21/11/2017

Olivia Newton John

November 21st 1981, Olivia Newton John started a ten week run at No.1 in the US singles chart with 'Physical', the singers fourth US No.1 went on to sell over 2 million copies, a became a No.7 hit in the UK.

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20/11/2017

Francesco Antonio "Frank" Marino

Happy birthday to the great guitarist Francesco Antonio "Frank" Marino (born November 20, 1954) an Italian Canadian guitarist, leader of Canadian hard rock band Mahogany Rush. Often compared to Jimi Hendrix, he is acknowledged as one of the best and most underrated guitarists of the 1970s.
After playing drums since he was five,around age 13–14 Marino started playing guitar. An often-repeated myth is he was visited by an apparition of Jimi Hendrix after a bad LSD trip,a myth Marino has always disavowed, and still does so now on his personal website. His playing, however, is inspired by Hendrix (on the Gibson website he is described as "carrying Jimi's psychedelic torch", and Marino is notable for strong cover versions of Hendrix classics such as "Purple Haze". He has been criticized by some as a Hendrix clone. Marino himself claims that he didn't consciously set out to imitate Hendrix's style at all: "The whole style just came naturally. I didn't choose it; it chose me." 
Mahogany Rush was moderately popular in the 1970s. Their records charted in Billboard, and they toured extensively, playing such venues as California Jam II (1978). Toward the end of the 1970s, the band began to be billed as "Frank Marino and Mahogany Rush." Not much later, Mahogany Rush split up and in the early 1980s Marino released two solo albums on CBS. The band reformed and continued to perform throughout the 1980s and 1990s. In 1993, Marino retired from the music industry.
Marino returned in 2001, inspired in part by a fansite, www.mahoganyrush.com: "I always knew we had fans, I just didn't know I'd find half a million of them on the Web," he said in an interview with Guitar Player in 2005. he released Eye of the Storm, and went on tour again, playing more improvisational shows. Frank is still active, recording and touring under his own name. He has also been involved in blues recordings with other artists as well, playing on tribute albums to Albert King and Stevie Ray Vaughan.
Frank Marino is uncle to Danny Marino, lead guitarist of Canadian metal band The Agonist.
Frank Marino is a devout Christian.
Besides Jimi Hendrix, Marino acknowledged the influence of John Cipollina (of Quicksilver Messenger Service fame), Robby Krieger,Duane Allman, Johnny Winter, and Carlos Santana. He plays blues, heavy metal, and improvisational styles; one of his notable tricks is playing (live) a lick as if it were played backwards, with the help of only a volume pedal and a delay. His style has influenced many guitar players, including Zakk Wylde, Joe Bonamassa, Eric Gales and Paul Gilbert. His tone is recognized by for instance Guitar Player, which called him a "full-spectrum guitar god," alongside Jeff Beck, Eddie Van Halen, and The Edge.

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Duane Allman

Duane Allman (November 20, 1946 – October 29, 1971) an American guitarist, session musician, co-founder and leader of the The Allman Brothers Band until his death in a motorcycle accident in 1971 at the age of 24.
The Allman Brothers Band was formed in 1969 and based in the Southeastern United States. In the early 1970s, the band had major success. Allman is best remembered for his brief but influential tenure in the band and in particular for his expressive slide guitar playing and inventive improvisational skills. In 2003, Rolling Stone magazine ranked Allman at #2 in their list of the 100 greatest guitarists of all time, second only to Jimi Hendrix and in 2011 he was ranked #9. His tone (achieved with a Gibson Les Paul and two 50-watt bass Marshall amplifiers) was named one of the greatest guitar tones of all time by Guitar Player.
A sought-after session musician both before and during his tenure with the band, Duane Allman performed with such established stars as King Curtis, Aretha Franklin, Wilson Pickett, and Herbie Mann. He also contributed heavily to the 1970 album Layla and Other Assorted Love Songs by Derek and the Dominos.
Duane Allman's skills as a guitarist were complemented by personal qualities such as his intensity, drive and ability to draw the best out of others in making music.He is still referred to by his nickname "Skydog".
Duane Allman was born on November 20, 1946 in Nashville, Tennessee. He was the eldest son of Willis Allman, a career United States Army sergeant, and Geraldine (née Robbins). His younger brother Gregg Allman was born in late 1947.
While the family was living near Norfolk, Virginia, his father was murdered by a fellow veteran hitchhiker. In order to retrain as an accountant, Geraldine "Mama A" Allman sent Duane and Gregg to Castle Heights Military Academy in Lebanon, Tennessee, which they both disliked intensely.
The Allman Brothers Band went on to become one of the most influential rock groups of the 1970s, described by Rolling Stone's George Kimball in 1971 as "the best damn rock and roll band this country has produced in the past five years." After months of nonstop rehearsing and gigging, including free shows in Macon's Central City Park and Atlanta's Piedmont Park, the group was ready to settle on the Allman Brothers Band name, and to record. Their debut album, The Allman Brothers Band, was recorded in New York in September 1969 and released a few months later. In the midst of intense touring, work began in Macon and Miami (Atlantic South – Criteria Studios), and a little bit in New York, on the band's second album, Idlewild South. Produced mostly by Tom Dowd, Idlewild South was released in August 1970 and broke new ground for them by quickly hitting the Billboard charts.
A group date in Miami, also that August, gave Allman the chance to participate in Eric Clapton's Layla and Other Assorted Love Songs. Clapton had long wanted to meet Allman; when he heard that the Allman Brothers were due to play in Miami, where he had just started work on Layla with producer Tom Dowd, he insisted on going to see their concert, where he met Allman. At one point, Allman approached Clapton, fully admiring his ability to play guitar as much as Clapton admired his, and cautiously asked Clapton if he could come by the studio to watch. Clapton eagerly agreed, since he knew that his masterful playing combined with Allman's would be greater than the sum of its parts. After the show the two bands—the Allman Brothers Band and Derek and the Dominos—returned to Criteria, where Allman and Clapton quickly formed a deep rapport during an all-night jam session. Allman wound up participating on most of the album's tracks, contributing some of his best-known work. Allman never left the Allman Brothers Band, though, despite being offered a permanent position with Clapton. Allman never toured with Derek and the Dominos, but he did make three appearances with them on December 1, 1970 at the Curtis Hixon Hall in Tampa (Soulmates LP) and the following day at Onondaga County War Memorial in Syracuse, NY, and one appearance (or possibly just Delaney Bramlett or both Allman and Delaney) November 20, 1970 at the Santa Monica Civic Auditorium, California.
In an interview, Allman told listeners how to tell who played what: Eric played the Fender parts and Duane played the Gibson parts. He continued by nonchalantly noting that the Fender had a sparklier sound, while the Gibson produced more of a "full-tilt screech". Clapton wrote later in his autobiography that he and Allman were inseparable during the sessions in Florida; he talked about Allman as the "musical brother I'd never had but wished I did."
The Allman Brothers went on to record At Fillmore East in March 1971. Meanwhile, Allman continued contributing session work to other artists' albums whenever he could. According to Skydog: the Duane Allman Story, Allman was in the habit of spontaneously dropping in at recording sessions and contributing to whatever was being taped that day. He received cash payments but no recording credits, making it virtually impossible to compile a complete discography of his works.
Allman was well known for his melodic, extended and attention-holding guitar solos. During this period two of his stated influences were Miles Davis and John Coltrane, having listened extensively to Kind of Blue for two years.
Duane Allman was killed in a motorcycle accident only months after the release and initial success of At Fillmore East. On October 29, 1971, in the western part of Macon, Georgia, during a band break from touring and recording, Allman was riding his motorcycle at a high speed on Hillcrest Avenue as he approached Bartlett Street, when a flatbed truck carrying a lumber crane stopped suddenly in the intersection, forcing Allman to swerve his Harley-Davidson Sportster motorcycle sharply to the left to avoid a collision. As he was doing so, he struck either the back of the truck or the ball on the lumber crane and was immediately thrown from the motorcycle. The motorcycle bounced into the air, landed on Allman and skidded another 90 feet with Allman pinned underneath, crushing his internal organs. Though he was alive when he arrived at the hospital, despite immediate emergency surgery, he died several hours later from massive internal injuries.

