25 Authentic Blues Guitar Lessons, Dave Rubin, Gitarre, Buch + Online-Audio
Dave Hitz likes to solve fun problems. He didn´t set out to be a Silicon Valley icon, a business visionary, or even a billionaire. But he became all three. It turns out that business is a mosaic of interesting puzzles like managing risk, developing and reversing strategies, and looking into the future by deconstructing the past. As a founder of NetApp, a data storage firm that began as an idea scribbled on a placemat and now takes in $4 billion a year, Hitz has seen his company go through every major cycle in business--from the Jack-of-All-Trades mentality of a start-up, through the tumultuous period of the IPO and the dot-com bust, and finally to a mature enterprise company. NetApp is one of the fastest-growing computer companies ever, and for six years in a row it has been on Fortune magazine´s list of Best Companies to Work For. Not bad for a high school dropout who began his business career selling his blood for money and typing the names of diseases onto index cards. With colorful examples and anecdotes, How to Castrate a Bull is a story for everyone interested in understanding business, the reasons why companies succeed and fail, and how powerful lessons often come from strange and unexpected places. Dave Hitz co-founded NetApp in 1992 with James Lau and Michael Malcolm. He served as a programmer, marketing evangelist, technical architect, and vice president of engineering. Presently, he is responsible for future strategy and direction for the company. Before his career in Silicon Valley, Dave worked as a cowboy, where he got valuable management experience by herding, branding, and castrating cattle.
(1996 ´Delmark´) (70:15/13) Eine Benefiz-Veranstaltung für die privat-finanzierte Blues-Radiosendung Steve Cushings. Grundsolider, wenngleich wenig spektakuläre Aufnahmen aus dem ´B.L.U.E.S.´ in Chicago - eine typische Bluesnacht in Chicago For 17 years DJ Steve Cushing has aired Blues Before Sunrise, the ´Blues Heritage Showcase´, over Chicago´s public radio station 91.5FM WBEZ, and for the last six years the rest of the country has also had a chance to hear his show via satellite syndication. Broadcast from midnight to 5 a.m., Blues Before Sunrise has long served an audience that includes loyal home listeners, musicians lounging on break, lovers in their living rooms, cab drivers and other service workers pulling the graveyard, and even teen airwave surfers discovering an entire musical world peopled by cats who were hip before them. Blues Before Sunrise showcases blues as part of a cultural landscape that includes jump and jive, rhythm and blues, swing, doo wop, gospel, comedy, and recitation, and never is the music presented as kitsch or retro fashion in the way that some music has been exploited and trivialized. For Cushing the blues is a living African-American tradition with deep roots. As a musician himself bearing substantial credentials with Magic Slim and The Teardrops, the Lee Jackson band and Smokey Smothers and The Ice Cream Men, Steve Cushing numbers among his friends and closest associates the artists on this recording-fellow musicians to whom this is a vital, thriving music as well as a means of making a living. Now gone independent and seeking permanent sponsors, Blues Before Sunrise held a benefit concert at Chicago´s B.L.U.E.S. on October 20, 1996 to purchase satellite time to keep the show on the air. The packed-to-the-doors fund-raiser featured artists Billy Boy Arnold, John Brim, Jimmie Lee Robinson, Taildragger, Big Wheeler, Jimmy Burns, Lurrie Bell, Willie Buck, Lester Davenport, Dave Myers, Sammy Fender and others&emdash;each an extraordinary practitioner of Chicago blues and together a full-credit, higher education history lesson in the blues. The portion of the show preserved on this CD is hair-bristling proof of among other things the constancy of the post-war sound and of the vitality of the ever-fruitful Chicago scene. Vocalist and harp player Big Wheeler leads off backed by Rockin´ Johnny Burgin, Dave Waldman and Cushing, as he was on his 1993 Delmark release Bone Orchard (Delmark 661), performing three original compositions solidly in the musical style of his other two selections, Muddy´s ´I´m Ready´ and Little Walter´s ´Got To Go.´ Gary, Indiana native John Brim reprises four of his now-classic Chess sides supported by some of the original Ice Cream Men (named by Illinois Slim when they played behind Otis ´Big Smokey´ Smothers who was one, and only coincidently also the name of one of Brim´s numbers) Cushing, Dave Waldman, Slim (Tom Morris), and Sho Komiya on bass, and on the last cut, Martin Lange on harp. Billy Boy Arnold still sounds like the young man he was when he waxed classic 45s ´Ain´t Got You´ and ´I Wish You Would´ in the mid-1950s. ´Streetwise Advisor´, a sly paean to the Bronzeville patter of his youth, is followed by a rock-the-house-down musical pastiche that begins as ´Stormy Monday´ and leads into a medley of verses from his mentor Sonny Boy (John Lee) Williamson. Johnny Burgin and The Lazy Boys provide