ki je predlagal imenovanje it "Rumble", ker jo je spomnil na West Side Story, priljubljeno odrsko igro o tekmecih New York uličnih tolp. West Side Story je debitiral na Broadwayu leta 1957 in "ropot" je bil takrat priljubljen slengovski izraz za "tolpe boj." Drug račun kreditov enega od Everly Brothers z prihajajo z istim imenom za pesem. V vsakem primeru je pesem postala "Rumble" in BLEYER sklenil, da sprosti pesem kljub nenaklonjenosti za to. Citirano v promocijski članek v reviji Billboard v času, BLEYER menda povedal nekaj, kar je učinek: "? Rumble, schmumble, ki skrbi, tako dolgo, kot je to hit"

     “Rumble” wasn’t exactly the lightest, easy listening fare of the day, true enough.  Still, rock ‘n roll by then was finding its voice and raucuous edge.  Although the term “rock and roll” dates to song lyrics from the 1920s and 1930s, a Cleveland disc jockey named Alan Freed in 1951 is credited with introducing the term to a much larger audience, especially through his play and promotion of African American rhythm & blues (R&B) music in the 1950s.  New white artists, picking up on the R&B sound in some of their recordings, were also finding an audience.  Bill Haley had “Rock Around the Clock” by mid-1955, and Elvis Presley had “Don’t Be Cruel” and “Hound Dog” by the fall of 1956.  Both Haley and Presley had riled convention with their own rock ‘n roll styles.  Still, rock ‘n roll music was by no means the dominant sound of the day.  There was still plenty of more sedate, “easy listening” music to be found on the Billboard top twenty in the mid- and late-1950s — music from artists such as Andy Williams, Perry Como, Pat Boone, Tab Hunter, and others.  “Rumble,” by comparison, was all instrumental, but a tune that had a distinct “attitude” about it.  The guitar riffs in “Rumble” stood out, and went well beyond the moment.  The musical sound created by Wray, and his distinctive playing, would soon have a direct effect on the future of rock and guitar music.  “With one mean D-to-E chord change,” observes writer Angie Carlson in a 2007 Gibson.comarticle, “Link Wray changed the electric guitar forever.”

"Rumble" Ni igre

Toda v poznih 1950-ih, je imel radijski DJ pooblastilo za določanje, kaj je glasba igrala in kaj ne. In v nekaterih mestih, vključno z radijskimi postajami v Bostonu in New Yorku, "Rumble" samo je ni igral, saj se bojijo, da bi lahko spodbudile banda nasilja ali lahko vpliva na mladoletniško prestopništvo. Tudi Dick Clark American Podijum je paziti, da se izognemo mention- ing naslov v pesem je pri uvajanju Wray na svoji sobotni oddaji. Naslov Pesem je - "Rumble" - je bil kamen spotike za nekatere DJs; jih samo ne more priti mimo njega. Vendar pa je pesem sama, instrumentalni, ni imela besedila seveda, tako da ni bilo jezika samo po sebi, da spodbujajo otroke; no ognjeno retorika. Kljub temu, tisti zaveda polemike je opozorila. Tudi Dick Clark ameriškega Podijum, priljubljeni TV plesno predstavo, je bil previden, da bi se izognili omeniti naslov v pesem, ko je uvedel Wray in njegovo skupino, kot gostje v maju 1958.

Rock 'n roll glasba ni bila vedno dobrodošli takrat, in v resnici je bilo nekaj prizadevanj na nacionalni ravni, da blokira več sporna zvoke, ki nakazujejo besedila in glasno in hrupno glasbo. Vodja Band Mitch Miller je bil eden izmed tistih, ki so pomagali dal blažilnik na bolj hrupno oblik rock 'n roll. Miller je bil takrat vodja A & R - "umetniki in repertoar" - za Columbia Records, in kot tak, je bilo moč določiti, kateri glasbeniki in pesmi bi se zabeležijo in spodbujati na Columbia in drugod. Miller je imel nekaj svojih hit melodije na Billboard lestvic iz leta 1950. Vendar je imel tudi veliko vpliva na čas, in je bil javno kritičen do rock 'n roll in Top 40 radijskih postaj, ki so igrali rock' n roll. Miller pa ni dopustiti nekaj lažjih oblik rock 'n roll, kot je 1957 milijonov prodajanih ga Marty Robbins prizadela, "Bela Šport Coat in Pink Nagelj", ki je pomagal pridelke.