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Dan Powers

Happy birthday Dan Powers, rock guitarist born (November 20, 1956) ...
Danny Powers joined The Michael Stanley Band (MSB) in 1982 where he had the opportunity to tour the country playing on stages with countless rock legends such as Ringo Starr, Heart, 38 Special, Asia, Michael McDonald, Joe Walsh, Eddie Money and Donny Iris to name a few. With MSB he has recorded on 9 albums, performed in music videos and has made many television appearances including Solid Gold and American Bandstand. In 1988 Danny began producing records in Los Angeles, where he worked on music for many artists including Cock Robin and Jennifer Love-Hewitt.
In 1996 he headed to Germany to record an album and tour with his own band, The Holograms. Over the years Danny has had the opportunity to work with some of his favorite players including Eddie Jobson (Roxy Music, Jethro Tull, Frank Zappa), Pat Masttelato (King Crimson, Mister, Mister), Pete Beckett (Alan Parsons), Paul Morris (Rainbow), Fernando Saunders (Jeff Beck, Jan Hammer), J.T. Lewis (Herbie Hancock, Lou Reed) and recently Yes' Alan White. Danny has had his songs appear in several films including "Out Of Darkness" starring Diana Ross, "Love Potion No. 9 " starring Sandra Bullock, "Kiss Of A Killer" starring Annette O'Toole and "A Killing In Beverly Hills: The Story Of The Menendez Brothers". 
Danny has been the anchor guitarist each year for the Tribe Jam, featuring musical talents of the Cleveland Indians and the Browns Jam, which includes the musical talents of The Cleveland Browns. Danny performed on and Co-produced the record, The C.A.R.E. Session featuring the single, "Eyes Of The Children" with such illustrious rockers as Ben Orr (The Cars), Rickie Medlocke (Lynyrd Skynyrd, Blackfoot), Joe Vitale (Eagles, Joe Walsh), Skip Martin (Dazz Band) and the Raspberries among others. He continues to play lead guitar for Michael Stanley and The Resonators and is currently composing music for a television series, as well as writing and recording music for his own solo record.

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Joe Walsh

Happy birthday to the great Joseph Fidler "Joe" Walsh (born November 20, 1947) an American singer, songwriter, composer, multi-instrumentalist, and record producer. In a career spanning more than 40 years, Walsh has been a member of five successful rock bands: the Eagles, the James Gang, Barnstorm, The Party Boys, and Ringo Starr & His All-Starr Band. In the 1990s, he was also a member of the short-lived supergroup The Best. He has also experienced success both as a solo artist and prolific session musician, being featured on a wide array of other artists' recordings. In 2011, Rolling Stone placed Walsh at the number 54 spot on its list of "100 Greatest Guitarists of All Time."
Walsh joined the Eagles in 1975 as the group's keyboardist and guitarist following the departure of their founding member Bernie Leadon, with Hotel California being his first album with the band. In 1998 Guitarist magazine selected the guitar solos on the track "Hotel California" by Walsh and Don Felder[4] as the best guitar solos of all time, and eighth of the Top 100 Guitar Solos.
Walsh pursued a solo career and released his debut album The Smoker You Drink, the Player You Get in 1973. Since then, he has released twelve studio albums, six compilation albums and two live albums. His solo hits include "Rocky Mountain Way", "Life's Been Good", "All Night Long", "A Life of Illusion", "Space Age Whiz Kids", "The Confessor", "The Radio Song" and "Ordinary Average Guy".
As a member of the Eagles, Walsh was inducted into the Rock and Roll Hall of Fame in 1998, and into the Vocal Group Hall of Fame in 2001. The Eagles are considered to be one of the most influential bands of the 1970s, and they remain the best-selling American band in the history of popular music. Walsh's creative contribution to music has received praise from many of the best rock guitarists, including Led Zeppelin's former guitarist Jimmy Page, who praised Walsh by saying "He has a tremendous feel for the instrument. I've loved his style since the early James Gang." Cream's former guitarist, Eric Clapton said that "He's one of the best guitarists to surface in some time. I don't listen to many records, but I listen to his." The Who's guitarist Pete Townshend, a friend of Walsh's, commented that "Joe Walsh is a fluid and intelligent player. There're not many like that around."

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Ray Stiles

November 20th 1946, Born on this day, Ray Stiles, Mud, (1974 UK No.1 single 'Tiger Feet', plus 14 other UK Top 40 singles).

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Norman Greenbaum

November 20th 1942, Born on this day, Norman Greenbaum, singer, songwriter, guitarist, and One Hit Wonder with the 1970 UK No.1 & US No.3 single 'Spirit In The Sky'.

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Isaac Hayes

November 20th 1971, Isaac Hayes started a two week run at No.1 on the US singles chart with 'Theme From Shaft', it made No.4 in the UK. Hayes won a Grammy award for Best Original Film Score with 'Theme From Shaft'.

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Bo Diddley

November 20th 1955, Bo Diddley appeared on US The Ed Sullivan Show television show. The show had requested that he sang his version of ‘Sixteen Tons’, but, when he appeared on stage, he sang his own song ‘Bo Diddley’ resulting in him being banned from further appearances on the show.

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Fleetwood Mac

Fleetwood Mac - Rumours

Rumours tends to be remembered as the album that was characterised by personal strife between the band members, but what makes it worthy of note is the quality and longevity of the songs, the singing, the musicianship, the arrangements and the production.

It wasn’t an easy record to make. Although on its release Fleetwood Mac were riding high on the charts with their previous album, when the band went in to record their eleventh studio album, it was another of a long line of records from a group who paid their bills from constant US touring, while never having matched in North America the pinnacle of their UK achievements, which included selling more records in 1969 than The Beatles.

