Fats domino - when my dreamboat comes home


In the Sixties and Seventies, while Chuck Berry experimented with psychedelia and Jerry Lee went country, Domino never changed his sound. That also applied to his live shows: "Fats made sure those arrangements were played," said Lauro. "He did not take a pickup band on the road. When you saw Fats Domino, until the last show, you could close your eyes and it would be like being in a joint in 1955. It was ageless."

from the album The Legends of New Orleans: Fats Domino Live! · Copyright: Writer(s): V. Rose, A. Lewis, Larry Stock Lyrics Terms of Use

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An earlier version of this obituary misspelled the given name of one of Mr. Domino’s sons. He is Antonio, not Anonio.

His friend David Lind described him as “warm, fun-loving, spiritual, creative and humble. You don’t get more New Orleans than that.”

"Fats Domino added to New Orleans' standing in the world, and what people know and appreciate about New Orleans."

After recording an impressive 37 different Top 40 hits for the label, Fats Domino left Imperial Records in 1963 — later claiming "I stuck with them until they sold out" — and joined ABC-Paramount Records, this time without his longtime sidekick, Dave Bartholomew. Whether due to the change in sound or because of changing popular tastes, Domino found his music less commercially popular than before. By the time American pop music was revolutionized by the 1964 British Invasion, Domino's reign at the top of the charts had reached its end.

Yet Domino's influence was tangible. In 1968, Paul McCartney wrote the Beatles' "Lady Madonna" with Domino in mind (Domino would cut his own version  that same year). To ensure that bass guitars on his records could be heard above his rumbling piano, Bartholomew would double the bass and guitar parts — a technique later picked up on by Phil Spector for his Wall of Sound. Domino's dexterous piano style, influenced by pioneering predecessors like Waller and Professor Longhair, also reverberated. "Anytime anybody plays a slow blues," Dr. John told Rolling Stone , "the piano player will eventually get to something like Fats. It was pre-funk stuff and it was New Orleans and he did it all his way. He could do piano rolls with both hands. He was like Thelonious Monk in that way."


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