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May 16, 2018 On this page you will find the solution to “Auto tune” from Wilson Pickett: 2 wds. Crossword clue. This clue was last seen on Daily Celebrity Crossword, Crossword May 16 2018 In case the clue doesn’t fit or there’s something wrong please contact us! Song that could carry you away is a crossword puzzle clue that we have spotted 4 times. There are related clues (shown below). 'Auto tune' from Wilson Pickett: 2 wds.
Dave Grohl’s 2013 documentary Sound City – a requiem for a Los Angeles recording studio that hosted records for the Red Hot Chili Peppers, Neil Young, Nirvana and Fleetwood Mac – was a reminder that the analog infrastructure of the music industry’s heyday was falling to rising real estate values and the ubiquity of laptop production.
Once busy sonic hubs like New York's The Hit Factory, MSR Studios, and the Magic Shop, along with London’s Maison Rouge and the Manor Studio, and Atlanta’s Doppler Studios have all disappeared, as record labels and artists turned to the economic efficiencies of home studios.
But a funny thing is happening on the way back from the funerals. A few of the most iconic of American music’s incubators have been brought back from the brink and given new leases on life.
In Memphis, Nashville, and Muscle Shoals, Alabama, the reappearance and renewed vitality of these seminal sound sanctuaries goes beyond the museumification of music epitomized by the Rock & Roll Hall of Fame or Graceland.
Their return could also be seen as a rebuke to the laptop mentality, to Auto-Tune, to infinite tracks of Pro Tools. They remind us that it was always about a bunch of people crammed into a small room making music, a long-buried nerve these studios seem to be touching.
Sun Studio
Sam Phillips opened Sun Studio at 706 Union Avenue in Memphis on January 3, 1950. Jackie Brenston and his Delta Cats recorded Ike Turner’s “Rocket 88” there, the song many regard as the first true rock & roll record, in 1951. But Sun Studios’ main fame came from Phillips’s productions of Elvis Presley, Johnny Cash, Carl Perkins and Roy Orbison for the Sun Records label.
Sun Studio
In 1959, Phillips moved on to construct a larger studio, and it wasn’t until 1987 that the original Union Ave location was brought back to life. The new owners established an interesting balance early on, one that Sun’s reawakening siblings are looking to as their own business model.
Aficionados tour the studio from 10 to 6 during the day, buying a hat or a T-shirt on their exit through the gift shop. Musicians can then book the studio starting at 6 after the tours end. Those nocturnal visitors have been everyone from aspirants who wanted to make one of those “yellow Sun records” John Sebastian immortalized in the song “Nashville Cats” (the record label moved to Nashville in 1969) to major recording acts like U2, Brian Setzer, Ringo Starr, and Def Leppard.
You can’t re-cut a part if you didn’t like it. Making a record then was all or nothing. That’s missing today, and people want that.'
Matt Ross-Spang, a tour guide and intern who became the studio’s chief engineer during his 2004-2015 stint at Sun says the studio’s legacy has a lot to do with its allure to a younger generation. But that legacy is steeped in how it ran in its prime.
“Everyone was in the same room at the same time, playing and singing – it pulls things out of you that you didn’t know you had,” he explains. “You can’t re-cut a part if you didn’t like it. There were no iso booths, so part of the lead vocal is on the drum tracks. Making a record then was all or nothing. That’s missing today, and people want that.”
Muscle Shoals
The cover of Cher’s 1969 LP 3614 Jackson Highway – named for the address of what is otherwise a nondescript cinder block hut off of a two-lane state road in Sheffield, AL – is akin to looking at the cover of Sgt. Pepper’s Lonely Hearts Club Band. The figures on Cher’s cover are equally as historical as those on the Beatles’ cover.
Bassist David Hood, drummer Roger Hawkins, guitarist Jimmy Johnson and keyboardist Barry Beckett are featured. They were the foursome that comprised the Swampers – Muscle Shoals's session crew that left legendary FAME Studios in the nearby town of Muscle Shoals to found their own studio after a rift over money in 1969.
