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Wolfgang Doebeling trifft Mick Mick Jagger, Keith Richards, Charlie Watts, Bill Wyman, Paul McCartney, Ringo Starr, Ray Davies, Pete Townshend, Graham Nash, David Bowie, Elvis Costello und Joe Strummer zum Interview. Ein notwendiges Übel, eine lästige Pflicht – so sehen die meisten Musiker die obligatorischen Termine mit Medienvertretern. Eine neue Platte, eine anstehende Tournee wollen schließlich beworben sein. Solange sich die Interview-Partner an die ungeschriebenen Regeln solcher Frage- und Antwort-Rituale halten, verläuft alles in vorhersehbaren Bahnen. Doch was passiert, wenn ausgetretene Promo-Pfade verlassen werden und man sich ins Dickicht von Historie, Kontextualität und Überzeugungen wagt? Welche überraschenden Wendungen können Konversationen nehmen, wenn Rede auf Gegenrede trifft? Die Gespräche in diesem Band geben darüber auf höchst unterschiedliche Weise Aufschluss.

Musicians.

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Why did poets continue to call themselves singers, and their poems songs, long after the formal link between poetry and music had been severed? Daniel Karlin explores the origin and meaning of the 'figure of the singer', tracing its roots in classical mythology and in the Bible, and following its rise from the 'adventurous song' of Milton's Paradise Lost to its apotheosis in the nineteenth century-by which time it had also become an oppressive cliché. Poets mightembrace, or resist, this dominant figure of their art, but could not ignore it. Shadowing the metaphor is another figure, that of the

Singers. --- Vocalists --- Musicians

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Jazz musicians --- Calloway, Cab,

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Carter and Ralph Stanley--the Stanley Brothers--are comparable to Bill Monroe and Flatt & Scruggs as important members of the earliest generation of bluegrass musicians. In this first biography of the brothers, author David W. Johnson documents that Carter (1925-1966) and Ralph (b. 1927) were equally important contributors to the tradition of old-time country music. Together from 1946 to 1966, the Stanley Brothers began their careers performing in the schoolhouses of southwestern Virginia and expanded their popularity to the concert halls of Europe. In order to re-create this pos

Bluegrass musicians --- Stanley Brothers.

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In a career that took him from the cotton fields of East Texas to the concert stage at Carnegie Hall and beyond, Lightnin’ Hopkins became one of America’s greatest bluesmen, renowned for songs whose topics effortlessly ranged from his African American roots to space exploration, the Vietnam War, and lesbianism, performed in a unique, eccentric, and spontaneous style of guitar playing that inspired a whole generation of rock guitarists. Hopkins’s music directly and indirectly influenced an amazing range of artists, including Jimi Hendrix, Stevie Ray Vaughan, Miles Davis, John Coltrane, Tom Waits, and Bob Dylan, as well as bands such as the Grateful Dead, Jefferson Airplane, and ZZ Top, with whom Hopkins performed. Mojo Hand follows Lightin’ Hopkins’s life and music from the acoustic country blues that he began performing in childhood, through the rise of 1950s rock ’n’ roll, which nearly derailed his career, to his reinvention and international success as a pioneer of electric folk blues from the 1960s to the 1980s. The authors draw on 130 vivid oral histories, as well as extensive archival and secondary sources, to provide the fullest account available of the development of Hopkins’s music; his idiosyncratic business practices, such as shunning professional bookers, managers, and publicists; and his durable and indelible influence on modern roots, blues, rock ’n’ roll, singer-songwriter, and folk music. Mojo Hand celebrates the spirit and style, intelligence and wit, and confounding musical mystique of a bluesman who shaped modern American music like no one else.

Blues musicians --- Hopkins, Lightnin',