Meet the Pedal Steel Guitar

Here at HillTop Records, we love country music. In fact, we have produced many country albums--and you can listen to and download some of our favorites here! The heartfelt emotions, familiar themes and melodic, easy-to-follow rhythms are what make country songs so popular in the U.S. However, there is another key component in play--the various instruments that lend country its unique sound. One instrument commonly used in country music is the pedal steel guitar, a type of electric guitar that uses a metal slide (the "steel") instead of fingers to stop or shorten the length of the strings. Additionally, the instrument uses foot pedals and knee levers to affect the pitch.

Immediately, you will notice that the pedal steel guitar does not look like a regular guitar. There is no specific resonant chamber or conventional guitar body. Instead, the instrument is dominated by one or more guitar necks. These lie flat, supported horizontally on legs. The strings face up, and the foot pedals and knee levels are mounted below. Developed from the console steel guitar and lap steel guitar, the pedal steel guitar does have standard pedal assignments. However, many musicians tend to devise their own setups; these are called "copedents."

Historically, the pedal steel guitar can be traced back to the Hawaiian music of the late 1800's. We've mentioned before the influence that Hawaiian has had on contemporary country music, especially with the introduction of the steel guitar. During the 1920's and '30's, Hawaiian steel guitar grew in popularity on the continental U.S. This led to the invention of the resophonic guitar and by the 1930's, the traditional guitar's hollow body was abandoned for a flat slab of wood or metal and an electric pickup in several genres. This new lap steel guitar (the first electric guitar to enjoy commercial success) further paved the way for pioneers like Adolph Rickenbacker, Paul Bigsby and Leo Fender.

The problem with the early steel guitar was the limitation of chord shapes imposed by the use of the steel slide. To fix this, inventors added multiple necks to create the console steel guitar. When Bigsby began creating custom pedal guitars around 1950, they were immediately snatched up by the likes of Speedy West and Jimmy Bryant. Zane Beck first added knee levers in 1953 and soon afterwards, console steel player Bud Isaacs attached a pedal to one of the necks of his guitar and used it during a recording of Webb Pierce's hit single, "Slowly." The new sound sparked a revolution within the steel guitar community.

Something that continues to draw guitarists to the pedal steel guitar is its ability to be customized and adjusted for the individual musician. The first pedal steel guitar manufacturer was the Sho-Bud company, established in 1957. After a few years of tinkering, a standard was born: a single neck with three pedals and up to four knee levers. However, those numbers are easily (and frequently) changed to accommodate the player. And there are many players of the pedal steel guitar these days, especially across Country and Western genres. Alternative country, Western swing, jazz and blues have all been enhanced by the fluid, sensual sound of the pedal steel guitar.

These days, it is not uncommon to hear the pedal steel guitar used in mainstream music. The versatile instrument holds great appeal for musicians, and it seems to have an unusually high number of mechanically inclined players. What's more, the instrument is exciting because it is even nowadays reaching new heights and levels of recognition. In April of 2005, the Nashville Chamber Orchestra premiered A Concerto for Pedal Steel Guitar and Orchestra by Los Angeles composer Michael A. Levine. The piece was the first concerto ever written for the solo steel guitar. And the instrument is not only being used in American music--it is also one of the main components of Jùjú, a popular genre in Nigeria!

Because of its unique physical characteristics and complex harmonic interworkings, the pedal steel guitar can be difficult to master at first. Talented players are therefore highly esteemed, and especially sought after in the country music industry. If you are interested in testing it out for yourself, check out www.steelguitar.com for more information. The Steel Guitar Forum, pedalsteelguitar.net and pedalsteelguitar.org are other excellent resources. You can learn how to create basic chords, watch videos of pedal steel guitar musicians--and perhaps even fall in love with the instrument's liquid, yearning sound. We at HillTop Records certainly have.

What's Happening In Music In: Dallas

Next stop on HillTop Records' zig-zag tour of American music scenes: Dallas, Texas. One of the largest cities in the United States, Dallas is hard to fit into any one category. It is at once laid-back and fast-paced, urban and rural--and its many different districts have their own unique charms and cultural shape. The vast size of the place alone makes it nearly impossible to describe. In contrast, however, the music scene of Dallas seems to neatly fit into a relatively small space: Deep Ellum.

A thriving hub of art and entertainment near downtown, Deep Ellum is one of the most interesting districts in east Dallas. The vibrant neighborhood boasts a rich history, but is perhaps even better known for what it offers today: Brick walls covered in colorful (and mostly attractive) graffiti hide smokey dive bars, cutting-edge art galleries and live music venues. Landmark destinations like the AllGood Cafe and Curtain Club on Main Street, The Door and Live@Mokah (part of the innovative Life in Deep Ellum complex that along with the Mokah Coffee Bar and Mokah Art covers 23,000 square feet of gallery and concert space) tend to draw large crowds. Another popular attraction is the Prophet Bar, and The Bone tends to be great for live blues.