Also in the picture are producers Jerry Wexler and Arif Mardin and producer/engineer Tom Dowd, the brain trust behind modern R&B who funneled tons of work to the studio from their Atlantic Records label in New York.
Muscle Shoals Sound Studio became a music machine, churning out hit records thanks to Atlantic Records and the Muscle Shoals mystique. Its offbeat location and the alluring impenetrability of the Deep South in those days attracted countless artists, like Aretha Franklin, Wilson Pickett, the Staples Singers, and a slew of other soul and R&B pioneers.
Cher was just one of dozens of major rock and pop artists, including the Rolling Stones, Elton John, Paul Simon, Bob Dylan, and Julian Lennon who all sought out the studio’s juju.
But neither time nor the culture was on Muscle Shoals’s side, and its demise was a common one in 20th century America. As the music business became more industrial, MSSS remained a kind of family farm whose founders mostly stayed with it instead of deserting for New York or Los Angeles. The results were unfortunately predictable.
Muscle Shoals
Fast forwarding to 2013, a critically acclaimed documentary film was released that year on the area’s musical legacy that resparked interest. And the studio building – which had gone through several iterations, including time as a second-hand appliance store – was acquired by the Muscle Shoals Music Foundation.
Starting in 2014, producer Jimmy Iovine and hip hop superstar/entrepreneur Dr. Dre – who had already joined forces to build the Beats headphones brand – directed funding from Apple’s philanthropic ventures to the renovation of the studio starting. They brought in studio builder Michael Cronin, who researched and sourced many of the studio’s original elements. This included an obscure Daniel Flickinger mix console and the monitor speakers whose own journey had brought them to producer Dave Cobb, who then donated them to the newly refurbished studio.
Everything was just as they left it. The control room and the drum booth were still where they always were. As though it was all just waiting for this moment.”
Today, under the Foundation’s regime, the studio still does sessions but is also a thriving roadside attraction during tourist season. MSSS has drawn 32,000 visitors from 40 countries who, like Cher, wanted to see where all that wonderful noise came from.
Judy Hood, David’s wife and the studio’s director, remembers walking back into the building years after it closed in 1978. “It was spooky,” she recalls. “Everything was just as they left it. The control room and the drum booth were still where they always were. Even that ugly orange shag carpet. As though it was all just waiting for this moment.”
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RCA Studio A
RCA Studio A has perhaps gotten more attention than either the Sun or Muscle Shoals studios, though not necessarily of the desired kind.
Caught up in Nashville’s swirling real estate boom, Studio A – part of RCA Records’ Nashville headquarters built in 1965 by label heads Chet Atkins and Owen Bradley – was slated for demolition in 2013 to make way for more condos along what was left of Music Row.
A groundswell built among several factions, including musicians and those seeking to limit gentrification. Their outcries culminated in intense demonstrations outside the studio in which artists from Brenda Lee to Gretchen Wilson made country classics. However, it was two carefully worded letters that seemed to make each side’s case most succinctly.
Ben Folds at RCA Studio A
Alt icon Ben Folds had been leasing the studio since 2002, using it for productions with Regina Spektor, Nick Hornby, and others. He took a semi-spiritual tone asking folks to “…take a moment to stand in silence between the grand walls of RCA Studio A and feel the history and the echoes of the Nashville that changed the world.”
Meanwhile, Owen Bradley’s brother Harold (who was himself regarded as the most recorded session guitarist ever) sent his own letter to the Nashville city council, suggesting that this studio – or any studio – is just a fungible shell.
“The architecture of the Nashville sound was never of brick and mortar,” Bradley wrote. “Certainly, there are old studio spaces that, in our imaginations, ring with sonic magic. But in truth, it's not the room, it’s the music… That's still here, and it has nothing to do with this building.”
The architecture of the Nashville sound was never of brick and mortar. Certainly, there are old studio spaces that, in our imaginations, ring with sonic magic. But in truth, it's not the room, it’s the music…'
A consortium of affluent but genuinely passionate backers ultimately saved Studio A, and Dave Cobb has succeeded Folds as the producer in residence there. The studio’s parquet flooring and signature RCA acoustical walls rising to the 30-foot ceilings are still intact, and a 1976 API 3232 console mimics what the control started out with 52 years ago.
