Cover Story - Pink Floyd

As always, I want to thank Michael Goldstein over at www.RockPoPGallery.com for the exclusive reprint rights to his marvelous album cover art stories:


Cover Story - Pink Floyd - "The Wall/Hammers" artwork by Gerald Scarfe

Subject – "Hammers" from The Wall – a 1979 recording by Pink Floyd, released on Columbia Records and featuring illustrations by Gerald Scarfe.


Pink Floyd’s “rock opera” The Wall (released on Columbia Records in the U.S. and on Harvest Records in the UK), is the best-selling multi-disc recording of all time, having sold well over 30 million packages since its 1979 release. The record reached #1 in the U.S. (topping at #3 in the U.K.) and included the #1 hit single “Another Brick in the Wall (Part 2)”, along with the hits “Hey You”, “Run Like Hell”, and the epic “Comfortably Numb”. It was voted #87 of the “500 Greatest Albums of All Time” in the 2003 survey published by Rolling Stone Magazine.

It was after this record that founding keyboardist Richard Wright departed, to return as a paid player when the band performed The Wall on tour, finally re-uniting as a full member in 1987.

According to the legend, songwriter/lyricist Roger Waters was inspired to begin writing The Wall while on tour in 1977 promoting their Animals record. Near the end of the tour, an angry Waters spat in the face of an audience member who was trying to jump up onto the stage with the band. Whatever the motivation, the record required 8 months in the South of France to complete.

All Pink Floyd records since their 1967 release The Piper at the Gates of Dawn had featured cover designs/packaging by Storm Thorgerson and Hipgnosis. For The Wall, the band chose U.K. cartoonist and illustrator Gerald Scarfe, who then also designed the giant puppets of the 'Mother', 'Wife' and 'Teacher', as well as the animations that were projected around the theater and onto the Wall constructed during the public performances of the opera. The selection of Mr. Scarfe as illustrator was inspired, as he creates “drawings that are often a cry against that which I detest, and in showing my dislike I have to draw the dislikeable. To horrify people with a drawing of the waste of war I must make a horrific drawing of war, and when I come to draw people, their bodies become vehicles for their emotions – greed, lust, cruelty.” Considering The Wall’s subject material, the story behind the making of today’s Cover Story image is particularly compelling….

In the words of the illustrator, Gerald Scarfe (interviewed July 2007, with additional quotes and info provided by Julie Davies and the nice folks at geraldscarfe.com) –

“In 1973, the BBC sent me to Los Angeles to work on a twenty minute animated film about all things American – a psychedelic stream-of-consciousness work featuring Mickey Mouse, Black Power, Playboy Magazine, the Statue of Liberty, Nixon and John Wayne. We used a new animation system called the ‘De Joux’ system. In full Disney-type animation there are twelve drawings to one second of film. The 'De Joux' system cut that number to only six or eight by mixing photographically between every drawing and producing the illusion of extra movement. This still meant an immense amount of work, drawing every second of a twenty minute film. I worked, ate and slept that project for six weeks, drawing every cliché I knew about America straight onto 70mm film - from Coca Cola to John Wayne. I called the film Long Drawn-Out Trip.

Two members of Pink Floyd (Roger and Nick) saw this film when it was shown on the BBC and asked me to make an animated film for their next series of live concerts, based on their LP Wish You Were Here. I didn’t take up the offer for some time – it seemed like a lot of work and I feared it might stop the flow of my other work (it did!). Directing animation is a full-time job. I ended up with a studio of about forty animators whom I tried to wean away from the Disney system in which most are trained.

The first animations I made for Wish You Were Here were projected onto a circular screen at the back of the stage, behind the band. I drew a man who walked slowly towards the camera, stopped and was eroded, like sand, by the blowing wind. A metal monster that stomped across the landscape for the song, 'Welcome to the Machine', a sea of blood that appeared over the horizon, raced towards us and engulfed two shining, circular metal towers. The blood turned to groping hands which prayed to the metal monoliths. A leaf tumbled through the sky and slowly turned into a naked man who, still tumbling, smashed through the sky as though it were made of glass.

I continued my association with Pink Floyd by collaborating on The Wall. Begun in 1979, this project became three years of work. Roger and I worked out the cover design in the South of France and I completed it on my return to London. Roger gave me complete carte blanche, complete control over it. Besides showing me the libretto, they didn’t interfere at all in crafting of the images. They obviously saw what I was going to do, but they never altered them. I remember Roger saying that “when we employ an artist, we employ him for what he does, not for what we would like to make him do.”

In as far as what inspired the 'Hammers' imagery, we obviously wanted to have some figure of oppression, and I came up with the hammers. I had to think, ‘what would be the most obvious symbol of oppression’, and the most unrelenting, crushing, unthinking thing that I could think of was a hammer. The violence of a hammer when it comes down is horrific. I was slightly worried that they might be adopted by some fascist, neo-Nazi group as a symbol but thankfully it didn’t happen. And I think that when I did the hammers, and Roger wrote 'hammer, hammer' into the lyrics, it was the one instance when the drawings influenced the lyrics.

I knew the images were ultimately going to be used in an animated sequence. The actual images came to me quite quickly, but of course the animation is an incredibly time consuming process. When we began the animation for the film there were only about 8-10 people on the project, but by the end there were around 40-50 animators using pen, paper, ink and paint.

From the original LP of The Wall, a stage show was produced, for which I art-directed. I made puppets and inflatables and directed another animated film, The Trial. The Wall was subsequently made into a feature film which I designed and for which I directed two further pieces of animation – 'Empty Spaces' and 'Goodbye Blue Sky'.

As a child who grew up in the war, 'Goodbye Blue Sky' came completely from my mind, because I had memories of the war. Roger was born after the war; as you may know, he lost his father in the war, and that’s why he refers to it, but I actually lived through it, and remember the bombs falling in London, and being in air raid shelters.