At one point not too long ago, the crowds became so large that the streets of Deep Ellum were commonly closed to traffic on weekends. They spilled out of cafes and nightclubs to create the need for such massive events as the now-defunct Deep Ellum Film Festival and the Deep Ellum Arts Festival. A few years later, the hordes of concert-goers have dwindled a bit--but that does not mean that Deep Ellum's music scene has gone! On the contrary, the in-transition district has re-focused its attention on smaller, more intimate events. Nowadays, concerts organized by CODE (Culture Of Deep Ellum) and the monthly (multi-venue, multi-band) festivals put on by the Dallas Rock Meetup Group redefine the area as a hot spot for live music.

Deep Ellum--and even Dallas as a whole--is certainly no stranger to change. Since first becoming an important hub of jazz and blues (thanks in part to musicians like Huddie "Leadbelly" Ledbetter and Bessie Smith) in the 1930's, the district has gone through a series of major shifts. In the '60's and '70's, its many warehouses opened up and attracted a new demographic of artists and musicians. Punk music became especially popular. Dead Kennedys, Black Flag and other early icons played at a famous 1982 venue called Studio D. Soon afterwards, the Theatre Gallery opened and surprised concert-goers with its diversity. Its calendar of events was jam-packed with recognizable names, from local sensations like the Toadies and the Butthole Surfers to national celebrities like Bad Brains, Red Hot Chili Peppers and 10,000 Maniacs. Punk, rock and anything avant-garde or edgy have typically been the genres of choice here. Once described by a columnist as the "spot in the city that needs no daylight saving time because there is no bedtime," the ever-evolving district continues to prove itself time and time again as a hip and happening place.

While Deep Ellum is definitely Dallas' hub of art and culture, however, it is not the only place in which to experience the local music scene. Throughout the city are concert halls, theaters and bars that introduce newcomers and welcome established acts. Among the many entertainers who got their starts in Dallas are T-Bone Walker, Blind Willie Johnson, Stevie Ray Vaughan, Erykah Badu, and the Yeah Yeah Yeahs. To find the latest in local music, check the concert calendar of the Dallas Observer or VisitDallas.com.

Major institutions like the Dallas Opera and the Dallas Symphony Orchestra are other excellent options if you are looking to immerse yourself in the local culture. Whether you prefer classical or punk, country or hip hop, you will find the right music for you in Dallas. As large and diverse as the city itself, the music scene here crosses and combines many genres. The twangy sounds of country, western and blues mingle with hard-hitting rock music and edgy, progressive styles to create a soundtrack unlike any other. Experience it at its finest in one of the city's large concert halls or do yourself a favor and get to the Dallas Festival of Modern Music. The next installation of the event is set to take over the city this coming November. If you are planning to visit Dallas at another time of year, you might be able to catch the 40 Music Fest or the Meltdown Music Festival. Yet another great music festival worth going to is the Wildflower! Arts & Music Festival in the city of Richardson, located just a few short minutes' north of Dallas. Whether you stay within city limits or venture out onto the outskirts, you are sure to hear the many sounds of musical Dallas.

Great Songwriters: Israel "Cachao" López

Here at HillTop Records, we often work with writers of Latin music--and we have a deep appreciation and respect for Spanish songwriters. From traditional, melancholy ballads accompanied by acoustic guitar to the lively, uptempo beats of salsa and reggaeton, we love the diversity and passion of Spanish songwriting. So, it would make sense for us to include some musical greats from the Spanish-speaking world in our Great Songwriters series. First up, we've got the legendary Cachao--the "King of the Mambo" himself, and one of Cuba's greatest exports.

While he was not born in the United States, Israel "Cachao" López has certainly found a following here--and in nearly every part of the world! From the very beginning, Cachao seemed destined for stardom. Only eight years after been born in Havana, the young Israel took an interest in the bongos and joined a septet of child musicians. Among the other players? Future singer and bandleader, Roberto Faz. A year later, Cachao found himself in the company of another star-in-the-making: the great cabaret performer and pianist, Ignacio Villa (known as Bola de Nieve.) He met the musical legend (still unknown at the time, of course) while working in his neighborhood theater providing music on acoustic bass for silent films.

Cachao's parents recognized their son's obvious gift, and insisted that he receive classical training. But by the time he was enrolled in a conservatory in his early teens, Cachao was already proficient in several instruments. He began playing contrabass with the Orquesta Filarmónica de La Habana when he was just 12. His career with the orchestra lasted 30 years but was not, surprisingly enough, his eventual claim to fame. That distinction goes to what began as merely a hobby for the boy and his brother, the talented multi-instrumentalist Orestes López. First the two built a repertoire of popular songs--Cachao usually on acoustic base, and Orestes playing whatever other instruments were needed. Gradually, the brothers began experimenting with songwriting. They were heavily influenced by Cuban music from the 1930's-50's, and their pieces definitely reflected that. Little did they know that they were about to change Cuban music forever.