Harold Bradley might be right about where the actual magic made in studios comes from. But at a time when music recording is edging deeper into virtuality, the renaissance of these rooms serves to remind that the music that has proven most durable perhaps really does need some kind of real house to rock.
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(Redirected from Jerry Williams, Jr.)
Background information | |
---|---|
Birth name | Jerry Williams Jr. |
Also known as | Little Jerry Little Jerry Williams |
Born | July 12, 1942 (age 77) Portsmouth, Virginia, US |
Genres | Soul, R&B, country, disco |
Occupation(s) | Singer, songwriter, record producer |
Instruments | Vocals, guitar |
Years active | 1954–present |
Labels | Mechanic, Calla, Musicor, Cotillion, Loma, Canyon, Elektra, Stone Dogg, Alive Naturalsound Records |
Website | theswampdogg.com |
Jerry Williams Jr. (born July 12, 1942), generally credited under the pseudonym Swamp Dogg after 1970, is an American soul and R&B singer, musician, songwriter and record producer. Williams has been described as 'one of the great cult figures of 20th century American music.'[1]
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After recording as Little Jerry and Little Jerry Williams in the 1950s and 1960s, he reinvented himself as Swamp Dogg, releasing a series of satirical, offbeat, and eccentric recordings, as well as continuing to write and produce for other musicians. He debuted his new sound on the Total Destruction To Your Mind album in 1970. In the 1980s, he helped to develop Alonzo Williams' World Class Wreckin' CRU, which produced Dr. Dre among others.[2] He continues to make music, releasing Love, Loss & Autotune on Joyful Noise Recordings in 2018.[3][4]
Biography[edit]
Early life and recording career[edit]
Williams was born in Portsmouth, Virginia. He made his first recording, 'HTD Blues (Hardsick Troublesome Downout Blues)', for the Mechanic record label in 1954, when he was aged 12. From 1960, he released occasional singles for a variety of labels, including the self-written 'I'm The Lover Man' in 1964, which was first issued on the Southern Sound label and was then picked up by the larger Loma label, almost breaking into the national Billboard Hot 100.[5][6] He also wrote successfully for other musicians, including 'Big Party' for Barbara and the Browns.[6]
As Little Jerry Williams, he had his first national chart success in 1966, when 'Baby You're My Everything', which he co-wrote and produced, was released on the Calla label and rose to #32 on the R&B chart, again just missing the Hot 100.[7][8] He released several more singles on Calla through to 1967, by now credited simply as Jerry Williams, but with little commercial success, although some of his records such as 'If You Ask Me (Because I Love You)' later became staples of the Northern Soul movement in the UK.[5]
By late 1967 he started working in A&R and other duties for the Musicor label in New York.[9] In 1968 he co-wrote, with Charlie Foxx, Gene Pitney's up-tempo hit, 'She's a Heartbreaker', which Williams also claimed to have produced, saying: 'I produced the motherfuck out of it... [and] Charlie Foxx put me down on the label as 'vocal arranger.' What the fuck is that? When they took out full-page ads in Billboard and Cashbox, there was a picture of Charlie on one side and a picture of Gene Pitney on the other and no mention of me.'[10]
Later in 1968 Williams began working as a producer at Atlantic Records with Jerry Wexler and Phil Walden.[1][11] He also established a songwriting partnership with Gary Anderson, who performed as Gary U.S. Bonds, and the pair wrote the R&B chart hits 'To the Other Woman (I'm the Other Woman)' by Doris Duke, and 'She Didn't Know (She Kept on Talking)' by Dee Dee Warwick.[6] He also recorded a single, 'I Got What It Takes', in a duo with Brooks O'Dell, and released two singles under his own name on the Cotillion label, a subsidiary of Atlantic.[5]
Work as Swamp Dogg[edit]
Williams later wrote:[12]