For those who don’t know, Fleetwood Mac, named after drummer Mick Fleetwood and bass player John McVie, were formed by Peter Green as a British blues band in 1967, after Green had replaced Eric Clapton in John Mayall’s Bluesbreakers, the others having been Bluesbreakers: McVie since 1964 and Fleetwood for five weeks in 1967. Originally a quartet completed by Elmore James-style slide guitarist and singer Jeremy Spencer, the band subsequently added another star guitarist, Danny Kirwan from Boilerhouse.

 

The quintet went on to develop into an exciting and melodic rock band, and had a string of Green-penned hits in the UK, including Black Magic Woman and The Green Manalishi (with the Two-Prong Crown), covered subsequently by Santana and Judas Priest respectively. Their biggest success was with the Shadows-style instrumental Albatross, which hit #1 in the UK in December 1968, but a further three Top 10 UK hits couldn’t temper the blow when Green abruptly quit the band in May 1970, apparently as a result of wanting to give up material things, exacerbated by the effects of LSD.

Without their spiritual and musical leader, the core musicians recruited a succession of players, starting with John McVie’s wife Christine, who, as Christine Perfect, had been keyboardist and co-lead vocalist in Chicken Shack, another UK blues band, whose biggest single hit was Etta James’ I’d Rather Go Blind, sung by Christine. She joined Fleetwood Mac after Peter Green’s departure and became the third consistent member throughout the following years.

Fleetwood Mac had recently signed to Warner Brothers Records, based in the US, and over a period of time, they managed to carve out a career there, in spite of losing guitarists Spencer and Kirwan, with a further three guitarists joining and leaving in the process of releasing six albums. All the albums had charted in the US Top 100, and in 1974 the group had relocated to Los Angeles, so, since their most recent release Heroes Are Hard To Find had peaked at #34, by the end of the year the band were in a reasonable position with the US public and their record label, although they had long since left their UK audience and their blues roots behind.

In one of the fortuitous incidents that punctuated Fleetwood Mac’s long career, Mick Fleetwood made an impromptu visit in December 1974 to Sound City Studios in Van Nuys, in the San Fernando Valley, California, while researching new recording locations. Engineer Keith Olsen played him a tape of Frozen Love from the debut album by Buckingham Nicks, which piqued Fleetwood’s interest, the guitar playing in particular. At the same time, a waif-like blonde was singing in the adjoining studio, and he asked who she was. ‘That’s Stevie Nicks’, came the reply. The other half of Buckingham Nicks, Lindsey Buckingham, was also on hand and he was introduced to Fleetwood, the two of them chatting politely, with no thought of anything further.

 

A week later, Bob Welch, the longest-serving of the replacement Fleetwood Mac guitarist/vocalists, suddenly quit, looking to establish a solo career, which reduced the band to the core of Fleetwood and the McVies. Mick Fleetwood tracked down Lindsey Buckingham, having been told that Lindsey would only consider joining Fleetwood Mac if his girlfriend, vocalist/songwriter Stephanie ‘Stevie’ Nicks, was included.

On December 31st 1974 Lindsey and Stevie joined Fleetwood Mac. They had met at High School in the San Francisco Bay Area when Buckingham and his band were playing California Dreamin' and Nicks joined in on the harmony. Some years later Buckingham invited Nicks to join his band Fritz, resulting in the two becoming romantically involved and eventually dropping out of their San Jose college to record demos at Buckingham’s father’s coffee plant, then pursue their musical future in Los Angeles. As Buckingham Nicks, they signed to Polydor Records, but the failure of their eponymous debut album led to their being dropped by the label, which did at least mean they were open to opportunities when Fleetwood came calling.

They brought with them a strong sense of melody and harmony, their voices already an accomplished folk-rock blend, while Buckingham had also perfected a unique way of playing the guitar – a cross between strumming and finger picking - which avoided a lot of the indulgent cliches that were beginning to dominate stage performances of the major groups of the day, although, ironically, Mac were to be attacked by young punks after the global success of Rumours as an example of that very excess.

Buckingham and Nicks had been songwriters for years, and they were able to contribute songs for Fleetwood Mac to consider, including Rhiannon and Monday Morning, both of which had been played live with Buckingham Nicks, though not recorded.

 

Signifying a new beginning, the first album with the Fleetwood / McVie / McVie / Buckingham / Nicks lineup was entitled simply Fleetwood Mac, the same as the original band’s 1968 debut, and was subsequently to be known as ‘the white album’ because of its monochromatic cover, featuring a stylised photo by Herbert Worthington of an elongated Mick Fleetwood and a foreshortened John McVie, Alongside the band, Keith Olsen produced, as he had the Buckingham Nicks album, and the result was a well-crafted, highly melodic affair, which began a slow burn on its release in August 1975, finally taking off when the single Over My Head peaked at Number 20 in the US singles chart.

Which slice of somewhat tangled history brings us to the making of Rumours. The ‘white album’ was increasing its sales, and so it wasn’t too much of an issue for Warner Bros to let the band make another album. The band produced themselves and had been so far under the Warner radar that there was virtually no interference from the WB executives or A&R Department.

Much has been made of the fact that the album took a year to complete, but actually it was partly a result of the continuing success of the white album. As the group were forced to add in live dates to capitalise on the airplay they were getting on singles from the white album, with each successive single hit, the expectations were raised for the band, both from the record company and the public. Apparently Fleetwood Mac was the first album to spawn three US Top 20 singles, and certainly it was out of the ordinary in 1976 for albums to have many singles extracted from them – one or two was the norm. Pink Floyd’s The Dark Side Of The Moon from 1973 was a massive seller, with one single, Money, which went to No. 13 in the US. Peter Frampton’s live Frampton Comes Alive was the hot seller at the time, with the first single Show Me The Way hitting No. 6 in the US in March 1976, and although he did eventually have three songs pulled from it, Mac beat him by having Rhiannon hit No. 11 in June and Say You Love Me also get to No. 11 in September.

So the alleged excessive use of recording time (and recreational habits as a result) was more that the band were allowed to pursue a quality result with more time in the studio than the average artist at the time. On the other hand, although the recording bill would eventually top a million dollars, it would all have been recouped from their royalties eventually, and since the white album had sold a million copies on its own by September 1976, hitting Number One on the way, it was more or less a safe financial bet for all parties. Did they spend the time wisely? History says they did, because, as noted in co-engineer and co-producer Ken Caillat’s recent book about the making of the album, the time was mostly spent refining the song arrangements, whether choosing exactly the right rhythm section take or creating the precise overdub to complement the feel of any particular track.

The first sessions took place in Sausalito, just north of San Francisco, at the Record Plant, a well-appointed but secluded facility, where the band weren’t bothered by hangers-on. Ken Caillat, who had been working at LA’s Wally Heider recording studio, had previously mixed a radio broadcast for the band, and had stepped in to remix the single of Rhiannon. The band’s live engineer Richard Dashut, who had also worked on the white album, had been asked to supervise and engineer Fleetwood Mac’s new album, but he felt that it would be beneficial to work alongside Caillat, so that became the engineering team for Rumours. The results went so well in the first few months that Caillat and Dashut were designated co-producers alongside the band and were encouraged to add in creative suggestions and sonic additions.

