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I Know, It Has Nothing To Do With Me Or Music, But I Love It.
Nate Jaeger and STILETTO ENTERPRIZES announces their participation in the "NEW" way to "GO TO THE MOVIES". Come on DOWN to :
Ellen Show 5 from Gold Class Cinemas on Vimeo.
If you or someone you know lives in the Los Angeles area and is a talented singer who needs training and support "Free of Charge" go to Http://www.JaegerSchool.com for details. We are looking for the next Hit Maker! The Music of the United States reflects the country's multicultural population through a diverse array of styles. The below two part video with our Daddy Rich gives you a little history before I sing for you some of the 2500 songs I've recorded. Nate Jaeger's Personal JUKEBOX USE THE SCROLL BAR ON THE RIGHT SIDE OF THE PLAYER-SCROLL DOWN THE SONGS-SELECT ONE BY "clicking on it" AND ENJOY 224 SONGS BY NATE JAEGER FROM EVERY GENRE
THE BLUES PART 1 and 2
Blues, Rhythm and Blues, Country, Cajun, Rock n’ Roll, Rock and Jazz are among the country's most internationally renowned genres. Since the beginning of the 20th century, popular recorded music from the United States has become increasingly known across the world, to the point where some form of American popular music is listened to almost everywhere. Original inhabitants of the United States were the hundreds of Native American tribes, who played the first music in the area. Beginning in the 17th century, immigrants from England, Spain, and France began arriving in large numbers, bringing with them new styles and instruments. African slaves brought their own musical traditions, and each subsequent wave of immigrants also contributed to a sonic melting pot. Much of modern popular music can trace its roots to the emergence in the late 1800s of African American blues and the growth in the 1920s of gospel music. African American music formed an important basis for popular music, which also used elements derived from European and indigenous music. The following 40 Albums recorded by Nate Jaeger over the last 50 years will follow that growth from the Cotton Fields of the South to Fillmore West where the birth and emergence of Modern Rock arrived and raged in the Summer of 1969. ...AND ON THE SEVENTH DAY HE CREATED THE "BLUES"................................................. In the Winter of 1949 I walked down to the Docks of Hell's Kitchen,with my $12 guitar, to Mama Beasly's Roadhouse,where I sat on the second step, looking in through the front doors. She served me a couple of shooters and several cigs to keep me warm as I listened all night to a man and a sound that would rule and guide my life forever...I was nine years old......Nate Jaeger JIMMY REED
NATE JAEGER...the first recording where I sang and played the Blues live...1955
The child of this music was born and it all started new when one man, with the whole package, beat the rest of us to the top ln the Winter of 56' via the use of a new media, "Television"....and the rest was Rock n' Roll...
This Is The Kid I Remember At Sam's SUN RECORDS in 1955. Happy,energetic,uninhibited and such a loyal friend !
On His Heels came men who had started before him and set the world on fire with a new music born of Southern blues....Little Richard, The Father of Rock n' Roll ...Jerry Lee Lewis the man who pounded the beat...Chuck Berry who gave the teenager the story...Roy Orbison who gave the teenager the angst...Gene Vincent who gave the teenager sex appeal and Eddie Cochran who gave them the romance.There were other firsts, such as James Brown,Buddy Holly,Richie Valens,Carl Perkins and many Rockabilly Artists. Most are gone now except one man who carries on the torch...Nate Jaeger THE HISTORY OF ROCK N' ROLL Rock and roll (often written as rock & roll or rock ’n’ roll) is a genre of popular music that evolved in the United States in the late 1940s after World War II, from a combination of the rhythms of the blues, from the African American culture, and from America's country music and gospel music scene. Though elements of rock and roll can be heard in country records of the 1930s, and in blues records from the 1920s, rock and roll did not acquire its name until the 1950s. An early form of rock and roll was rockabilly, which combined country and jazz, with influences from traditional Appalachian folk, and Gospel music. Rock and Roll can trace one lineage to the Five Points, Manhattan district of mid-19th century in New York City, the scene of the first fusion of heavily rhythmic African shuffles and