I became Swamp Dogg in 1970 in order to have an alter-ego and someone to occupy the body while the search party was out looking for Jerry Williams, who was mentally missing in action due to certain pressures, mal-treatments and failure to get paid royalties on over fifty single records.... Most all of the tracks included were recorded in Muscle Shoals, Alabama, and Macon, Georgia, which brings me to how the name Swamp Dogg came about. Jerry Wexler, Atlantic Records v.p. and producer/innovator second to none, was recording in the newly discovered mecca of funk Muscle Shoals, Alabama. He coined the term 'Swamp Music' for this awesome funk predominately played by all white musicians accompanying the R'n'B institutions e.g., Wilson Pickett, Aretha Franklin, King Curtis... I was also using the same 'swamp' players. I was tired of being a jukebox, singing all of the hits by Chuck Jackson, Ben E. King, etc., and being an R'n'B second banana. I couldn't dance as good as Joe Tex, wasn't pretty like Tommy Hunt, couldn't compare vocally to Jackie Wilson and I didn't have the sex appeal of Daffy Duck. I wanted to sing about everything and anything and not be pigeonholed by the industry. So I came up with the name Dogg because a dog can do anything, and anything a dog does never comes as a real surprise; if he sleeps on the sofa, shits on the rug, pisses on the drapes, chews up your slippers, humps your mother-in-law's leg, jumps on your new clothes and licks your face, he's never gotten out of character. You understand what he did, you curse while making allowances for him but your love for him never diminishes. Commencing in 1970, I sung about sex, niggers, love, rednecks, war, peace, dead flies, home wreckers, Sly Stone, my daughters, politics, revolution and blood transfusions (just to name a few), and never got out of character. Recording in Alabama and sincerely singing/writing about items that interested me, gave birth to the name Swamp Dogg.
Having adopted his moniker before Snoop Dogg was born he has claimed to be 'the original D-O double G.'[13]
In 1970 he emerged in his new Swamp Dogg persona, with two singles on the Canyon label, 'Mama's Baby, Daddy's Maybe', again co-written with Bonds, and 'Synthetic World'. He also produced the first Swamp Dogg album, Total Destruction to Your Mind. The album sleeve showed Williams sitting in his underwear on a pile of garbage. Williams' new direction apparently followed an LSD trip, and was inspired by the radical politics of the time and by Frank Zappa's use of satire, while showing his own expertise in, and commitment to, deep soul and R&B music. According to Allmusic: 'In sheer musical terms, Swamp Dogg is pure Southern soul, anchored on tight grooves and accentuated by horns, but the Dogg is as much about message as music...' Although not a commercial success at the time, Swamp Dogg started to develop a cult following and eventually the album sold enough to achieve gold record status.[1][14] Record critic Robert Christgau wrote that 'Soul-seekers like myself are moderately mad for the obscure' album and has called it 'legendary'.[15] It was reissued in 2013 by Alive Naturalsound Records.[16]
Around the same time, one of the songs Williams had co-written with Gary Bonds, 'She's All I Got', became a top-ten R&B hit for Freddie North, and was recorded with even greater success by country star Johnny Paycheck, whose version reached #2 on the country music chart in late 1971.[6] In a later interview on NPR's Studio 360, Williams stated he was raised on country music: 'Black music didn't start 'til 10 at night until 4 in the morning and I was in bed by then... If you strip my tracks, take away all the horns and guitar licks, what you have is a country song.'[17] However, he also continued to write and produce deep soul songs for other musicians, including Z. Z. Hill and Irma Thomas.[1][6] In 1971 in collaboration with co-producer and writer the legendary George Semper he released 'Monster Walk Pt. 1 and 2' by the Rhythm 'N' Blues Classical Funk Band on Mankind Records label. Produced for Jerry Williams Productions, Inc.and in spite of modest sales the record once again demonstrated his entrepreneurial skill as an artist.[18]