     In addition, West Side Story "s gang scenes had permeated popular culture by 1957-58.  In fact, a dance scene in Act 1 of the play is titled “The Rumble,” and other scenes also showed the activities of the play’s two featured gangs, the Jets and Sharks.  “Juvenile delinquency” was a national topic of discussion by then as well, even attracting the attention of the U.S. Congress.  There was also proposed legislation in Congress in 1957 that song lyrics be screened and altered by a review committee before being broadcast or offered for sale.  That legislation, treading on free speech, never became law, but it was a sign of the times and part of the broader cultural concern then revolving around gangs and juvenile delinquency.  In 1958 the Mutual Broadcasting System dropped all rock ‘n records from its network music programs, calling the music “distorted, monotonous, noisy music.”  Link Wray’s instrumental was part of the music that became entangled in those fears and prohibitions.      Nevertheless, despite all the tiptoeing around “Rumble” as a musical instigator of teen trouble, the song became a huge hit, rising to No. 16 in May 1958 and remaining in the Top 40 for 10 weeks.  Despite Dick Clark’s care not to mention the song’s title at Wray’s earlier 1958 appearance, Podijumdid give the song enough air time to help it along, and Clark would freely use the song’s title in subsequent appearances by Wray in 1959 and 1963.  In fact, the attempted suppression of the song by some radio stations likely contributed to its success, as Wray himself would later surmise of the radio bans.  “Rumble” went on to sell more than one million copies in its prime, with some estimates as high as four million, though it’s not clear what time frame is involved and whether sales of albums with the song are also included.  

Link Wray, pa ne bi dobili ogromen delež tantiem ali glasbenega založništva pristojbin iz "Rumble." Vranica Grant, DJ, je bil eden soavtor skladbe, ki se pojavljajo na etiketi Cadence z "L. Wray. «Toda Link delež, glede na enem računu, se zdi, da je bila dodeljena očetu. Link je kasneje povedal, da je naredil prejeli dovolj denarja za nakup njegova mati hišo, ampak da je bil na splošno prizaneseno podrobnosti "papirologije", za katero se zdi, da so ohranili svoj delež nižji, kot bi bilo sicer. Morda je odrezala bolje s poznejšimi pesmi.

Medtem, nazaj v poznih 1950-ih, Archie BLEYER od Cadence Records - tisti, ki je prvi proizvaja "Rumble", saj njegova pastorka in njeni prijatelji je bilo všeč - je že nekaj zunanjih kritik za sprostitev pesem. BLEYER je napolnjena z nekaterimi kritiki z "spodbujanje najstniške tolpe vojno." BLEYER vseeno mislil, da lahko "čiščenje" Link Wray in njegovo skupino. Načrt BLEYER je bil, da ima zapis skupine v Nashville, Tennessee pod vodstvom produkcijske ekipe mu je Everly Brothers. Toda Wrays ni bila všeč ta ideja, in se odločili, da dela podjetje s BLEYER in Cadence Records. So se kmalu pridružili Epic Records, snemanje 1959 nadaljevanje "Rumble" imenuje "Rawhide," tudi instrumentalne, ki je zrasla na št 23 na pop lestvicah. V naslednjih letih je imela skupina tudi druge opazne pesmi, vključno z "Jack Razparač" (1961), "Black Widow" (1963), "Big City After Dark", "Run Chicken Run" (1963), "Ace of Spades" (1965), "Switchblade« in »Red Hot (1977). Nato LinkWray ne bi spet dvignil pop lestvic v čisto na enak način, vendar bi imela vpliva na druge načine.