sand dances, with melody-driven European genres, particularly the Irish and Italian jig. The term "rock and roll" now covers at least two different meanings, both in common usage. The American Heritage Dictionary and the Merriam-Webster Dictionary both define rock and roll as synonymous with rock music. Conversely, Allwords.com defines the term to refer specifically to the music of the 1950s. For the purpose of differentiation, this article uses the latter definition, while the broader musical genre is discussed in the rock music article. Classic rock and roll is usually played with one or two electric guitars (one lead, one rhythm), a string bass or (after the mid-1950s) an electric bass guitar, and a drum kit. In the earliest rock and roll styles of the late 1940s and early 1950s, either the piano or saxophone was often the lead instrument, but these were generally replaced or supplemented by guitar in the middle to late 1950s. The beat is essentially a boogie woogie blues rhythm with an accentuated backbeat, the latter almost always provided by a snare drum. The massive popularity and eventual worldwide view of rock and roll gave it a unique social impact. Far beyond simply a musical style, rock and roll, as seen in movies and in the new medium of television, influenced lifestyles, fashion, attitudes, and language. It went on to spawn various sub-genres, often without the initially characteristic backbeat, that are now more commonly called simply "rock music" or "rock". The immediate origins of rock and roll lie in the late 1940s and early 1950s, when various popular musical genres of the time - including blues, country music, rhythm and blues, folk music and gospel music - combined to give rise to the new style. However, elements of rock and roll can be heard in many "hillbilly" and "race music" records of the 1920s and 1930s. This music was often relegated to "race music" outlets (as rhythm and blues stations were referred to at the time) and was rarely heard by mainstream white audiences. A few black rhythm and blues musicians, notably Louis Jordan,
the Mills Brothers, and The Ink Spots, achieved crossover success; INK SPOTS
in some cases (such as Jordan's "Choo Choo Ch'Boogie") this was achieved with numbers composed by white songwriters.
The Western swing genre in the 1930s, generally played by white musicians, also shared similarities with rock and roll, and in turn directly influenced rockabilly and rock and roll, as can be heard (for example) on Elvis Presley's rendition of "Jailhouse Rock" (1957). Going back even further, rock and roll can trace one lineage to the old Five Points, Manhattan district of mid-19th century New York City, the scene of the first fusion of heavily rhythmic African shuffles and sand dances with melody-driven European genres, particularly the Irish jig. As Alan Freed states in the 1956 film Rock, Rock, Rock, "[rock and roll is a river of music that has absorbed many streams: rhythm and blues, jazz, rag time, cowboy songs, country songs, folk songs. All have contributed to the big beat." In 1951, Cleveland, Ohio disc jockey Alan Freed began playing rhythm and blues and country music for a multi-racial audience. Freed is credited with first using the phrase "rock and roll" to describe the music he played. However, the term had already been introduced to US audiences, particularly in the lyrics of many rhythm and blues records. The line "commence to rock and roll" appeared in the swing tune "Get Rhythm in Your Feet and Music in Your Soul" recorded by Benny Goodman and his orchestra in July 1935. Three different songs with the title "Rock and Roll" were recorded in the late 1940s; one by Paul Bascomb in 1947, another by Wild Bill Moore in 1948, and yet another by Doles Dickens in 1949, and the phrase was in constant use in the lyrics of R&B songs of the time. One such record where the phrase was repeated throughout the song was "Rock and Roll Blues", recorded in 1949 by Erline "Rock and Roll" Harris. The phrase was also included in advertisements for the film Wabash Avenue, starring Betty Grable and Victor Mature. An ad for the movie that ran April 12, 1950 billed Ms. Grable as "the first lady of rock and roll" and Wabash Avenue as "the roaring street she rocked to fame". Before then, the phrase "rocking and rolling", as secular black slang for dancing or sex, appeared on record for the first time in 1922 on Trixie Smith's "My Man Rocks Me With One Steady Roll". Even earlier, in 1916, the term "rocking and rolling" was used with a religious connotation, on