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As Swamp Dogg, he was signed by Elektra Records for his second album, Rat On! in 1971. The sleeve showed him on the back of a giant white rat, and has frequently been ranked as one of the worst album covers of all time.[19][20][21][22] Sales were relatively poor, and his next albums Cuffed, Collared and Tagged (1972) and Gag a Maggott (recorded at the TK Studio in 1973) were released on smaller labels, though his 1974 album, Have You Heard This Story??, was issued by Island Records.[1] In 1977 he had another minor R&B hit with 'My Heart Just Can't Stop Dancing', credited to Swamp Dogg & the Riders of the New Funk.[7] He continued to release albums through the 1970s and into the mid-1980s as Swamp Dogg, on various small independent labels and in a variety of styles including disco and country and maintained a healthy cult following. He also set up his own publishing and recording company, Swamp Dogg Entertainment Group (SDEG).[1]
In 1999, 'Slow Slow Disco' was sampled by Kid Rock on the track 'I Got One for Ya', sparking a revival of interest in Swamp Dogg, who began performing live gigs for the first time. Several other of his recordings were sampled, and in 2009 he released two new albums, Give Em as Little as You Can...As Often as You Have To...Or...A Tribute to Rock N Roll, and An Awful Christmas and a Lousy New Year. He also released some further singles, and a compilation album of the best of his work as both Little Jerry Williams and Swamp Dogg, It's All Good, was released in 2009. Most of his early Swamp Dogg albums have also been reissued on CD.[1]
Recent work[edit]
Swamp Dogg released a full-length album of new songs in 2014, The White Man Made Me Do It, which Williams described as being a sort of sequel to Total Destruction To Your Mind.[23][24] Shortly thereafter, Swamp Dogg teamed up with Ryan Olson from Poliça to produce the tracks for his 2018 album Love, Loss & Autotune,Justin Vernon (aka Bon Iver) fine-tuning the vocal tracks.[25][26] The song also features instrumentation by Guitar Shorty.[27] The music video for 'I'll Pretend' premiered at NPR[25] and was later featured at Rolling Stone,[28]Pitchfork,[29]Spin[30] and elsewhere. Swamp Dogg described the song as a character study about 'a guy sitting in a restaurant by himself losing his fucking mind because he's hoping his woman is gonna walk by, but she's at a Ramada Inn somewhere fucking somebody else to death.'[26]
Discography[edit]
Albums[edit]
Voice Changer
- Total Destruction To Your Mind (Canyon, 1970)
- Rat On! (Elektra, 1971)
- Cuffed, Collared & Tagged (Cream, 1972)
- Gag A Maggott (Stone Dogg, 1973)
- Have You Heard This Story?? (Island, 1974)
- ??? Greatest Hits ??? (Stone Dogg, 1976)
- You Ain't Never Too Old To Boogie (DJM, 1976)
- An Opportunity... Not A Bargain!!! (Wizard, 1977)
- Finally Caught Up With Myself (Musicor, 1977)
- Doing A Party Tonite (Cream, 1980)
- I'm Not Selling Out - I'm Buying In! (Takoma, 1981)
- Swamp Dogg (Ala, 1982)
- I Called For A Rope And They Threw Me A Rock (SDEG, 1989)
- Surfin' In Harlem (Volt, 1991)
- The Re-Invention Of Swamp Dogg (SDEG, 2000)
- If I Ever Kiss It .... He Can Kiss It Goodbye! (SDEG, 2002)
- Resurrection (SDEG, 2007)
- Swamp Dogg Droppin's (SDEG, 2008)
- Give 'em as Little As You Can...As Often As You Have To...or...A Tribute To Rock 'n' Roll (S-Curve, 2009)
- An Awful Christmas and A Lousy New Year (SDEG, 2009)
- The White Man Made Me Do It (2014)
- Love, Loss, and Auto-Tune (2018)
- Sorry You Couldn't Make It (2020)
Chart singles[edit]
Little Jerry Williams[edit]
- 'Baby, You're My Everything' (Calla, 1966, #32 R&B chart)
Swamp Dogg[edit]
- 'Mama's Baby - Daddy's Maybe' (Canyon, 1970, #33 R&B chart)
- 'My Heart Just Can't Stop Dancing' (Musicor, 1977, #71 R&B chart)
References[edit]
- ^ abcdefg'Swamp Dogg - Biography & History - AllMusic'. AllMusic. Retrieved 21 June 2018.
- ^Margasak, Peter. 'Spot Check'. Chicago Reader. Retrieved 2018-06-12.