In the 1930's, the López brothers developed what they called their "neuvo ritmo" (new rhythm.) The genre was the first to introduce African rhythms into traditional Cuban music, thus changing the danzón and paving the way for mambo. Over the following years, Cachao and Orestes composed literally thousands of songs together. Cachao slowly became known for his songwriting abilities--and also for his outgoing and motivating personality. Once in the wee hours of the morning in 1957, he came home after playing gigs in Havana nightclubs all night. Still wide awake after being on stage for hours, Cachao called upon his fellow musicians to help him play off the extra energy. The group headed to the mikes of a local recording studio, and spontaneously recorded their jam sessions (later known as "descargas.") The recordings combined elements of Cuban popular music and jazz, and many say they revolutionized the Afro-Cuban sound. The Panart record label took interest in the jam sessions, and released the recordings under the title "Descargas: Cuban Jam Sessions In Miniature." To this day, they are accredited with the following popularity of salsa and Latin jazz in the U.S. and are often considered the most essential contributions to the genres worldwide.

Once he had established himself as a success in Havana, Cachao made the permanent move to the United States. There, he began to create for himself two completely different identities in two completely different cities. In Miami, he was nothing more than a working-class musician who took gigs at weddings and quinceañeras to pay his bills. In New York, however, Cachao became so much more: In fact, he was a celebrity in the local salsa scene. In the early '60's, he competed with fellow bassist Alfonso "El Panameño" Joseph for the best-paying jobs in New York City nightclubs. The two became friends, thus allowing their creative influence to come full-circle: Joseph worked under celebrated Cuban tres player Arsenio Rodríguez for eight years; López has said that he was inspired by Arsenio Rodríguez to invent his groundbreaking mambo rhythm.

While Cachao has been known among those who love Cuban music for many decades, his international fame seemed to drop off after the 1960's. It wasn't until the '90's that he stepped back into the spotlight with the help of an unexpected friend. Actor/musician Andy Garcia "rediscovered" the star and pulled him back into the public eye when he produced the "Master Sessions" recordings. He continued to write popular Afro-Cuban songs until his death in 2007.

Today, the Spanish-speaking songwriter is a household name. Even if you think you are unfamiliar with his work, chances are you've heard it. His recording of "La Guajira" was used in the 1996 film "The Birdcage," and his music is featured in the soundtrack to the popular video game Grand Theft Auto: Vice City. What's more, over the course of his lengthy career, Cachao managed to rack up an impressive number of awards and accolades. They include a star on the Hollywood Walk of Fame, a handful of documentaries made about his life and work, and several Grammy Awards (including one for a collaboration with Gloria Estefan. He also wrote solo albums for for Emilio Estefan's Crescent Moon Records.) However, what really keeps the late Israel "Cachao" López's legacy alive is his family: His nephew, Orlando "Cachaíto" López, became one of the mainstays of the Buena Vista Social Club. We wouldn't be surprised if many other relatives prove to have musical talents as well.

Great Songwriters: Elton John & Bernie Taupin

They were not born in the United States, but their songs have topped the American charts many times over the past 40 years. Perhaps known as much for his flamboyant outfits and outspoken personality as he is for his great contributions to contemporary pop music, Elton John is a living Rock N' Roll legend. However, he did not reach the astronomical levels of success that he enjoys today on his own. The singer/songwriter, composer and pianist has collaborated with his songwriting partner, Bernie Taupin, since 1967. Over that lengthy period of time, the talented duo has produced over 30 albums together. Year after year, they continue to prove themselves as one of the greatest pop teams of all time. We at HillTop Records are definitely major fans.

Elton John met Bernie Taupin when the latter answered an advertisement for talent placed in the New Musical Express by Liberty records A&R man Ray Williams in '67. John was 20 at the time and Taupin was only 17. The pair hit it off right away--despite their drastically different musical influences. While John's early piano playing was inspired by classical and gospel music, Taupin (a lyricist, singer, songwriter and poet) was much more interested in nature and the wild, rowdy mentality of the Old West of the U.S. Their contrasting points of view can best be seen in the pair's autobiographical album from 1975, in which Taupin calls himself "The Brown Dirt Cowboy" and Elton is "Captain Fantastic." Somehow, the two songwriters have always managed to make their differences work.

Over the course of their joint songwriting career, Elton John and Bernie Taupin only took one brief hiatus from each other. From 1977 to 1979, their only A-side collaboration of note was "Ego." At the end of that stint, the songwriters reunited to produce the '79 album 21 at 33. The pair has given the world some of its most beloved pop songs: "Rocket Man," "Candle in the Wind," "Bennie and the Jets," "I Guess That's Why They Call It The Blues," "Your Song" (their first major hit) and "Tiny Dancer" (written for Taupin's first wife, Maxine Feibelman) are all Elton John/Bernie Taupin masterpieces. In addition, they wrote their first Broadway musical together in 2006: Lestat: The Musical.

When Elton John collaborated with other lyricists, it was most often for specific theatrical or film projects (like 1993's The Lion King which featured lyrics by Tim Rice.) However, over the years, John has worked with countless other great artists. One prime example was his chart-topping hit in 1985 with Dionne Warwick, Gladys Knight, and Stevie Wonder--"That's What Friends Are For." The song was written primarily to raise funds for AIDS research, a cause that John has always been a passionate crusader of. Elton has written albums, toured internationally and even won many awards as a solo artist. However, his most successful songs are almost always collaborations.