Similarly, by Caillat’s account the band were also very hands-on, and the final result appears to have been a genuine 7-way partnership, with none of the final selections of backing tracks, overdubs or mixes released without the approval of all parties. Therefore it would be invidious to single out any member of the team. A large part of Rumours' continuing appeal is the quality of the songwriting, from McVie, Buckingham and Nicks, but there is also the interest created by three lead voices, the stacked up harmonies with intricate yet unobtrusive parts, the rock-solid rhythm section, with some very unconventional drum parts in places, and the inventive bass playing of John McVie, whose bass lines tie the whole enterprise together.

Not withstanding the great vocal work from Christine McVie and Stevie Nicks, many of the musical textures were added by Lindsey Buckingham, who also sang lead on his own compositions, plus alternated vocals with McVie on Don’t Stop. Buckingham took a lot of trouble, along with the co-producers, to add embellishments that would keep the listener’s interest and also emphasise various parts of the song where necessary. It would be hard to imagine Dreams, for instance, without the guitar mini-solo part at 1:45, which reinforces the sadness inherent in the lyric and vocal, while a prominent acoustic guitar that enters just for the chorus sections makes the important and dynamic distinction between the chorus and verses. Equally important is the rhythm section throughout: Fleetwood and John McVie back up Buckingham’s chorus embellishments with a push section on bass and kick drum which adds a subtle slowing down feel to the section, before the straight time feel returns for the next verse. Then, towards the end, discreet tom-tom and conga fills are added towards the end choruses, all seamless yet necessary.

Although Rumours is also regarded by some, mostly in Britain, as a perfect recording by perfectionists in a perfect parallel universe while punks on council estates were protesting, there are actually many parts of it that sacrifice perfection for feel. Again, on Dreams, for instance, the lead vocal is an early Stevie Nicks take, done while laying down guide versions of the song with the band. She felt that the subsequent takes didn’t have the same intensity, so the original vocal was stripped in to the most recent backing track.

Rumours is full of this sort of attention to detail to heighten interest, including touches like Lindsey Buckingham’s high-strung guitar counterpoint in the verses to Second Hand News, which also includes him beating on a chair for some percussive power; the recording of Christine McVie’s Songbird in the Zellerbach Auditorium of the University of California, Berkeley in an all-day session that ran till 4am, the phased electric harpsichord on Gold Dust Woman and the total creation of The Chain from a Christine McVie song called Keep Me There, retaining the chorus and adding new verses, dobro intro and lyric outro.

As the white album continued its ascent of the US charts on the back of Over My Head, so further singles were released: Rhiannon peaked at No. 11 in June, as did Say You Love Me in September, at which time the album hit Number One in the US, and reached over a million copies sold. This also meant that the band had to take breaks to slot in live dates, so from mid-June to the end of July they were unavailable for recording, except for a week in Miami at Criteria Studios.

The band performed a further set of dates from August 24 to 31, before knuckling down to more months in the studio doing overdubs and occasionally recutting songs. By then, the sessions had looked like this: end of January to April 10th: The Record Plant in Sausalito; 14th May to mid-June: Wally Heider Studios, Los Angeles; 5th-11th July: Criteria Studios, Miami; 4th-22nd August: Wally Heider Studios, LA.

 

 

Following a week in Len Kovner’s Davlen Studios in North Hollywood, where they put the studio’s $40,000 9-foot Bosendorfer piano to good use on Oh, Daddy, as well as adding acoustic guitars and laying down backing vocals on a selection of tracks, the sessions came to a screeching halt. The production team discovered that the 24-track tapes had started to shed the oxide coating (which records the audio), separating it from the plastic backing that holds the whole reel together. The tapes had been run backwards and forwards on the tape machines so often that the recorded music was starting to fall off the reels, gone forever. As it happened, right back at the start of the recording of the backing tracks, the Record Plant sessions had included duplicate recordings at the same time as the masters, so there were first-generation 24-track tapes available of the backing tracks. These only contained the bass, drums and keyboards, though, so all the following months’ overdubs, including vocals, guitars and extra percussion, had to be transferred from the rapidly fading overdub reels. Since there was no computerised sync system to keep the tape machines at a constant speed, this had to be done by hand, but eventually all the recordings were saved, using good quality versions of the backing tracks.

With the home straight in sight, by September 1976 there were only a couple of issues to settle. Steve Nicks’ song Silver Springs was deemed, at 4’33”, too long to include on the album, and although it was completed at the sessions, it was ultimately to be excluded, used instead as the B Side of the first single Go Your Own Way. That left a space for a short song, so the band, without Stevie, cut another of her songs, I Don’t Want To Know from the Buckingham Nicks days, in 5 hours, including the rhythm section, acoustic guitars and Lindsey Buckingham’s co-lead vocal. Once Nicks had added her own distinctive harmony lead vocal later, the track was finished.

The final piece of the puzzle was the resolution of Keep Me There, a Christine McVie song with a strong chorus, but thought to be lacking something in the verses. Lindsey Buckingham had a vision that include re-writing and re-recording the entire first half, so a new tape was added to the front of the song and a carefully timed bass drum recorded as far as the middle of the existing song, over which Buckingham played a new dobro part. Stevie Nicks had some lyrics and a top line melody which fitted, so with a few more musical and vocal overdubs, the song was completed as The Chain. More overdubs, the last of which included vibes on Dreams, were completed in October, before the mixing of the first single’s A & B sides at Wally Heider, after which the team decamped to the Producers Workshop studio in Hollywood for the album mixing from mid-November. The album was finally finished on January 2nd, and, with a further two weeks of mastering to create 146 LP lacquers for pressing plants worldwide, the album hit the shops in February 1977, 12 months after it had started.

The rest of the story is told with the success of the singles from the album: Go Your Own Way went to No. 10 in the US in March 1977, propelling the album to the top of the US charts in April, where it stayed for 31 non-consecutive weeks. Dreams topped the US singles charts in August (Fleetwood Mac’s only US No. 1 single), with Don’t Stop reaching No. 3 in September, and You Make Loving Fun going to No. 9 there in December.

The UK was harder to crack in the post-punk world, but Rumours became the album you couldn’t avoid, whether instore, at parties, or on the radio, and the album finally topped the UK chart in January 1978.

Now recognised as the classic post-Peter Green Fleetwood Mac album, its sales are legendary, but what’s interesting is that, despite its huge success in the 1970s, its sales have continued consistently into 2012 and beyond. By 1980, 13 million copies of Rumours had been sold worldwide, increasing to nearly 20 million by 1987, and by 2009 the album had gone beyond 40 million units. As of 2012, Rumours is the 14th best-selling album ever in the UK and is certified 11× platinum by the British Phonographic Industry, recognising more than 3,300,000 units shipped. It is 19 times Platinum in the US, for 19 million units shipped, making it, as of 2012, the sixth best-selling album in US history.

