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"Blank Generation" is the title track of Richard Hell and the Voidoids' 1977 debut album Blank Generation. A rewrite of Bob McFadden and Rod McKuen's 1959 record "The Beat Generation", [3] Richard Hell wrote the new lyrics during his time with the band Television, and performed it live with another band, The Heartbreakers. [4]
"The Stumble" is a blues guitar instrumental composed and recorded by American blues artist Freddie King, for his 1961 album Let's Hide Away and Dance Away with Freddy King. [1] It is considered a blues classic and follows in a string of popular instrumentals recorded by King in the early 1960s, including " Hide Away ", "San-Ho-Zay", and "Sen ...
Dominant 7th chords are generally used throughout a blues progression. The addition of dominant 7th chords as well as the inclusion of other types of 7th chords (i.e. minor and diminished 7ths) are often used just before a change, and more changes can be added. A more complicated example might look like this, where "7" indicates a seventh chord:
The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...
Blank Generation may refer to: Blank Generation (album) , by Richard Hell & The Voidoids, released in 1977 Blank Generation (song) , the title track to the above album
Jeff Beck was among the most innovative and influential guitarists to emerge from the British blues revolution of the 1960s. The rock and roller, who has died aged 78, was the quintessential ...
Eight-bar blues progressions have more variations than the more rigidly defined twelve bar format. The move to the IV chord usually happens at bar 3 (as opposed to 5 in twelve bar); however, "the I chord moving to the V chord right away, in the second measure, is a characteristic of the eight-bar blues." [1]
Ben Ratliff of The New York Times later wrote that Blank Generation "helped define punk, so we're often told, but it's much more than that: it's literary, romantic (boy-girl), Romantic (intellectual tradition) and, because of Robert Quine's guitar solos, intensely musical, an album of high-grade improvisation." [35]
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