By Greg Prato

ISBN-10: 0615252397

ISBN-13: 9780615252391

Essentially the most tragic tales of the 1990’s rock international used to be that of singer Shannon Hoon, and his band, Blind Melon. regardless of scoring one of many decade’s so much enduring singles and movies, “No Rain,”and a quadruple platinum hit with their 1992 self-titled debut album (in addition to traveling along rock’s greatest names), Hoon couldn't conquer a deadly drug habit. purely files right into a promising occupation, Hoon was once lifeless from an overdose on the age of 28. ‘A satan on One Shoulder and an Angel at the Other’ is the 1st ebook to inform the group’s story—culled from over 50 unique interviews (including the surviving band contributors and people closest to the band) and that includes many never-before-seen images. “I am commemorated that Greg has painstakingly accounted for what the hell occurred in the course of these loopy occasions. He has summed up all of the chaos, jubilation, and paranoia that's Blind Melon.” -Brad Smith, Blind Melon bassist

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Extra resources for A Devil on One Shoulder and an Angel on the Other: The Story of Shannon Hoon and Blind Melon

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Some musicians, like Jaco Pastorius, have given it its own distinctive sound. The role of bass can also be filled by the tuba, a low-pitched brass instrument with an intricate nest of tubing ending in an enormous bell. The tuba, which came to jazz from the marching band, was used in some early jazz groups because of its powerful volume, which musicians felt was needed as ballast for the other instruments in the band. In fact, though, the string bass can be played with enough volume; and these days, you almost never hear the bass without amplification (a pickup, or small microphone, on the bridge).

There are many different kinds of grooves. The one we’ve been describing is known generically as a swing groove, and it’s basic to jazz. Within the swing groove, jazz musicians use varied means to divide the main beat in an interesting way. If you listen closely to the passage in Miles Davis’s solo on “So What” where he plays four quick notes in succession (1:45), you may notice that the notes are not the same length. Davis usually divides the beat by holding the first note of the beat slightly, compensating by compressing the second note.

The tenor saxophonist Buddy Tate, known for his many years with the Count Basie Orchestra, once said that the first crucial step for young musicians is to find their own sound. That is a pretty radical notion. Tate didn’t mean to suggest that an unfledged musician had to find a sound unlike anyone else’s, just for the sake of novelty. Rather, the young musician needs to know who he is in order to find a sound he knows to be his own. The task is only partly a conscious one. Louis Armstrong had an ebullient personality that’s reflected in his trumpet sound.

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A Devil on One Shoulder and an Angel on the Other: The Story of Shannon Hoon and Blind Melon by Greg Prato


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