Taupin has also written lyrics for other composers. He worked on Jefferson Airplane's "We Built This City" and Heart's "These Dreams." He also co-wrote the 1978 album From the Inside with Alice Cooper, and produced David Ackles' American Gothic in 1972. The latter was declared "the Sgt. Pepper of folk" by Derek Jewell, influential music critic for the UK Sunday Times. From Willie Nelson to Courtney Love, Bernie Taupin worked with them all. What's more, he has never been afraid to experiment with his lyrical style or genre. In fact, among his collection of solo works is a 1971 spoken word album aptly called Taupin. The poems on the album chronicle important events in the artist's life, and some were set to music written by Elton John.

One thing that has always set John and Taupin apart from other songwriting duos (aside from their obviously close and lengthy friendship) is their unique writing style. The process was depicted in the 1991 film documentary, Two Rooms. The title of the project came from the fact that Taupin often wrote the lyrics to a song by himself first; afterwards, John would set it to music by himself. Over the course of the creative process, the two songwriters worked in separate rooms and had no contact with each other. While that style of writing has changed for both artists, they still pride themselves on their ability to respect each other's privacy and keep faith in each other's talents.

Even today, John and Taupin continue to collaborate on creative projects. After Elton releases The Union (with Leon Russell) this coming October, the two will introduce their next studio album together. They also wrote five original songs for the upcoming Miramax movie Gnomeo and Juliet, due out in 2011. The dynamic duo doesn't appear to be stopping anytime soon. The staff at HillTop Records--and the rest of the world--can't wait to see what they produce next.

Writing Songs in "The Shallows"

This past year, a single book sparked a national debate over the short- and long-term effects that the Internet has on our brains. It defintely caught our attention here at HillTop Records. While it was certainly not the first to tackle the subject, Nicholas Carr's The Shallows (an expanded version of his 2008 Atlantic article, "Is Google Making Us Stupid?") has managed to hit home. It's primary argument is not that the Internet is evil or even unnecessary. In fact, Carr admits that he is a fan and avid user of the Web. However, he warns us that the way we search for information online (by Googling keywords, quickly skimming articles and blurbs, sporadically choosing when and if to click a hyperlink, etc.) may be rewiring the way our brain processes data. Instead of intensely focusing on one topic or question for a long period of time, our brain now flips through multiple subjects as rapidly as a TV remote. Long gone are the days of Thoreau at the pond; today, we merely splash about in the shallows of our intellectual capacity, and we tend to believe whatever is handed to us, no matter how biased or undocumented.

Whether or not technology is really making us stupider has yet to be determined. However, the notion that it has changed the way we think is undeniable. Much as the way the printing press did over a century and a half ago, the Internet revolution permanently altered our ability and drive to acquire and process new information. Nowadays, the average American rarely reads books and routinely scans the headlines on their email home page for the latest news stories. Instead of knowing a lot about a few subjects, he or she tends to know a little about a lot of subjects. It is easier than ever before to find random facts, opinions and spins on a variety of topics--but also easier than ever before to forget them a short while after.

It's information overload, and not just on the Internet. In almost every facet of our lives, our brains are being aided by new technology. On Carr's blog, he mentions a recent interview he gave on BBC World Service's show "Digital Planet." The discussion mainly revolved around the topic of software, and how its advancement has led to intellectual laziness. "By automating certain mental chores," Carr wrote, "[we] may in subtle ways weaken our ability to learn." Just as a pocket calculator eventually takes the place of 8th-grade math, advanced software encourages us to un-learn things that we used to know. An example is our growing reliance on GPS, and how it may be deteriorating our ability to build mental maps and remember directions. These days, we have high-tech gadgets for practically everything. They suggest new songs and TV shows we might like, tell us which news stories to keep abreast of, calculate our portion of the tip in a restaurant, and even tell us how long it will take to get home in traffic. Add these tools to an ever-growing number of search engines and online encyclopedias, and it's a rare occasion when we have to figure something out on our own.

Even something as personal and subjective as the creation of art is now being "helped" by technology. Need to find a cure for writer's block? Sure, you could do it the old-fashioned way (by drawing inspiration from nature or your own experiences) or you could simply type "things that inspire" into Google and see what turns up (we've even got a bunch of tips on the HillTop Records blog!) The amount of online tools and software for songwriters is impressive: Virtual communities like Writers Write, Muse's Muse and The Songwriter's Tip Jar connect you to a network of other songwriters who will do everything from critique your latest lyric to provide a phrase that rhymes with "octopus." Meanwhile, music notation software like Noteflight , Finale NotePad and Sibelius actually help you compose music. These programs do to songwriting what the Internet does to everything else--makes it faster, easier and less taxing on the creative and intellectual consciousness.

So, where does that leave the modern songwriter? Well armed, to be sure. But is that necessarily better? Richard Rodgers, Ira Gershwin, Oscar Hammerstein--those guys didn't have computer programs or online message boards to help them write, and their songs have withstood the test of time for their heart and originality. And it is precisely those characteristics that older listeners complain are missing from contemporary music. If you side with them, you can site a number of potential reasons for the void. Perhaps songwriters have simply run out of ideas, and must therefore turn to the past or each other to find material. Or perhaps there is a more high-tech culprit to blame.