In 1998, Q magazine placed Rumours at number three in its list of '50 Best Albums of the 70s', (behind The Clash's London Calling and Pink Floyd's The Dark Side Of The Moon), while in 2012 Rolling Stone ranked it at number 26 in its special issue of ‘The 500 Greatest Albums of All Time’. In May 2011 Rumours re-entered the Billboard 200 chart at No. 11 and the Australian ARIA chart at No. 2, probably inspired by TV show Glee dedicating an entire episode to performances from the album. It seems there’s plenty of life in the album yet.

© 2012 This Day In Music Apps LLP.

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Bill Haley & His Comets

20th Nov 1955, The song that changed popular music history 'Rock Around the Clock' by Bill Haley & His Comets went to No.1 on the UK singles chart. The song was used under the opening credits of the film Blackboard Jungle. The song entered the charts a further six times until 1974.

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19/11/2017

Thomas Evans Jr

Today we remember the passing of the great Thomas Evans Jr (5 June 1947 – 19 November 1983) was an English musician and songwriter, most notable for his work with the band Badfinger.
In July 1967, the Iveys (Pete Ham, Ron Griffiths, Mike Gibbins and Dave Jenkins) went to Liverpool at the suggestion of their manager, Bill Collins, to recruit a replacement for Dave Jenkins, their rhythm guitarist and frontman. They discovered Tommy Evans singing with Them Calderstones and invited him to London to audition for the band. He eventually accepted and joined the Iveys in August 1967. His first gig with the Iveys was on 20 August 1967 at the Starlite Ballroom in Crawley.
On 23 July 1968, the Iveys were signed to the Beatles' Apple Records label. Their debut worldwide single release was Maybe Tomorrow, which was a Tom Evans composition, written for his girlfriend in Liverpool, Leslie Sandton, who he used to date when he was a member of Them Calderstones. On 15 November 1968, Maybe Tomorrow b/w an Evans/Ham song And Her Daddy's a Millionaire was released in the UK on Apple 5. The US release date was 27 January 1969 (Apple 1803) and the song peaked at No. 51 on the Cash Box chart and No. 67 on the Billboard chart. In the Netherlands, it reached No. 1. It was also very successful throughout Europe and in Japan. In July 1969, this prompted the release of the Iveys' album Maybe Tomorrow being only released in those countries where the single charted high. The album was released in Japan, Italy and Germany only. The album contained the following Tom Evans compositions: Beautiful and Blue, Fisherman, Maybe Tomorrow and Angelique.
One of the attempts at a follow-up single to Maybe Tomorrow was another Tom Evans composition called Storm in a Teacup, but this was rejected and ended up being used on a promotional Apple EP for Wall's Ice Cream in July 1969.
In November 1969, the Iveys changed their name to Badfinger, and Paul McCartney of the Beatles gave the group a boost by offering them his song "Come and Get It", which he produced for the band. It became a featured track for the film The Magic Christian, which starred Ringo Starr and Peter Sellers. Evans was chosen by McCartney to sing lead on this track. It reached the Top 10 worldwide. The B-side, Rock of All Ages, co-written by Evans with Pete Ham and Mike Gibbins, features Tom Evans singing lead. Paul McCartney also produced this, and even sang scratch vocals with Evans on the basic track. A third Magic Christian song, Carry On Till Tomorrow was co-written by Evans and Ham.
After the departure of original bassist Ron Griffiths, the band fruitlessly auditioned some bassists and with the arrival of Liverpudlian guitarist Joey Molland, Evans, who had previously played guitar, switched to bass and thus stabilizing the classic line-up of Ham, Evans, Gibbins and Molland.
Badfinger enjoyed more major successes in the early 1970s with singles such as "No Matter What," "Day After Day," and "Baby Blue". Each featured some of Evans vocals; background harmony and dual lead. Evans' high-career moment was with his composition "Without You," a song co-written with bandmate Pete Ham. The song became a No. 1 hit worldwide for Harry Nilsson and has since become a standard in the music industry.
Badfinger dissolved following Ham's suicide in 1975, after which Evans joined a group called the Dodgers with Badfinger bandmate Bob Jackson. The Dodgers released three singles produced by Muff Winwood and toured Britain before recording an album with producer Pat Moran. Evans was eventually asked to leave the band midway through the recording sessions and he briefly retired from the music industry.
Evans resurfaced in 1977 to join Joey Molland for two Badfinger "comeback" albums. The first single of two from the first album, "Airwaves" was an Evans composition "Lost Inside Your Love" but it failed to chart after its release in March 1979. The second album, "Say No More" spawned the Evans and Tansin single "Hold On," which reached No. 56 on Billboard in 1981. Evans and Molland went their separate ways after this second album was released, and the two put together rival "Badfinger" touring bands in the US.
In 1982, Jackson rejoined Evans in the latter's version of Badfinger. Original Badfinger drummer Mike Gibbins was also enlisted for Evans' band for one tour. But after Evans and Jackson signed separate management contracts with a Milwaukee businessman, the trio of Evans, Gibbins and Jackson said they found themselves stranded in the US without tour dates, food, money and much duress from physical threats. After returning to Britain, Evans was sued for $5 million in damages for abandoning his touring contract.
During the evening of 18 November 1983, Evans argued with Joey Molland of Badfinger on the telephone, chiefly regarding potential publishing/ASCAP divisions of the song "Without You". ASCAP royalties accumulating for airplay of the song had been funding Evans, with other potential publishing funds being held by Apple Corps Ltd. pending resolution of debate between the group members and manager Bill Collins. Early the following morning, 19 November, Evans was found dead by suicide, his body hanging in his back garden from a willow tree. Allegedly, he left no note, but family and friends have speculated that he was overwhelmed by the combination of his conflicts with Molland, ex-manager Bill Collins, and ex-bandmate Mike Gibbins over the pending royalties, plus the US lawsuit which he felt threatened his livelihood further. But a factor in Evans' depression, alluded to by many friends and family members, may have been that he was never able to get over his former bandmate Pete Ham's suicide. Marianne Evans, his wife, was quoted in a documentary as having stated that "Tommy said 'I want to be where Pete is. It's a better place than down here' ...."
Evans is also survived by a son, Stephen.
In 1993, a CD of recordings made in the early 1980s by Evans and musician friend Rod Roach was posthumously released in the UK on Gipsy Records under the title Over You (The Final Tracks).