del Shawnee

     Fred Lincoln Wray was born in Dunn, North Carolina in 1929.  According to some accounts his parents were semi-literate and engaged in street preaching from time to time.  Wray was also reported to be part Shawnee Indian.  He is quoted in one Associated Press story of 2002 saying: “I’m half Shawnee Indian, born to a Shawnee mother.  I had a Shawnee dad, and he was in the First World War…and he was shell-shocked…. I had to go to work when I was 10 years old to help feed the family.  This was Dunn, North Carolina, in a different era, you know, during the Ku Klux Klan days, you know…really bad in the South,” Wray said, explaining he shook with fear at KKK raids.  In Dunn, they lived in a black neighborhood.  “I seen the sheets come,” Wray would recount in another interview, referring to the KKK, “pull out the black people, tie ’em to a tree, and beat…’em.  We’d hide underneath the bed, hopin’ they wouldn’t come for us.”  For a time, Wray’s family slept on the floors of barns under the protection of Cherokees and ate whatever they could find.  “Elvis, he grew up  — I don’t want to sound racist when I say this — he grew up white-man poor,” said Wray, comparing his experience to that of Elvis Presley.  “I was growing up Shawnee poor.”  An early bout with the German measels had also left Wray with weak eyesight and hearing.      When Wray was about age 8, a traveling black guitarist and sometime circus performer named Hambone introduced him to the blues, giving him guitar lessons on his front porch, and showing the young boy a few chords and how to play slide guitar.  Wray’s father later worked in the dockyards of Portsmouth, Virginia, and the family moved there from North Carlina, which for young Link was a welcomed development.  “It was like moving from one world to a whole ‘nother,” he would tell one reporter years later.  “I couldn’t believe it — all of the sudden I could turn on a stove and it was gas fire, I could turn on a switch and it was electricity.”  In 1951, Wray was drafted into the U.S. Army, sent to Germany and Korea, where he contracted tuberculosis, which later led to the removal of his left lung.  But when he first returned to the U.S. in 1953 after his Army hitch, he ordered a Gibson Les Paul guitar.  It was then he developed his own style, playing louder, in part, because of his bad hearing.

Z 1955 Wray začel igrati kot član Lucky Wray in v Palomino ranču rokah, country glasbe band oblikovane v Severni Karolini z bratoma Vernon in Doug, kasneje pa še enega drugega člana. Brata Wray kmalu preselil v samo zunaj Washington, in zabeležili nekaj pesmi na lokalni nalepko z imenom Kay in tudi za STARDAY Records v Teksasu. Z 1958, je Link Wray brat počne vokale v skupini, medtem ko je povezava usmerjena na kitaro. Cast malo v "Elvis videz" tega obdobja, je skupina oblečena v črno usnje in začel igrati lokalne rekordno hmelja. "... [A] ll naenkrat" leta 1950, je ta tip v črni usnjeni jakni "igra to glasno tetiva, ki praktično solze obrvi off obrazu ... "- Michael MOLENDA kitara revije igralec Wray postal inventivni v lovu za svojo" lastno zvok, "kot poking luknje v ojačevalec, da bi dobili zvok je želel v" Rumble ". bil je tudi eden od prvih kitaristov, da se velik struna inteči gor in dol po Ubiralka, ki ustvarja zvok, znan kot moči tetive.