Look, for example, at Wikipedia. The hugely popular (and relied upon) source of information is an online encyclopedia that anyone can add or update information to. On one hand, it epitomizes all that is great about the Internet's effect on education--it is an informative and free source that everyone with a computer has at their fingertips. With a quick click of a mouse, you can read all about the most interesting landmarks in Texas or the highlights of Sting's career--or, at least, what the person who wrote that Wiki page thinks them to be. If we all rely on the same source for our information (which is basically what we do when we give or take from the universal brain machine that is the Internet) then what room is left for interpretation, for creativity, even for accuracy? Can originality survive in the shallows of our technologically-enhanced consciousness, or is it being left behind in the depths of the old-fashioned mind?

Of course, great art is still being made today. Bands are formed, songs are written and groundbreaking hits are made--with or without the help of modern technology. But just as Nicholas Carr cautions against the dumbing down of American society, we must add another word of warning to songwriters and other artists. Do not succumb to the temptation of "Faster! Cheaper! Better!"--or at least, not all the time. Spend time with the song you are writing. Think. Rewrite. Some things are just better done the old-fashioned way, and we'd wager that writing music is one of them.

Great American Songwriters: Bob Dylan

Over the past five decades, Bob Dylan has been chronicling the American experience through song. His haunting melodies, provocative lyrics and progressive, bohemian persona made him a figurehead of 1960's counterculture--and his presence on the cultural landscape has not wavered since. Never afraid to voice his political or philosophical views, Dylan has solidified his place among the great American songwriters. We're sure that many of our HillTop Records songwriters under contract have been influenced by him. But how did the visionary writer of civil rights anthems like "Blowin' in the Wind" and "The Times They Are a-Changin'" get his start? Why, by being born as Robert Allen Zimmerman on May 24, 1941, in Duluth, Minnesota.

Like other kids his age, young Robert spent much of his time listening to the radio--mostly blues and country stations broadcasted from Shreveport and, a bit later, early rock and roll. The latter is what first spawned his interest in songwriting and, throughout high school, the aspiring musician formed several amateur rock bands. In his 1959 high school year book, Robert Zimmerman wrote that his ambition was to "follow Little Richard." It wasn't until he went off to attend (and flunk out of) college in Minneapolis that the future Bob Dylan first met American folk music--and instantly fell in love. He was introduced to the genre by a friend's copy of Bound for Glory, folksinger Woody Guthrie's autobiography. Dylan strongly identified with Guthrie's philosophy, and the pioneering songwriter continues to be his greatest influence. Of his inevitable change in genres, Dylan famously said:

"The thing about rock'n'roll is that for me anyway it wasn't enough ... There were great catch-phrases and driving pulse rhythms ... but the songs weren't serious or didn't reflect life in a realistic way. I knew that when I got into folk music, it was more of a serious type of thing. The songs are filled with more despair, more sadness, more triumph, more faith in the supernatural, much deeper feelings."

Around the same time, he adopted his new moniker. Soon after, he moved to New York City--partly in the hopes of meeting his aging idol. Bob Dylan quickly moved up the ranks of the American musician: He started by playing in small clubs throughout Geenwich Village, and earned his first recognition with a positive review in The New York Times. His big break, however, came when Dylan got a gig playing the harmonica on Carolyn Hester's third album. His obvious talent attracted the attention of the album's producer, John Hammond, who signed Dylan to Columbia Records.

Right when it seemed that Bob Dylan was about to become a star, however, the songwriter experienced his first major setback. His eponymous first album (in 1962) sold only 5,000 copies and earned him the nickname "Hammond's Folly" among those at Columbia. But the music producer staunchly defended his up-and-comer--as did Dyan's new manager, Albert Grossman. Bob Dylan spent the next couple of years building his business team and touring throughout the United Kingdom. He found his first big audience in London and, by the time he was ready to release his second album, he was fairly well known as a singer/songwriter of "protest songs."

The label certainly fit. Dylan's first major hit, "Blowin' in the Wind", took part of its melody from the traditional slave song "No More Auction Block" and the lyrics pointedly questioned the social and political status quo. On the same album, "A Hard Rain's a-Gonna Fall" addressed the Cuban missile crisis. His poetic way with words and frank fearlessness quickly earned Dylan some pretty famous fans. Everyone from The Beatles to Joyce Carol Oates were quoted as being very impressed by The Freewheelin' Bob Dylan (1963.)

Over the still-running course of his amazing career, Bob Dylan has been celebrated for his raw talent--and also for his unwillingness to compromise his ideals. In May 1963, he caused quite a stir when he walked off the set of The Ed Sullivan Show. His reason? CBS wanted to censor his potentially libelous "Talkin' John Birch Paranoid Blues." Even more controversial and politically charged were the tracks on Dylan's third album, The Times They Are a-Changin'. "Only A Pawn In Their Game," "The Lonesome Death of Hattie Carroll" and "North Country Blues" spoke to real-life events and social issues.