crack period back-up with a contemporary freshness behind both Arnold and Jimmy Burns (they were also the studio band in Burn´s recent release Leaving Here Walking (Delmark 694) and they appear with him weekly at Smoke Daddy´s). Burns makes Jimmy Rogers´ ´You´re The One´ sound brand new, then closes out in thrilling fashion with the soulful, minor-key title track to his CD, a fitting end that effortlessly stretches the blues boundaries. These musicians (all of them heard regularly on Blues Before Sunrise) aren´t ´revival´ acts. They´re out there every day playing music that would never occur to them as being ´old´ or ´retro´ but instead is part of an ongoing cultural tradition. Put this platter on and spin your own private Chicago blues festival featuring some of the best current practitioners of the genre, courtesy of Blues Before Sunrise and Delmark Records. Then go out and see them live. And afterwards, tune in to the show. And may the sun never set on Blues Before Sunrise, or the Chicago Blues. --Justin O´Brien
(2016/Sundazed) 12 tracks - Recorded between 1965 and 1968! Female Kick-Ass Garage stuff! Colored Vinyl! The archetype for the ´60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path. The Quatro girls had been brought up in a musically-minded family, nurtured with classical piano and vocal lessons. As Patti recalls, ´´By 1964, I had been taking guitar lessons, hanging with musicians in the local music scene. We had seen a Beatles concert, and I was quite dazed and focused at the event, watching the audience cry and scream out of control. It was my epiphany moment, and I was determined to start an all-girl band.´´ Shortly thereafter, the first lineup of the Pleasure Seekers fell into place with Patti Quatro (lead guitar), Marylou Ball (rhythm guitar), Suzi Quatro (bass), Diane Baker (keyboards), Nan Ball (drums) and vocal duties shared by all. Around the fall of 1965 the girls dared local teen club manager Dave Leone to give them a slot at his popular Hideout Club, claiming they were better than most of the other live bands there. ´´You´re on,´´ responded Leone, ´´in two weeks. Three songs!´´ The Pleasure Seekers were soon a popular feature at the club, honing their skills alongside the likes of the Rationals, the Amboy Dukes and Bob Seger & the Last Heard. ´´In the beginning, there was a lot of skepticism,´´ remembers Patti, ´´especially the first night. The boys crowded the stage, the girlfriends pulled them away with laughter, as if ´Girls playing?! Yeah, right!´ It was always satisfying to see them be silenced quickly when we began playing. We grew used to seeing slack jaws open in surprise.´´ Next they were asked by Leone to record and release a single on his Hideout label. That March 1966 release is now regarded as the greatest ´´girl garage´´ single of the era: ´´Never Thought You´d Leave Me´´ b/w ´´What a Way to Die.´´ ´´Dave brought lyrics, and we put the songs together quickly,´´ remembers Patti. ´´We felt very legit in making this record at a small local studio. Nan was the sexy voice on ´Never Thought You´d Leave Me,´ and there was lots of laughter as Marylou added the screams on ´What a Way to Die.´´´ Suzi Quatro remembers the recording as ´´very important and memorable.´´ The Pleasure Seekers were soon in demand in the region, playing teen clubs, parties, colleges and local TV shows. After a series of lineup changes, the band brought in older Quatro sister Arlene (keyboards) and Darline Arnone (drums), the first female drummer sponsored by Slingerland Drums. A short time later, Pami Benford joined-up on guitar and bass (that lineup lasting through most of 1968). It was a very versatile group, remembers Patti, with Pami and Suzi sharing bass, and Pami and I sharing lead and rhythm guitars. The gender bias was my hot button, recalls Arlene, along with confidence in our musical abilities. With women musicians dismissed as a novelty, I delighted in watching the audience go from skepticism/ridicule, to shock/cheers. For Suzi, though, this period was where she learned her craft: I considered myself a musician, and didnt really think about gender too much. Two tracks recorded in 1967, but unissued at the time, Elevator Express and Gotta Get Away, highlight the bands growing musical maturity since their Hideout debut. Detroit was the best learning ground in the world for musicians, recalls Suzi, with an amazing energy and creativity that is in every successful artist that has come out of the city. We were actually one of the earliest Detroit bands traveling the country, adds Patti. Everyone wanted this unusual allgirl band who rocked an entire Motown revue (changing instruments and singers throughout) and an entire Sgt. Pepper/Magical Mystery Tour revue, as well as covering English bands, acid rock and everything in between. Signing up with Associated Booking Corporation, the group began making the transition from local to national act. Producer Dick Corby caught the Pleasure Seekers at Trude Hellers in New Yorks Greenwich Village and signed them to a Mercury Records deal in early 1968. To keep rein on their