Glasba zgodovinarji poznih 1950-early1960s dobe bi opazovali nekaj let kasneje, da verjetno je malo "juvenilne odnos" v Wray je "Rumble". Dan Del Fiorentino, zgodovinar za muzej Ustvarjanje glasbe v Carlsbad, California povedal Los Angles Times je v intervjuju leta 2005, da "Rumble" je dodal "bolj Fijuk, bolj prestopništva, če bo rock 'n' roll." Michael MOLENDA, urednik glavni urednik revije Guitar Player, prav tako je navedeno v isti člen: "Fifties skala je precej čist, in imaš tega fanta - on je dobil usnjeno jakno, zgleda grozno - in kar naenkrat se je igra to glasno struna, ki praktično solze obrvi z obraza ... bilo zelo seksi in agresiven in to nekako tlakovala pot za naslednjo stopnjo rock and rolla. "brez moči struna, ki Wray bolj ali manj izumil z" Rumble, "pojasnjuje Dan Del Fiorentino," punk rock in heavy metal ne bi obstaja. "In Wray je resnico, ki ga številni najbolj znanih kitara-wieldingrockerji. Jimmy Page na Led Zeppelin, Bruce Springsteen, in Jeff Beck vsi računajo Link Wray kot vpliv na svoje kariere. Bob Dylan je poročalo, da so imenovani "Rumble" eden izmed najboljših instrumentals doslej.

Film & TV Glasba

V zgodnjih 1970-ih, nekaj Link Wray pesmi so bile najdejo pot v drugih mestih. Wray je "The Zamotek" je bila uporabljena v filmu iz leta 1972, roza flamingov. "Jack Razparač", še eden od njegovih instrumentals, je bila uporabljena kot glasba v ozadju avto chase visoke hitrosti v 1983 film, diha, Richard Gere in Valérie Kaprisky. Leta 1994 film Quentin Tarantino je, Pulp Fiction, tako "Rumble" in "asa v Spades" so bili uporabljeni. V filmu iz leta 1995, je bila uporabljena Desperado s Salma Hayek in Antonio Banderas, "Jack Razparač". Leta 1996, Dan neodvisnosti, najvišji preračunavanja film, leto, Wray je "Rumble" je še en nastop. "Rumble" je bila uporabljena tudi v pilotni epizodi HBO The Sopranos januar 1999. Prva uporaba glasbe Wray v televizijskem oglaševanju prišel tudi v letu 1999 z odlomki iz "Jack Razparač", ki se uporabljajo v Taco Bell reklami. Leta 2001 je "Rumble" je bila uporabljena v filmu Blow, Johnnyjem Deppom in Penelope Cruz. "Rumble" je bil tudi v letu 2009-ih It Might Get Loud, dokumentarec oZgodovina električne kitare, ki ga film-maker Davis Guggenheim. Ta film uporabe glasbe Wray je prinesel Link Wray zvok na novo občinstvo, ji je dal še eno priložnost na trgu in ponovno zadovoljstvo z navijači in drugih umetnikov.

V preteklih letih je bilo tudi različne priredbe skladb Wray je v novi glasbi, kot je pesem "Killer na domu" (ki temelji na "Rumble"), ki ga je skupina New Wave, Adam in Ants, ki so vključeni na svojih kraljev Wild Frontier album 1980. kitarist te skupine, Marco Pirroni je navedena Link Wray kot velik vpliv.

Wray zapuščina se ne pojavlja samo v ZDA, ampak tudi v Veliki Britaniji, kjer je bila njegova glasba navedena kot vpliva na The Kinks in The Who, med drugim. Pete Townshend je menda izjavil, da "če ne bi bilo za Link Wray in" Rumble "Nikoli ne bi pobral kitaro." Townshend je povedal tudi njegov prvi vtis o predstavitvi pesem: "... Link Wray nikoli napeta glasba navzdol. Bil je vedno pripravljen, da Rumble ... «- Richard Harrington Washington Post." Spomnim se je zelo neprijetno prvič sem jo slišal, in še navdušena, ki jih surovih kitarskih zvokov "Ray Davies, The Kinks navaja tudi Wray kot vpliv. Leta 2003 je vnos Rolling Stone za Wray v svojih "100 najpomembnejših kitaristov v zgodovini,« je zaklical mu človek v ozadju "najpomembnejši D tetive v zgodovini." Wray je bil uvrščen na št 67 na tem seznamu. Vnos Rolling Stone krediti tudi Wray pri ustvarjanju "overdriven rock kitara zvok povzeli Townshend,Hendrix in drugi. "