At the same time, Dylan was becoming just as famous for his passionate love songs. "Boots of Spanish Leather," "Spanish Harlem Incident," "To Ramona,"--these romantic pieces showed a softer and more vulnerable side of the poet. Strange and surreal songs like "Motorpsycho Nightmare" showed his sense of humor and, with the 1965 Bringing It All Back Home, Dylan displayed his love of experimentation. The album marked his first foray into the world of electric instruments, and the B side included what was to become one of his most famous songs of all--"Mr. Tambourine Man."

Over the following decades, Bob Dylan continued to produce hit after hit. "The Times They Are a-Changin'," "Like a Rolling Stone," "Lay Lady Lay," "Knockin' on Heaven's Door," "Forever Young"--these and other songs continue to withstand the test of time. He has collaborated with the likes of George Harrison, Sam Shepard and Tom Petty. And while not all of his artistic choices have been commercially successful, Dylan's enormous contributions to American music are undeniable. Several films and documentaries have been made about the songwriter's life and his many accolades include Grammies, Golden Globes, and even an Oscar (for "Things Have Changed," written for Wonder Boys in 2001.) He was inducted into the Rock and Roll Hall of Fame in January 1988, welcomed by none other than Bruce Springsteen. The Boss' introductory speech declared that "Bob freed your mind the way Elvis freed your body. He showed us that just because music was innately physical did not mean that it was anti-intellectual."

In 1991, he received the coveted Grammy Lifetime Achievement Award and, in December 1997, U.S. President Bill Clinton himself presented Dylan with a Kennedy Center Honor in the White House. At the landmark event, the leader of the free world said of the songwriter:

"He probably had more impact on people of my generation than any other creative artist. His voice and lyrics haven't always been easy on the ear, but throughout his career Bob Dylan has never aimed to please. He's disturbed the peace and discomforted the powerful."

And for that, we at HillTop Records remain eternally grateful.

What's Happening In Music In: Honolulu

If you are planning a vacation to Honolulu or another Hawaiian city, you probably already have a few things in mind: lush rainforests, sandy beaches, blended tropical drinks with miniature umbrellas, etc. However, do not discount the local music scene! Surprisingly large considering the state's diminutive size, the musical contributions of Hawaii are truly impressive. The state is known to combine genres and add its own modern spin while at the same time carefully honoring the local history. Here at HillTop Records, we love finding new genres and styles to listen to--and Hawaii's agreat place to do just that!

To hear first-hand the musical stylings of local celebrities, hit up one of Honolulu's most popular concert venues. Nick's Fishmarket, Anna Bannana's, Don Ho's Island Gill and Chai's Island Bistro are known for showcasing up-and-comers in a laidback yet lively setting. Additionally, Honolulu has quite a few radio stations dedicated to promoting Hawaiian, Jawaiian and other types of local music. Set the dial on your rental car to ISLAND 98.5 or KCCN FM100, and let the gentle island rhythms be your holiday soundtrack.

Traditional Hawaiian music is rich with references to religion, history and nature. Heartfelt chants are often accompanied by traditional folk dance (hula) and primitive instruments like the uliʻuli (feathered gourd rattles) and ipu heke (standard double gourd.) The highly ritualized song and dance routines may be seen at many Waikiki hotels and at well-known tourist attractions like the Polynesian Cultural Center. Time your trip right, and you might even be able to attend one of Hawaii's large music festivals. Annual events include the famous Merrie Monarch Hula Festival, the Hawaii International Jazz Festival, the Big Island Slack Key Guitar Festival and the Moloka'i Music Festival. Oftentimes, these and other large-scale celebrations are held at massive venues like the Blaisdell Center Concert Hall, the Waikiki Shell and Andrews Amphitheatre on the campus of the University of Hawaii at Manoa. To find information on concerts and events in Hawaii, check out HawaiiEventsOnline.com. For information on Hawaiian music concerts all across the country, try MELE.com. Other important musical institutions on the islands include the Hawai'i Opera Theatre and the Honolulu Symphony Orchestra (the oldest orchestra in the United States west of the Rocky Mountains.)

Over the years, Hawaiian music has evolved to incorporate and even change other genres. Contemporary Hawaiian ranges from slack-key and and steel guitar (often heard in country music, and even songs on HillTopRecords.com) to local jazz and Jawaiian (Hawaii's own version of reggae.) The sounds of ukulele and ukeke (a Hawaiian musical bow that is played with the mouth) are also routinely heard around the islands and beyond. Homegrown musicians who have managed to surpass the "local celebrity" ranks and continue on to enjoy nationwide and even international success include Israel "Brudda Iz" Kamakawiwo'ole, Keali'i Reichel and Jake Shimabukuro, and bands like Natural Vibrations, Ho'aikane and the Brothers Cazimero.

Of course, the state's locals listen to more "typical" American genres (like rock, country and pop) as well. Hip hop and reggae continue to remain especially popular. However, what is considered to be "underground" or up-and-coming in Hawaiian music is oftentimes much different from what the young and hip listen to in other parts of the United States. This is largely due to the value that locals place on history. In a time when very few "pure-bred" Hawaiians remain and most locals have never even learned the native language, music is a way of keeping the legacy alive.