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Warren "Pete" Moore

Happy birthday Warren "Pete" Moore (born November 19, 1939) an American singer-songwriter and record producer notable as the bass singer for Motown group The Miracles from 1955 onwards, and is one of the group's original members. He is also a 2012 Rock and Roll Hall of Fame Inductee, and a BMI and ASCAP award-winning songwriter, and was the vocal arranger on all of the group's hits.
A childhood friend of Miracles lead singer Smokey Robinson, the two met at a musical event given by the Detroit Public School system, where Moore spotted Robinson singing as part of the show. The two became friends, and formed a singing group, which became the Miracles. Besides his work in the Miracles, Moore helped Miracles member Smokey Robinson write several hit songs, including The Temptations' "It's Growing" and "Since I Lost My Baby", and two of Marvin Gaye's biggest hits, the Top 10 million sellers," Ain't That Peculiar ", and "I'll Be Doggone".
Moore also co-wrote several of The Miracles' own hits. These included "Ooo Baby Baby" (1965), the million-selling Grammy Hall of Fame Inductee" The Tracks Of My Tears" (also 1965), for which he won the ASCAP Award Of Merit, My Girl Has Gone, another Top 20 hit from 1965, "Going to a Go-Go" (also 1965) , (where he came up with the song's initial percussion sequence), and the multi-million selling #1 Pop smash, "Love Machine" (co-written with Miracles' member Billy Griffin) and the platinum album from which it came, City of Angels, among others. The song "Overture" from that album,also co-written by Moore and Billy Griffin, was used as the official theme on Radio Monte Carlo in France from 1978 to 1979. Moore also sung co-lead on a few recordings as well, such as "I Love Your Baby" and the groups' Billboard Top 40 hit "Doggone Right". Pete is also an accomplished producer, having produced several hit songs, including the Miracles' 1965 R&B chart hit, Choosey Beggar, their 1969 hit, Here I Go Again, the group's million-selling Top 10 hit, Baby Baby Don't Cry (also 1969), and the aforementioned City Of Angels album, along with albums by Marvin Gaye, and the Supremes.
In late 2006, Moore re-united with original Miracles members Smokey Robinson and Bobby Rogers for an extended interview on the Motown DVD release, "Smokey Robinson & The Miracles : The Definitive Performances". In the interview, Moore revealed for the first time that he was the group's uncredited vocal arranger. The second most prolific songwriter in the Miracles after Robinson, Moore's compositions have been recorded by Linda Ronstadt, Michael Jackson, Marvin Gaye, Aretha Franklin, George Michael, The Rolling Stones, Ramsey Lewis, Tom Jones, Luther Vandross, The Temptations, The Four Tops, and Debby Boone.
Moore is owner and CEO of Las Vegas-based entertainment firm, WBMM Enterprises, and co-owner, with Miracles member Billy Griffin, of music publishing company, Grimora Music. Moore and his wife Tina have two grown daughters, Monette and Monique.
In 2007 Moore reunited on stage with original Miracles Bobby Rogers, Claudette Robinson, and Smokey Robinson to celebrate the group's 50th anniversary. In 2009, the Miracles received a star on the Hollywood Walk of Fame.
In 2012, Pete Moore was retroactively inducted with the rest of the original Miracles, Bobby Rogers, Ron White, Claudette Robinson, and Marv Tarplin into The Rock and Roll Hall of Fame alongside Miracles lead singer Smokey Robinson. The induction was handled by a Special Committee, under the premise that the entire group should have been inducted with Robinson back in 1987. Miracles lead singer Smokey Robinson was the only member of the Miracles to have been inducted into the Rock and Roll Hall of Fame in 1987.
Moore has been a 4 time winner of the BMI award for songwriting.
Moore has also been awarded by the American Society of Composers,Authors,and Publishers (ASCAP) for co- composing The Tracks Of My Tears with fellow Miracles Marv Tarplin and Smokey Robinson (see Reference).
Moore was also honored with the other Miracles when the group received a star on The Hollywood Walk Of Fame on March 20, 2009.
Pete Moore was inducted with the rest of The Miracles into the Vocal Group Hall of Fame in 2001 .
Moore was inducted with the rest of The original Miracles into the Rock and Roll Hall of Fame, on April 14, 2012 .

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Ray Collins

Happy birthday to the late great Ray Collins (November 19, 1936 - December 24, 2012) an American musician.
Collins grew up in Pomona, California singing in his school choir, the son of a local police officer. He quit high school to get married.
Collins started his musical career singing falsetto backup vocals for various doo-wop groups in the Los Angeles area in the late 1950s and early 1960s, including Little Julian Herrera and the Tigers. In 1964, Collins, drummer Jimmy Carl Black, bassist Roy Estrada, saxophonist Dave Coronado, and guitarist Ray Hunt formed The Soul Giants. Hunt was eventually replaced by Frank Zappa, and the group evolved into the Mothers of Invention. Ray was the lead vocalist on their early albums, including Freak Out!, Absolutely Free, and Cruising with Ruben & the Jets. In 1968 Ray quit The Mothers of Invention, but continued to contribute to other Zappa projects through the mid-1970s.
Collins resided in Claremont California, until his death on December 24, 2012. He was 76 years old.

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Matthew William Sorum

Happy birthday Matthew William Sorum (born November 19, 1960) an American drummer and percussionist. He is best known as both a former member of the hard rock band Guns N' Roses, with whom he recorded three studio albums, and as a member of the supergroup Velvet Revolver. Sorum is currently a member of the touring project, Kings of Chaos, and is a former member of both The Cult and Y Kant Tori Read. Sorum was also a member of Guns N' Roses side-projects, Slash's Snakepit and Neurotic Outsiders, and released a solo album, Hollywood Zen, in 2004.
After performing on synthpop band Y Kant Tori Read's sole album, Sorum joined The Cult in 1989 to tour in support of their fourth studio album, Sonic Temple (1989). During the tour, Sorum was spotted by Guns N' Roses guitarist Slash and subsequently replaced their drummer Steven Adler in 1990. Remaining in the band for seven years, Sorum recorded the albums, Use Your Illusion I (1991), Use Your Illusion II (1991), and "The Spaghetti Incident?" (1993), before departing in 1997 following an argument with frontman Axl Rose.
In 2001, Sorum rejoined The Cult to perform on their reunion album, Beyond Good and Evil (2001), and its subsequent tour and subsequently co-founded the hard rock supergroup Velvet Revolver, alongside former Guns N' Roses bandmates, Slash and Duff McKagan. The band, which also included guitarist Dave Kushner and Stone Temple Pilots frontman Scott Weiland, released two successful studio albums, Contraband (2004) and Libertad (2007), before entering an extended hiatus following Weiland's departure.
Sorum has been a permanent member of hard rock cover band Camp Freddy since 2003, alongside Jane's Addiction members Dave Navarro and Chris Chaney, and assisted in hosting its radio show and podcast on Indie 103.1. In 2012, Sorum founded a touring project, entitled Kings of Chaos, featuring members of Guns N' Roses, Deep Purple, Def Leppard, Aerosmith, ZZ Top, Cheap Trick and Slipknot.
In 2012, Sorum was inducted into the Rock and Roll Hall of Fame as a member of Guns N' Roses. On October 12, 2013 Matt married his longtime girlfriend Ace Harper in Palm Springs, California.

