re: Endless Sleep - The Obituary Thread

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NASHVILLE — Fred Foster, the record producer and song publisher who championed the emerging careers of Roy Orbison, Kris Kristofferson and Dolly Parton, died here on Wednesday. He was 87.

His publicist, Martha Moore, said the cause was complications of a stroke.

Mr. Foster’s most enduring early success came as the producer of Roy Orbison’s No. 1 singles “Running Scared” and “Oh, Pretty Woman” in the early 1960s. Along with the likes of “Crying” and “Only the Lonely (Know How I Feel),” all of Mr. Orbison’s hits from this period were issued by Monument Records, the label Mr. Foster established in Washington in 1958 (it took its name from the Washington Monument) and moved to Nashville two years later.

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it is generally accepted he made the whole "Wrecking Crew" name up to brand himself

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I don't think the NYC baws even have a name.

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NYC baws

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"Drummer Buddy Saltzman accented the recording with bombastic around the kit fills and ghost notes while never using a cymbal once."

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Dick Dale, the “King of the Surf Guitar” who formulated the sound and attack of the Southern California-bred instrumental style in the early ‘60s, has died. He was 81.

His bassist, Sam Bolle, confirmed the news to the Guardian.

Dale’s self-released records with his band the Deltones led the way for countless other acts — the Chantays, the Surfaris, Eddie and the Showmen and the Pyramids among them — who emulated his reverb-soaked, “wet” sound and aggressive attack in their own hits.

In his “The Illustrated Discography of Surf Music,” writer and latter-day surf guitarist John Blair described the genesis of Dale’s distinctive and unprecedented sound.

“He attempted to musically reproduce the feeling he had while surfing, and the result of this somewhat nebulous and certainly subjective approach was the surfing music genre,” Blair wrote. “The feeling was one of vibration and pulsification, which he produced by a heavy staccato sound on the low-key strings of his guitar accompanied by a heavy thunder-like beat.”

In his foreword to Blair’s book, southpaw player Dale acknowledged the impact of Fullerton, CA-based guitar and amplifier manufacturer Leo Fender and his designer Freddie Tavares’ equipment on his sound.

“It was the two of them who never gave up as I blew up and destroyed countless amplifiers and speakers, which ultimately led to the creation of the 100 watt Dual Showman [amp],” Dale wrote. “Leo would always say to Freddie, ‘If it can withstand Dick Dale’s barrage of punishment, it is ready for human consumption.’”

Fender built the first left-handed edition of his solid-body Stratocaster model guitar to Dale’s specifications. The musician, who had codified his instrumental approach on the 1961 single “Let’s Go Trippin’,” further refined the surf style by applying Fender’s outboard reverb unit on his trend-setting 1962 45 “Miserlou.”

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João Gilberto, one of the primary creators of bossa nova, the intimate Brazilian music that became a major cultural export, has died. He was 88.

His son, João Marcelo Gilberto, confirmed the death on Facebook, although he did not say where or when Mr. Gilberto died.

Starting with his 1958 single “Chega de Saudade,” Mr. Gilberto, in his late 20s, became the quintessential transmitter of the harmonically and rhythmically complex, lyrically nuanced songs of bossa nova (slang for “new thing” or “new style”), written by Antônio Carlos Jobim, João Donato, Vinicius de Moraes and others.

In the music he recorded from 1958 to 1961 — appearing on the albums “Chega de Saudade,” “O Amor, O Sorriso e a Flor” and “Joao Gilberto” — Mr. Gilberto took strains of Brazilian samba and American pop and jazz and reconfigured them for a new class of young Brazilian city-dwellers, helping to turn bossa nova into a global symbol of a young and confident Brazil.

The music gained particular popularity in the United States, spawning pop hits and even a dance craze. It brought Mr. Gilberto to Carnegie Hall and led to a Grammy Award, given to him and the jazz saxophonist Stan Getz, for a collaborative effort that was named album of the year for 1964 and that produced an enormous hit, “The Girl From Ipanema.”

Mr. Gilberto’s new synthesis replaced samba percussion with guitar-picking figures in offbeat patterns (called by some “violão gago,” or “stammering guitar”). It also conveyed interiority through a singing style that was confiding, subtly percussive and without vibrato.

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