Hawaiians' love of music dates back to the islands' origins. However, historical documentation prior to the late 18th century (when foreign explorers first arrived on the land) is hard to come by. The last ruling entity before the Hawaiian monarchy was overthrown, Queen Lili'uokalani, was especially fond of music. In 1999, her trust published "The Queen's Songbook," a compilation of the composer's greatest works. The book includes "Aloha 'Oe," a song so popular in Hawaii that it is considered to be an unofficial anthem.

Lili'uokalani was not the only member of the royal family who had the gift of music. Many members of the royal court were fond of music, and used the medium as a way to promote the local culture. This tradition certainly lives on today. Take a walk down a busy street in Honolulu, and you will undoubtedly hear music--languidly drifting from the grand windows of a five-star resort, blasting from the speakers of a boom box on a beach blanket, or even being strummed on a local musician's steel guitar. Anywhere you turn, you will find that music fills the air as much as salty trade winds and the heady scent of tropical flowers do.

Great American Songwriters: Marvin Hamlisch

We mentioned in our last Great Songwriters profile that Richard Rodgers is one of only two people to have ever won an Emmy, a Grammy, an Oscar, a Tony and a Pulitzer Prize. The other person is Marvin Hamlisch, who has also added two Golden Globes to that impressive list! The much-lauded American composer is a living legend, known worldwide for his contributions to sound and screen. Take just a cursory glance at his lengthy resume, and you will not wonder why Hamlisch has earned such acclaim--or why we at HillTop Records love his music so much.

Since the beginning, Marvin Hamlisch seemed destined for stardom. He was born on June 2, 1944 to Viennese Jewish parents in New York City. His father was an accordionist and bandleader, and it was immediately apparent that the apple did not fall far from the tree. Young Marvin was dubbed a child prodigy when, by age five, he could perfectly mimic songs he heard on the radio on the piano. Of his own childhood, Hamlisch was quoted as saying:

"I started studying music at the age of five and a half. My older sister was taking piano lessons. When her teacher left our apartment, I would get up on the piano bench and start picking out the notes that were part of my sister's lessons."

Just shy of his seventh birthday, the boy was accepted into the Juilliard School's prestigious Pre-College Division. Later in life, he earned his Bachelor of Arts from Queens College and his very first job was as a rehearsal pianist for Barbra Streisand's Funny Girl.

Right away, colleagues recognized Hamlisch's rare talent. He was hired by Sam Spiegel to play piano at the film producer's private parties, and that serendipitous gig opened many doors. Most notably, it led to Hamlisch being asked to write the musical score for The Swimmer (1968); he was 24, and it was his first film score. Other famous films for which Hamlisch wrote the score include Sophie's Choice, Ordinary People, The Sting, Three Men And A Baby and, even more recently, The Informant! (2009) directed by Steven Soderbergh. Many great American films owe at least a fraction of their success to Hamlisch. However, one movie in particular stands out for this fact: The Way We Were, for which Marvin won two of his three 1974 Academy Awards. That same year, he won four Grammies.

The incredible composer has proven himself on the stage as well. He wrote the score for the 1975 Broadway musical, A Chorus Line. That is how he earned his Tony Award and Pulitzer Prize. In 1978, Hamlisch collaborated with Neil Simon and Carole Bayer Sager when he wrote the music for They're Playing Our Song, a musical whose plot was loosely based on his romantic relationship with the lyricist. In the early '80's, Hamlisch and Bayer Sager broke up (and, in 1989, he married TV personality and producer Terre Blair) but managed to continue their professional relationship. Most of the duo's work, however, drew mixed reviews. Hamlisch also worked with Simon more than once; in fact, he received a a Drama Desk nomination for his musical adaptation of The Goodbye Girl (1993.)

In total, Hamlisch has received ten Golden Globe nominations and two wins, six Emmy nominations and four wins, and a long list of other important accolades. In 2007, he was inducted into the Long Island Music Hall of Fame and at the 2009 Ghent Film Festival, he was honored with the World Soundtrack Awards' Lifetime Achievement Award. It is easy to chronicle the career of Marvin Hamlisch in terms of awards. However, the songwriter's legacy extends far beyond statues and plaques. The multi-talented composer spent a stint as a conductor, and was the Musical Director and arranger for Barbra Streisand's 1994 U.S. concert tour. He even wrote the score for the songstress' much-watched television special, "Barbra Streisand: The Concert."

When he is not working in film or theater, Hamlisch devotes much of his time to the symphony. An especially beloved classical symphonic suite by Hamlisch is Anatomy of Peace, adapted from the book by Emery Reves. The piece expresses through music the world federalist sentiments shared by Albert Einstein and many other intellectuals in the years immediately following World War II. The rare foray into political statement was quite successful for Hamlisch. It was performed in 1991 and recorded in '92 by the Dallas Symphony Orchestra, and also performed in Paris in '94 to commemorate D-Day. From groundbreaking, emotional works like this to random (and most often comedic) television appearances, Hamlisch continues to remain in the public eye.