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Fred Lipsius

Happy birthday Fred Lipsius (born 19 November 1943, The Bronx, New York, U.S.) was the original saxophonist and arranger for the jazz-rock band Blood, Sweat & Tears, for which he played alto saxophone and piano. He was with the band from 1967 to 1971.
Before Blood, Sweat & Tears, Lipsius played with the Ronn Metcalfe Orchestra.
Lipsius has performed with Simon & Garfunkel, Janis Joplin, and jazz greats Cannonball Adderley, Thelonious Monk, Zoot Sims, Eddie Gómez, Al Foster, George Mraz, Larry Willis, Randy Brecker, Rodney Jones and many others. He has written music for and performed on over 30 CDs as both a leader and sideman. He has authored six books/CDs on jazz improvisation and jazz reading.
Lipsius now teaches at Berklee College of Music in Boston, Massachusetts, USA.
Born in the Bronx, New York City on November 19, 1943, Lipsius began playing the clarinet at age 9, alto and tenor saxophones in Junior High School, and the piano at Music and Art High School in Manhattan. He continued his studies at Berklee School of Music (1961–62).
Fred Lipsius was the original saxophonist, arranger and conductor with Blood, Sweat & Tears from 1967 to 1971. He also doubled on keyboards. While with the band, he won nine Gold Records plus a Grammy Award for his arrangement of "Spinning Wheel". Fred also arranged and co-arranged, respectively, the hit singles "Hi-De-Ho" and "You've Made Me So Very Happy". In both the Down Beat and Playboy jazz polls he placed in the top ten of the alto sax category. Fred has composed, arranged and produced radio and TV commercials, including 2 CBS TV logos- themes introducing the season's upcoming shows. In the spring of 1982, he toured in Japan and Europe with Simon and Garfunkel.

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Eddie Rayner

Happy birthday Eddie Rayner (born Anthony Edward Charles Rayner on 19 November 1952), a New Zealand musician who spent twelve years as a keyboardist in the band Split Enz. He has also played in the groups Orb, Space Waltz, Crowded House, The Makers and 801.
Rayner has released two solo albums. The first, Horse, was an instrumental offering released in 1995, recorded entirely at Rayner's home studio in Melbourne, Australia. The second was entitled Play it Straight, a play on aPhilip Judd Split Enz song called Play it Strange that was a particular favourite of Rayner's during the mid- to late-1970s. The song never made an album, but was played live when Judd rejoined the band in 1977. Play it Straight consisted of re-arranged and re-recorded versions of material gleaned from other New Zealand composers.
Rayner's keyboard talents were a notable part of the Split Enz sound. Paul McCartney caught one of their shows in 1979 and became a fan of the band[citation needed], eventually inviting Rayner to play keyboards on his sixth solo album, Press to Play, which was released in 1986. Rayner has also produced material for many artists including Models, Margaret Urlich, Maggot Smith, and The Exponents, as well as two Enzso recordings with Split Enz members, Dame Kiri Te Kanawa and the New Zealand Symphony Orchestra.
During the late 1990s Eddie Rayner decided to take the Split Enz songs to an orchestral setting. This sparked the idea for the Enzso project. Along with his synth, the New Zealand Symphony Orchestra, some Newland Singers and some of his old mates from Split Enz, he created orchestral versions for Split Enz songs. The project ended between late 1999 and early 2000.
Recently he has acted as Musical Director for television show New Zealand Idol, and participated in reunions of Split Enz and Space Waltz. He is currently a member of the 1960s cover band The Con-Rays.

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Kevin Mark Dubrow

Today we remember the passing of the great Kevin Mark Dubrow (October 29, 1955 − c. November 19, 2007) was an American rock singer, best known as the lead vocalist of the heavy metal band Quiet Riot from 1975 until 1987, and again from 1990 until his death in 2007.
Dubrow grew up in Los Angeles, and eventually settled in the Los Angeles neighborhood of Van Nuys at age 13. At some time, he learned to play a twelve-string guitar. DuBrow was raised Jewish and had the nickname "Butch" growing up. His first band consisted of 11-year-olds who played only one gig, to an audience of senior citizens who were not particularly fond of rock music. By the time he was in his mid-teens he had developed an appreciation for a number of British rock acts including the Small Faces, Queen, Spooky Tooth, Rod Stewart and Humble Pie. Singer Steve Marriott would leave the biggest impact on Dubrow and act as a compass in his musical career. Dubrow was a prank caller, and would often make 'emergency break-through' phone calls to friends whose phone lines were busy using the name Steve Marriott, only to tell them something ridiculous.
Quiet Riot was formed by Randy Rhoads and bassist Kelly Garni (who would later be replaced by Rudy Sarzo) in 1975, who recruited Dubrow and drummer Drew Forsyth. This lineup disbanded in 1979 when Rhoads went on to join Ozzy Osbourne's band, with Rhoads personally enlisting Greg Leon as his replacement. For a time the band's name was changed to Dubrow, which had a rotating lineup of members including Leon, Chuck Wright, Frankie Banali, with brothers Tony and Carlos Cavazo. After the death of Rhoads in a plane crash in 1982, while on tour with Osbourne, Dubrow changed the name of the band back to Quiet Riot. Rudy Sarzo, who had also joined Ozzy Osbourne, left Osbourne's band and rejoined Quiet Riot shortly before the release of Metal Health, which went to the top of the charts, making Quiet Riot the first metal band to achieve number one status on their (U.S. release) debut album. Their singles included "Cum on Feel the Noize" (originally written and recorded by English band Slade in 1973), and "Metal Health (Bang Your Head)".
In February 1987, Dubrow was fired from Quiet Riot. Shortly afterwards, he signed with Kim Richards for personal management. With Richards' help, Dubrow formed and began recording with a new band named Pretty Women. Richards, who was at that time working on the soundtrack for the Blake Edwards film Switch, arranged for the Dubrow penned "Slam Dunk" to be included on the movie's soundtrack.
In 1991, Dubrow regrouped with his former Quiet Riot bandmate Carlos Cavazo alongside Kenny Hillary and former Rainbow drummer Bobby Rondinelli in a new band called Heat, (Quiet Riot had continued on in 1988 with new singer Paul Shortino of Rough Cutt but by this time were disbanded). By 1993, Heat had renamed themselves Quiet Riot with Banali re-joining on drums.
Quiet Riot continued through the 90s in several different incarnations, including a full reunion with the Metal Health-era line-up. They released the albums Terrified (1993), Down to the Bone (1995), Alive and Well (1999) and Guilty Pleasures (2001).
In 2004, after Quiet Riot's 2003 breakup, Dubrow recorded a collection of cover versions for his first solo album, In for the Kill. The album was recorded in Dubrow's late home Las Vegas, Nevada.
Dubrow also worked as a morning DJ for the Rock Station in Las Vegas, KOMP 92.3 on the morning show alongside longstanding host Craig Williams. Talk of show syndication had been heavily rumored but Dubrow departed the show to pursue touring with Quiet Riot.
On November 25, 2007, Kevin Dubrow was found dead at his home in Las Vegas. Friends had been unable to contact Dubrow for a week, and he had failed to show up to Thanksgiving arrangements he had made as well as a party hosted by his friend Glenn Hughes. According to Hughes, Dubrow had told him a few days before he was unable to be contacted that he wanted to make changes to his lifestyle.
The cause of death was established to be an accidental cocaine overdose. It was also estimated that he had died about six days before his discovery, November 19, 2007.
In an email to Spain's The Metal Circus, Quiet Riot drummer Frankie Banali wrote: "I can't even find words to say. Please respect my privacy as I mourn the passing and honor the memory of my dearest friend Kevin Dubrow."
Dubrow was buried in Pacific View Cemetery in Corona del Mar, California next to his stepfather Harold Mandell. A rabbi presided over his funeral service on November 30, 2007. Several of Dubrow's friends gave the eulogy; Frankie Banali, Ron Sobol, Glenn Hughes, and Carrie. The burial ceremony was traditional.