the phonograph record "The Camp Meeting Jubilee" by an unnamed male "quartette". The word "rock" had a long history in the English language as a metaphor for "to shake up, to disturb or to incite". In 1937, Chick Webb and Ella Fitzgerald recorded "Rock It for Me," which included the lyric, "So won't you satisfy my soul with the rock and roll". "Rocking" was a term used by black gospel singers in the American South to mean something akin to spiritual rapture. By the 1940s, however, the term was used as a double entendre, ostensibly referring to dancing, but with the subtextual meaning of sex, as in Roy Brown's "Good Rocking Tonight". The verb "roll" was a medieval metaphor which meant "having sex". Roy Brown
Writers for hundreds of years have used the phrases "They had a roll in the hay" or "I rolled her in the clover". The terms were often used together ("rocking and rolling") to describe the motion of a ship at sea, for example as used in 1934 by the Boswell Sisters in their song "Rock and Roll", which was featured in the 1934 film "Transatlantic Merry-Go-Round",
and in Buddy Jones' "Rockin' Rollin' Mama" (1939). Country singer Tommy Scott was referring to the motion of a railroad train in the 1951 "Rockin and Rollin'". An alternative claim is that the origins of "rocking and rolling" can be traced back to steel driving men working on the railroads in the Reconstruction South. These men would sing hammer songs to keep the pace of their hammer swings. At the end of each line in a song, the men would swing their hammers down to drill a hole into the rock. The shakers — the men who held the steel spikes that the hammer men drilled — would "rock" the spike back and forth to clear rock or "roll", twisting the spike to improve the "bite" of the drill. First rock and roll record There is much debate as to what should be considered the first rock & roll record. One leading contender is "Rocket 88" by Jackie Brenston and his Delta Cats (which was, in fact, Ike Turner and his band The Kings of Rhythm recording under a different name), recorded by Sam Phillips for Sun Records in 1951.
Four years later, Bill Haley's "Rock Around the Clock" (1955) became the first rock and roll song to top Billboard magazine's main sales and airplay charts, and opened the door worldwide for this new wave of popular culture.
Rolling Stone magazine argued in 2004 that "That's All Right (Mama)" (1954), Elvis Presley's first single for Sun Records in Memphis, was the first rock and roll record.
But, at the same time, others recorded it live and gave it a more middle of the road Rock n' Roll excitement.
Big Joe Turner's "Shake, Rattle & Roll", later covered by Haley, was already at the top of the Billboard R&B charts.
Turner was one of many forerunners. His 1939 recording, "Roll 'Em Pete", is close to '50s rock and roll. Sister Rosetta Tharpe
was also recording shouting, stomping music in the 1930s and 1940s that in some ways contained major elements of mid-1950s rock and roll. She scored hits on the pop charts as far back as 1938 with her gospel songs, such as "This Train" and "Rock Me", and in the 1940s with "Strange Things Happenin' Every Day", "Up Above My Head", and "Down by the Riverside." . MaMa Thornton
Other significant records of the 1940s and early 1950s included Roy Brown's "Good Rocking Tonight" and Hank Williams' "Move It On Over" and Amos Milburn's "Chicken Shack Boogie" (all 1947); Jimmy Preston's "Rock the Joint"
and Fats Domino's "The Fat Man" and Big Joe Turner's "Ooo-Ouch-Stop" (all 1949); and Les Paul and Mary Ford's "How High the Moon" (1951).
Both rock and roll and boogie woogie have four beats (usually broken down into eight eighth-notes/quavers) to a bar, and follow twelve-bar blues chord progression. Rock and roll however has a greater emphasis on the backbeat than boogie woogie. Little Richard combined boogie-woogie piano with a heavy backbeat and over-the-top, shouted, gospel-influenced vocals that the Rock and Roll Hall of Fame says "blew the lid off the '50s." However, others before Little Richard were combining these elements, including Esquerita, Cecil Gant, Amos Milburn, Piano Red, and Harry Gibson. Little Richard's wild style, with shouts and "woo woos," had itself been used by female gospel singers, including the 1940s' Marion Williams. Roy Brown did a Little Richard style "yaaaaaaww" long before Richard in "Ain't No Rockin no More." Bo Diddley's 1955 hit "Bo Diddley" backed with "I'm A Man" introduced a new, pounding beat, and unique guitar playing that inspired many artists.