It is no secret that the songwriter likes to keep his hands in many different pots. He is currently the Principal Pops Conductor for the Pittsburgh Symphony Orchestra, the National Symphony Orchestra (where Hamlisch is the first person ever to hold this position,) the Milwaukee Symphony Orchestra, the San Diego Symphony, the Seattle Symphony, and the Colorado Symphony Orchestra. What's more, just last week, the Pasadena Symphony and Pops announced that Hamlisch will be taking over as Principle Conductor next summer.

He maintains all of these positions while at the same time continuing to write music and crusade for keeping music education in schools (a famous quote of his states that “There have been studies that clearly state that children who are exposed to arts education at a young age will in fact do markedly better in their SAT tests.”) Obviously, Marvin Hamlisch is not planning to slow down anytime soon--and it will certainly be exciting to see what he does next! At HillTop Records, we're eagerly awaiting his next move. While there is no predicting, the composer has hinted at his future goals. He recently said:

“I would love to find other pop stars who would be willing to tour with our orchestra. One of the benefits of James Taylor was that he had orchestrations. Many stars do not. My wish list would be exceedingly long, and at the top of it would be Kenny G and Carly Simon. Of course, the cost of some of these artists might be prohibitive."

Welcome Fall With September's Best Music Festivals!

Today is the first day of September, and therefore the first day of Autumn. Why not celebrate the changing of the seasons with one of these fun-filled music festivals? There is something for everyone, in every part of the country!

First up, we've got the upcoming weekend--Labor Day Weekend. The three-day holiday is jam-packed with exciting events. We've got the Chicago Jazz Festival (9/2/2010 - 9/5/2010) in Chicago, Illinois, Lil Johns Mountain Music Festival (9/2/2010 - 9/4/2010) in Snow Camp, North Carolina, the Moab Music Festival (9/2/2010 - 9/13/2010) in Moab, Utah--and that's just the beginning! Check out the following list of upcoming music festivals and events across the country to find one near you.

Following tradition, the Strawberry Fall Music Festival in Yosemite, California bookends summer with live bluegrass, swing, rock and gospel concerts on Memorial Day and Labor Day weekends. Catch the latter installment this weekend, 9/2/2010 - 9/6/2010.

If you'll be down South this weekend, head to West Point, Mississippi for the 15th Annual Howlin Wolf Memorial Blues Festival (9/3/2010) or to Freeport, Texas for the 6th Annual Summertime Blues Festival (9/3/2010 - 9/4/2010.)

Other parts of the country are also celebrating Labor Day Weekend with live music. Woodstown, NJ, Delaware has got the Delaware Valley Bluegrass Festival (9/3/2010 - 9/5/2010), Detroit, Michigan is once again hosting the free Detroit International Jazz Festival (9/3/2010 - 9/6/2010) and the EVOLVE Music and Yoga Festival (9/3/2010 - 9/6/2010) takes over a farm in Vernon, New Jersey.

Other Labor Day festivities to look forward to:

- the Jana Jae Fiddle Camp & Music Festival (9/3/2010 - 9/5/2010) in Grove, Oklahoma

- the Jazz Aspen Snowmass Labor Day Festival (9/3/2010 - 9/5/2010) in Aspen, Colorado

- the Kerrville Wine & Music Festival (9/3/2010 - 9/5/2010) in Kerrville, Texas

- the LifeLight Outdoor Music Festival (9/3/2010 - 9/5/2010) in Sioux Falls, South Dakota

- the Lincoln Way Bluegrass Festival (9/3/2010 - 9/4/2010) in North Robinson, Ohio

- the Memphis Hip Hop Expo 2010 (9/3/2010 - 9/4/2010) in Memphis, Tennessee

- the North Coast Music Festival (9/3/2010 - 9/5/2010) in Chicago, Illinois

- WorldFest 2010 (9/3/2010 - 9/4/2010) in Louisville, Kentucky

- the 14th Annual Blues by the Bay (9/4/2010 - 9/5/2010) event in Eureka, California

And even after Labor Day Weekend ends, the celebrations keep on going through the end of September:

- the Berkeley Old Time Music Convention (9/9/2010 - 9/12/2010) in Berkeley, California

- Culturefest: World Music and Arts Festival (9/9/2010 - 9/12/2010) in Pipestem, West Virginia

- the Miles of Memories Country MusicFest (9/9/2010 - 9/11/2010) in Hastings, Nebraska

- MusicFest 2010 (9/9/2010 - 9/12/2010) in Clark, New Jersey

- Music Fest (9/12/2010) in Princeton, Massachusetts

- the Berklee BeanTown Jazz Festival (9/15/2010 - 9/25/2010) in Boston, Massachusetts

- the Monterey Jazz Festival (9/17/2010 - 9/19/2010) in Monterey, California

- the Lyons Fiddle Festival (9/19/2010) in Lyons, Pennsylvania

- Local Fest 2010 (9/25/2010) in Denver, Colorado

As always, you can find more information on these and other events at Festivals.com!