
Maurice Tani
Articles
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2 weeks ago |
acousticguitar.com | Jeffrey Pepper Rodgers |Adam Perlmutter |Maurice Tani |Danny Carnahan
The title track from Jason Isbell’s new solo acoustic album, Foxes in the Snow, is one of its happiest—an unabashed celebration of love and intimacy amid many songs that traverse much darker emotional terrain. Set to a bouncy minor-key groove, “Foxes in the Snow” also features some fine picking and is very fun to play, with a melodic solo that could stand on its own as an instrumental.
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1 month ago |
acousticguitar.com | Maurice Tani |Kate Koenig |Jeffrey Pepper Rodgers |Scott Nygaard
Jimmie Rodgers’ influence spans country, blues, and early rock ’n’ roll, earning him a place in multiple halls of fame. With a career that lasted just five years before his death from tuberculosis in 1933, Rodgers left an indelible mark on American music. “Waiting for a Train” became a hit in 1929, just as the Wall Street crash ushered in the Great Depression.
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Jan 26, 2025 |
acousticguitar.com | Adam Perlmutter |Maurice Tani
When I hear “Singin’ in the Rain,” the image that springs to mind is Gene Kelly’s rain-soaked dance in the iconic scene from the 1952 film of the same name. But the song itself dates back to the 1920s and has remained a beloved standard ever since. Written by Arthur Freed and Nacio Herb Brown, “Singin’ in the Rain” premiered on Broadway in The Hollywood Music Box Revue in 1929.
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Dec 11, 2024 |
acousticguitar.com | Peter Penhallow |Scott Nygaard |Adam Perlmutter |Maurice Tani
“Don’t Let Your Deal Go Down” is a standard in bluegrass circles today, but the song predates the genre. Like many classic folk songs, its origins are murky, with some verses appearing to be mashups of even older traditional folk songs. The first popular recording was made in 1925 by Charlie Poole and the North Carolina Ramblers, and it sold over 100,000 copies—a huge number at the time.
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Oct 16, 2024 |
acousticguitar.com | Kate Koenig |Adam Perlmutter |Jontavious Willis |Maurice Tani
“Let’s Do It, Let’s Fall in Love” was written in 1928 by Cole Porter for his Broadway musical Paris. With its mildly risqué, bordering-on-absurd lyrics, the song is a lighthearted mash-up of clever wordplay and double entendre. It’s also one of those numbers that has lent itself to additional topical verses over the years—a quick search will unearth a dozen additional verses beyond the basic set I’m using here.
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