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Bo Diddley

Hey! Bo Diddley

I’ve always liked an artist who can sing about themselves. The Stray Cats had “The Stray Cat Strut”, Mott The Hoople had “The Ballad Of Mott The Hoople”, Bob Dylan sang about “Bob Dylan’s 115th Dream”. And Bo Diddley shouted “Hey! Bo Diddley”.

Mick Jagger stated: "His influence was so widespread that it is hard to imagine what rock and roll would have sounded like without him. "He was a wonderful, original musician who was an enormous force in music and was a big influence on The Rolling Stones”.

Tom Petty, Buddy Holly, The Stones, The Clash, The Kinks, The Animals, The New York Dolls and even those old hippies Grateful Dead have all covered songs by Ellas Otha Bates, while he was a seminal influence on the young Syd Barrett, co-founder of Pink Floyd.

Yes I’m talking about Bo Diddley, "The Originator", (as he was also known), who died of heart failure aged 79 on this day in 2008. He played a key role in the transition from the blues to rock & roll, influencing a host of acts and even made a visual statement – his guitar shaped like a cigar box, (nicknamed "The Twang Machine") became a style icon.

The unusual guitar design sprang from an embarrassing moment: after jumping around on stage with a Gibson L5 guitar, Bo landed awkwardly, hurting his groin. He then went about designing a smaller, less restrictive, guitar that allowed him to keep jumping around on stage while still playing.

Born in 1928, he was adopted and raised by his mother's cousin, Gussie McDaniel, whose surname he assumed, becoming Ellas McDaniel. Bo was inspired musically after seeing John Lee Hooker, and developed a career playing on Chicago street corners with friends in a band called The Hipsters.

McDaniel would adopt the stage name "Bo Diddley". The origin of the name is somewhat unclear, as several differing stories and claims exist. Some sources state that it was his nickname as a teenage Golden Gloves boxer, while others claim that it originates from the one-stringed instrument called the diddley bow. Bo Diddley himself has said that the name first belonged to a singer his adoptive mother was familiar with.

In late 1954, he recorded demos of "I'm A Man" and "Bo Diddley". They re-recorded the songs at Chess Studios. The record was released in March 1955, and the A-side, "Bo Diddley", became a #1 R&B hit and we all heard what became the "Bo Diddley beat," also known in the US as ‘shave and haircut, 2 bits’.

He was one of the first American male musicians to include women in his band, including Norma-Jean Wofford (aka “The Duchess,” 1942-2005), Peggy Jones, Cornelia Redmond and Debby Hastings, who led his band for the final 25 years of his performing career.

Bo Diddley died on June 2, 2008 of heart failure at his home in Archer, Florida. Garry Mitchell, a grandson of Diddley and one of more than 35 family members at the musician's home when he died, said: "There was a gospel song that was sung (at his bedside) and when it was done, Bo said 'wow' with a thumbs up, and in his last words he said 'I'm going to heaven.'"

On June 5, 2009 the city of Gainesville, Florida, officially renamed and dedicated its downtown plaza the "Bo Diddley Community Plaza." Next time I’m in town, I’m going to pay a visit and sing my favourite Bo song "You Can't Judge A Book By The Cover."                             

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Queen.

Under Pressure

 

"Under Pressure" was recorded in September 1981, at Mountain Studios, near where David Bowie was living at the time. He ended up jamming with Queen and one of the pieces they improvised around was an unfinished Queen tune, with the working title "Feel Like". David Bowie had very definite ideas on how he wanted the finished song to sound and insisted on being involved in the mixing process, which was completed a couple of weeks later at the Power Station studio, New York, USA, with David, Roger Taylor, Freddie Mercury. Brian May and John Deacon had made their contributions to the initial mix at Mountain Studios and elected to stay away; perhaps there were enough egos involved already.

In interviews at the time Bowie stated that he wasn't entirely happy with the finished version of "Under Pressure", feeling that it stood up well as a demo, but still required further work, particularly lyrically. However, in later years he appeared to warm to the song. He has included "Under Pressure" in his live set on a number of occasions, including his 50th birthday celebration concert in 1997, where he clearly enjoyed performing it.

 

With Freddie's part sung by the remarkable American bassist and vocalist, Gail Ann Dorsey, the performance is an absolute treat and well worth seeking out the CD or DVD for. Gail Ann is a big Queen fan and stated on a BowieNet live chat session in 1998, "Early on, on the Outside tour, David asked would I consider singing Under Pressure like the Annie Lennox duet he performed at Freddie Mercury's Memorial Concert. Queen is my favorite band of all time and I remember being so overwhelmed at David's suggestion that I cried. To sing a part originally sung by Freddie Mercury so far has been the greatest honor of my life."

"Under Pressure" was released as a single shortly after its completion, on 26th October 1981, over six months ahead of the album it would end up on. With no other completed new material available, the B-side was the non-album track "Soul Brother", written by Freddie Mercury and recorded during the sessions for The Game. Despite David Bowie's reservations, "Under Pressure" was a hit single, reaching No.29 in the US Billboard Hot 100 and spending two weeks at No.1, during an eleven week run in the UK singles chart. (becoming the group's second No.1 hit in their home country after 1975's "Bohemian Rhapsody").

Despite the presence of two great rock show-men sharing the lead vocals on this collaboration of stellar proportions, it is the 'quiet one' who stole the show utterly, with a bass riff comprising only six notes, five of them identical. As Roger recalled in the documentary 'Queen - Days of our Lives', having devised the riff shortly before the band stopped for a meal break, John returned to the studio later with no recollection of what he'd done earlier. Fortunately Roger remembered it and all was saved.

 

Controversy arose when Vanilla Ice sampled the bassline for his 1990 single "Ice Ice Baby". Initially he denied the accusation, and then said he had modified it,[and did not originally pay songwriting credit or royalties to Queen and Bowie. A lawsuit resulted in Bowie and all the members of Queen being given songwriting credit for the sample. Vanilla Ice later claimed to have purchased the publishing rights to "Under Pressure", saying buying the song made more financial sense than paying out royalties.

The September 2005 edition of online music magazine Stylus singled out the bassline in "Under Pressure" as the best in popular music history and in more recent times "Under Pressure"has been used in TV commercial's for Google Plus which features The Muppets and featured in the first trailer of the 2015 film, Minions.  

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