Contemporary Musicians: Profiles of the People in Music: by Julia Rubiner

Contemporary Musicians: Profiles of the People in Music: by Julia Rubiner

By Julia Rubiner

Modern Musicians profiles the colourful personalities within the song who create or impact the
music we listen at the present time. ahead of modern Musicians, no caliber reference sequence supplied comprehensive
information on one of these wide selection of artists regardless of willing and ongoing public curiosity. to discover biographical
and severe insurance, a data seeker had little selection yet to go through the choices of the
popular press, test tv "infotainment" courses, and look for the occasional published
biography or divulge. modern Musicians is designed to serve that details seeker, delivering in one
ongoing resource in-depth insurance of the $64000 names at the glossy track scene in a layout that
is either informative and pleasing. scholars, researchers, and informal browsers alike can use Contemporary
Musicians to satisfy their wishes for private information regarding song figures; discover a chosen discography
of a musician's recordings; and discover an insightful essay providing biographical and demanding details.

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Extra info for Contemporary Musicians: Profiles of the People in Music: Volume 11

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Although only a regional success, Bryson turned heads at Capitol Records. Contracts were signed in 1977. " His second album for the label, Crosswlnds, surpassed the first in sales and also featured two hit singles, "I'm So Into You" and the title track. " Wholesome maybe, but Bryson has had trouble quashing the "ladies' man" image that his albums project. Several of the women to whom Bryson has proposed marriage during his career have turned him down for the security of someone lesser-known. "Competition is not something women look forward to.

Brown's big break came when he was 23 years old. Don Robey, owner of the most prestigious black nightclub in Texas, invited him to Houston. T-Bone Walker was playing Robey's club, the Bronze Peacock, but a serious ulcer forced him off the stage one night in the middle of a performance. Brown stepped in and "started playing every hot blues and boogie riff he knew," reported Geoffrey Himes in Down Beat. " Robey negotiated a recording contract for Brown with Aladdin Records, a Los Angeles-based company, but before long he decided to form his own label, Peacock Records, with Gatemouth as his foundation artist.

San Antonio Ballbuster, Charly, 1979. Alright Again, Rounder, 1982. No Looking Back, Alligator, 1992. Also recorded The Nashville Session, 1965, Chess; Blackjack, Music Is Medicine; One More Mile, Rounder; The Original Peacock Recordings, Rounder; Texas Swing, Rounder; Real Life, Rounder; Pressure Cooker, Alligator; and Standing My Ground, Alligator. ), June 1972. Down Beat, May 1990; April 1992. Guitar Player, March 1993. High Fidelity, May 1988. Journal of American Folklore, July/September 1989.

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