- ^'Swamp Dogg's 'I'll Pretend' Digs Into Auto-Tune's Soul, Featuring Justin Vernon'. Npr.org. Retrieved 2018-06-12.
- ^'Listen to Bon Iver's Justin Vernon and Swamp Dogg's New Song'. Pitchfork.com. Retrieved 2018-06-12.
- ^ abc'Soulful Kinda Music'. Soulfulkindamusic.net. Retrieved 21 June 2018.
- ^ abcde'Jerry Williams ••• Top Songs as Writer ••• Music VF, US & UK hits charts'. Musicvf.com. Retrieved 21 June 2018.
- ^ abWhitburn, Joel (2003). Top Pop Singles 1955-2002 (1st ed.). Menomonee Falls, Wisconsin: Record Research Inc. p. 428. ISBN0-89820-155-1.
- ^'Little Jerry Williams Discography - USA - 45cat'. 45cat.com. Retrieved 21 June 2018.
- ^Billboard. 2003-10-04. p. 22. Retrieved February 16, 2015 – via Internet Archive.
musicor jerry williams.
- ^'Archived copy'. Archived from the original on 2014-11-06. Retrieved 2014-09-24.CS1 maint: archived copy as title (link)
- ^Billboard. Books.google.co.uk. Retrieved February 16, 2015.
- ^'Archived copy'. Archived from the original on 2008-01-29. Retrieved 2006-03-28.CS1 maint: archived copy as title (link)
- ^'The Most Successful Failure in the U.S. Rides a Giant Albino Rat: Meet Swamp Dogg - Los Angeles Magazine'. Los Angeles Magazine. 2013-07-26. Retrieved 2018-06-12.
- ^'Swamp Dogg'. Allaboutbluesmusic.com. Retrieved 21 June 2018.
- ^http://robertchristgau.com/get_artist.php?name=Swamp+Dogg
- ^Marchese, David (March 5, 2013). 'Tha Real Mother****ing Doggfather'. Spin. Retrieved December 5, 2013.
- ^Jerry Williams, Jr., interview with Kurt Anderson Studio 360, Natl. Public Radio, WYPR, Baltimore May 9, 2009
- ^'Rhythm 'N' Blues Classical Funk Band - Monster Walk'. Discogs.com. Retrieved 2017-04-15.
- ^Nick DiFonzo (2004). The WORST album covers in the world...EVER!. London: New Holland Publishers. p. 76.
- ^'A Collection of the Worst Album Covers Ever Made'. Laughing Squid. 2014-11-04. Retrieved 2018-06-12.
- ^'Worst Album Covers'. Coverbrowser.com. Retrieved 2018-06-12.
- ^'Rat On! by Swamp Dogg | guardian.co.uk Arts'. Theguardian.com. Retrieved 2018-06-12.
- ^'Swamp Dogg - The White Man Made Me Do It'. No Depression. 2015-01-03. Retrieved 2018-06-12.
- ^'Swamp Dogg: The White Man Made Me Do It'. PopMatters. 2015-02-06. Retrieved 2018-06-12.
- ^ ab'Swamp Dogg's 'I'll Pretend' Digs Into Auto-Tune's Soul, Featuring Justin Vernon'. NPR.org. Retrieved 2018-06-12.
- ^ ab'Swamp Dogg | Love, Loss, and Auto-Tune | Joyful Noise Recordings'. Joyfulnoiserecordings.com. Retrieved 2018-06-12.
- ^'Blues Legend Guitar Shorty is Coming to the Long Beach New Blues Festival Labor Day Weekend'. The LA Beat. Retrieved 2018-06-12.
- ^'Cult Soul Singer Swamp Dogg Previews New LP with Eerie Bon Iver Duet'. Rolling Stone. Retrieved 2018-06-12.
- ^''I'll Pretend' by Swamp Dogg Review'. Pitchfork.com. Retrieved 2018-06-12.
- ^'Swamp Dogg — 'I'll Pretend' ft. Justin Vernon: Video'. Spin. 2018-06-07. Retrieved 2018-06-12.
Wilson Pickett Auto Tune Shop
External links[edit]
- Swamp Dogg Interview NAMM Oral History Library (2014)
Autotune Download
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