Other artists with early rock and roll hits were Chuck Berry and Little Richard, as well as many vocal doo-wop groups. According to the Rock and Roll Hall of Fame's website, "While no individual can be said to have invented rock and roll, Chuck Berry comes the closest of any single figure to being the one who put all the essential pieces together. Within the decade crooners such as Eddie Fisher, Perry Como, and Patti Page, who had dominated the previous decade of popular music, found their access to the pop charts significantly curtailed. Rockabilly "Rockabilly" usually (but not exclusively) refers to the type of rock and roll music which was played and recorded in the mid 1950s by white singers such as Elvis Presley, Carl Perkins and Jerry Lee Lewis, who drew mainly on the Country roots of the music.
Many other popular rock and roll singers of the time, such as Fats Domino, Chuck Berry and Little Richard, came out of the black rhythm and blues tradition, making the music attractive to white audiences, and are not usually classed as "rockabilly". In July 1954, Elvis Presley recorded the regional hit "That's All Right (Mama)" at Sam Phillips' Sun studios in Memphis. Two months earlier in May 1954, Bill Haley & His Comets recorded "Rock Around the Clock". Although only a minor hit when first released, when used in the opening sequence of the movie Blackboard Jungle, a year later, it really set the rock and roll boom in motion. The song became one of the biggest hits in history, and frenzied teens flocked to see Haley and the Comets perform it, causing riots in some cities. "Rock Around the Clock" was a breakthrough for both the group and for all of rock and roll music. If everything that came before laid the groundwork, "Clock" introduced the music to a global audience. Cover version Many of the earliest white rock and roll hits were covers or partial re-writes of earlier rhythm and blues or blues songs. Through the late 1940s and early 1950s, R&B music had been gaining a stronger beat and a wilder style, with artists such as Fats Domino and Johnny Otis speeding up the tempos and increasing the backbeat to great popularity on the juke joint circuit. Before the efforts of Freed and others, black music was taboo on many white-owned radio outlets, but artists and producers quickly recognized the potential of rock and roll. Most of Presley's early hits were covers, like "That's All Right" (a countrified arrangement of a blues number), its flip side "Blue Moon of Kentucky", "Baby, Let's Play House", "Lawdy Miss Clawdy" and "Hound Dog".
Covers were customary in the music industry at the time; it was made particularly easy by the compulsory license provision of United States copyright law. One of the first successful rock and roll covers was Wynonie Harris's transformation of Roy Brown's "Good Rocking Tonight" from a jump blues to a showy rocker. The most notable trend, however, was white pop covers of black R&B numbers. Exceptions to this rule included Wynonie Harris covering the Louis Prima rocker "Oh Babe" in 1950, and Amos Milburn covering what may have been the first white rock and roll record, Hardrock Gunter's "Birmingham Bounce," in 1949.
Black performers saw their songs recorded by white performers, an important step in the dissemination of the music, but often at the cost of feeling and authenticity (not to mention revenue). Most famously, Pat Boone recorded sanitized versions of Little Richard songs, though Boone found "Long Tall Sally" so intense that he couldn't cover it. Later, as those songs became popular, the original artists' recordings received radio play as well. Little Richard once called Pat Boone from the audience and introduced him as "the man who made me a millionaire." The cover versions were not necessarily straightforward imitations. For example, Bill Haley's incompletely bowdlerized cover of "Shake, Rattle and Roll" transformed Big Joe Turner's humorous and racy tale of adult love into an energetic teen dance number, while Georgia Gibbs replaced Etta James's tough, sarcastic vocal in "Roll With Me, Henry" (covered as "Dance With Me, Henry") with a perkier vocal more appropriate for an audience unfamiliar with the song to which James's song was an answer, Hank Ballard's "Work With Me, Annie." Blues would continue to inspire rock performers for decades. Delta blues artists such as Robert Johnson and Skip James also proved to be important inspirations for British blues-rockers such as The Yardbirds, Cream, and Led Zeppelin. The reverse, black artists making hits with covers of songs by white songwriters, although less common, did occur. Amos Milburn got a hit with Don Raye's "Down the Road a Piece," Maurice Rocco covered Raye's "Beat Me Daddy Eight To The Bar,", Chuck Berry's first hit single Maybellene was a rewritten version of Bob Wills' Ida Red, and Wynonie Harris covered "Don't Roll Your Bloodshot Eyes At Me" by Hank Penny and "Oh, Babe" by Louis Prima, for the R&B market.