     In 1980, Wray married his fourth wife, Olive, a Danish student who had been studying Native American culture.  He then moved to Denmark and began some recording for the foreign market.  By the 1990s, Wray’s older music had caught the attention of grunge musicians, as some of this work was also reissued under various labels.  Wray himself continued to perform and record, turning out two albums — shadowman in 1997 and Bodeča žica in 2000.  Link Wray continued performing his music into his 70s.  “He just loved playing,” said Michael Molenda, editor-in-chief of Guitar Playermagazine, who had seen Wray perform in 2005 in San Francisco.  “He wasn’t like a guy who was 76 years old,” Molenda told the Los Angeles Times.  “He was like a 19-year-old in a 76-year-old body.”  Wray lived his last years with his wife Olive on a Danish island.  He died of heart failure in Copenhagen in early November 2005.

"Link Wray nikoli napeta glasbo navzdol," je zapisal Richard Harrington v Washington Post v Wray smrti. "Vedno je bil pripravljen za Rumble."

Prosimo Podprite ta spletno stran Hvala

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Datum objave: 10. maj 2010 Zadnja sprememba: 12 julij 2013 Komentarji na:

Člen Citation: Jack Doyle, "Rumble riles cenzorji, 1958-59," PopHistoryDig.com 10. maj 2010.

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Viri, povezave in dodatne informacije

1990 in 1997 LP in CD različice Link Wray album, "manjkajočih povezav, Vol. 2: Big City After Dark, "Norton založba. Leta 1970, uničen s glasbenem poslu, Wray obrnil družinsko kokošnjak v surovo, tri-track studio, kjer je in prijatelji eksperimentiral z zvokom in stilov. To 2005 dva diska album Acadia Records ujame nekaj od tega. 1973 Link Wray album, "Bodi to, kar želite," Polydor.

Spencer Leigh, "Link Wray Obit,".

Cain Burdeau, Associated Press, "The Original Man in Black: Link Wray Still rumbles," avgust 2002, Rockabilly Hall.com.

Lawrence Laurent, "10-Count" za- 10 od zgoraj notchers Ima Vranica, "The Washington Post-Times Herald, 10. april 1958, str. C-14.

"Milt Grant konektorji zadetku - sam," The Evening Star (Washington), 1. junij, 1958.

Frank Simpson, "Link Wray odprla Guitar do popačenja ... In Pete Townshend je poslušal," Hit Parader (glasbeni reviji), 1971.

Angie Carlson, "Kako One-Lonžiran Shawnee indijski Izmišljeno Punk: Link Wray," Rumble "in zloben D Chord Ever", 14. december 2007.

Richard Harrington, "prerok Rock Guitar: S Pick in svinčnik, Link Wray pokazala smer,«, torek, 22. november 2005.

Dennis McLellan, osmrtnice, "Link Wray, 76; Rebel kitarist Power Chord v "Rumble" Začetek Rock Glasba na poti do punka in heavy metal, "Los Angeles Times 22. november, 2005, str. B-8.

"" In "," Wikipedia.org.

"1958-1959, ZDA, Link Wray," zgodovina glasbe cenzuro ".

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Vir za West Side Story, 1957 fazi proizvodnje.

Fred Bronson, "A Izbrano Kronologija Musical Sporni«, Billboard, 26. marec, 1994, str. N-36.

Podroben spletno stran Link Wray.

Jimmy McDonough poklon zgodba "," Popolna Sound Forever, Online Music Magazine, 2006.

Link Wray Nastop na The Jack Spector Show, Channel 12 WPRO-TV, Providence, RI, opravljajo, "Trail Of The Lonesome Pine," marca 1960.

Link Wray Album / seznam CD.

, Carlsbad, California.