But above all else I remember having to wear a gas mask, which is a very claustrophobic thing for anyone to wear, let alone an asthmatic. I’d put this thing on and fight for breath. We had to put them on for practice – thankfully there was no occasion when gas bombs were actually dropped, to my memory. But I hated the mask. They tried to make it look cute and childlike by putting Mickey Mouse ears on it and calling it a 'Mickey Mouse children’s gasmask'. But the memory of the mask came in useful for the 'Frightened Ones'. I gave them gas-mask heads and they are running for cover into air raid shelters as the dove which explodes into the Germanic Eagle, and flies across the landscape, lays its trail of waste.

When I do my illustrated talks I like to show the 'Goodbye Blue Sky' sequence, because it ties up with my childhood really, it’s a sort of poem to the Second World War, and it was the Floyd that gave me the opportunity to do it. I am often asked if I think my drawings change anything. I don’t believe they do, but on occasion I hope they may crystallize a mood or sum up an attitude. If I have succeed in demonstrating this – or even better, in making people laugh – then I can ask for no more."

About the illustrator, Gerald Scarfe -


Illustrator and cartoonist Gerald Scarfe was born in 1936 in London. He was asthmatic as a child and spent much time drawing and reading. After a brief period at the Royal College of Art in London, he established himself as a satirical cartoonist, working for Punch magazine and Private Eye during the early sixties. He has had many exhibitions worldwide, including ones in New York, Osaka, Montreal, Los Angeles, Sydney, Melbourne, Chicago and London, as well as 50 one-man shows. He has designed the sets and costumes for plays, operas and musicals in London, Houston, Los Angeles and Detroit. His film work includes designing and directing the animation for Pink Floyd's rock opera The Wall (he also created the graphics and animation for Roger Waters' 1984 solo album titled The Pros And Cons Of Hitch Hiking and its supporting tour). Scarfe has written and directed many live action and documentary films for BBC and Channel 4.

He has also published many books of his work, including Heroes & Villains: Scarfe at the National Portrait Gallery, which was published in September 2003. His most recent book, Gerald Scarfe: Drawing Blood: 45 Years of Scarfe Uncensored was published in November 2005. Gerald Scarfe has been political cartoonist for the London Sunday Times for 40 years, and has worked for The New Yorker magazine for 14 years. His work regularly appears in many periodicals and in 2005, he was selected as one of the 40 Most-Influential Journalists by the U.K.’s Press Gazette. In 2006, he received the British Press Award as Cartoonist of the Year.

Most recently, he has just completed working with Ozzy Osbourne on illustrating a 10-foot guitar for Gibson Guitar and their special charity event held for the Prince’s Trust.

He is married to British film/TV actress and author Jane Asher, and they have 3 three children.

You can see more of Mr. Scarfe’s work, please visit – www.geraldscarfe.com. Not only will you find a large selection of illustrations covering his whole career (including the work with Pink Floyd), but there is more information about Gerald, his book Drawing Blood (where some of today’s material was excerpted from), a CV, and writings on all the different subjects of his work.

To see more of Mr. Scarfe’s images that are available for sale at the RockPoP Gallery, please follow this link – http://rockpopgallery.easystorecreator.com/items/gerald-scarfe/list.htm?1=1

Copyright 2007 - Mike Goldstein & RockPoP Gallery (www.rockpopgallery.com) - All rights reserved.

Classic Rock Videos

The Moody Blues - Question

Lynne finds inspiration in Springfield, vinyl

By JON BREAM
Minneapolis Star Tribune



Comeback CDs by Guns N’ Roses, AC/DC and Metallica have made big noise in 2008. But one disc that’s just screaming for more attention is the best quiet album of the year, “Just a Little Lovin’ ” by Shelby Lynne.

Her music is a sultry purr to those rockers’ menacing roar. The quiet restraint of her late-night pop oozes a haunting soulfulness seldom heard in this era of loud “American Idol”-inspired vocal gymnasts.

Like Amy Winehouse, Lynne nods to the past, but makes music of the moment. The subtitle of her disc is “Inspired by Dusty Springfield,” the celebrated 1960s British soul siren who struggled with substance abuse before making a comeback in the 1980s and ’90s.

“The greatest white singer that there has ever been,” Elton John said when inducting the voice of “Son of a Preacher Man” into the Rock and Roll Hall of Fame, just a few days after she died of cancer in 1999.

Lynne studied Springfield before jumping into this project.

“I did read a few things, but you can’t believe what you read. She’s not here to defend herself,” Lynne says. “So I just rely on the music.”

Although everything about Springfield was big — from her blond beehive to her orchestral arrangements — everything about Lynne’s disc is small.

It’s an after-midnight album — “or a Sunday-morning record,” Lynne says, her Alabama drawl sounding a bit sleepy as she speaks by phone from her Palm Springs, Calif., home, her dog barking in the background.

Lynne makes such ’60s classics as “Anyone Who Had a Heart” and “You Don’t Have to Say You Love Me” feel lived in again. “The most important thing when you’re doing a cover record is to keep the song as the song is,” she says. “You can’t be changing its melody. But the groove is another thing. We just kind of molassesed it down.”

Lynne recorded with celebrated producer Phil Ramone, who has worked with everyone from Bob Dylan and Paul Simon to Aretha Franklin and Luciano Pavarotti.

“I didn’t want to make a fancy record,” she says. “He’s a guy who understands that I like the real organic way of making records.”

Things clicked on the recording of the first song, “Just a Little Lovin’.”

“We just went in there on a Monday morning and just kind of found a groove,” Lynne says. “We were in a setup as a band, which I like. Everybody can see everybody. I remember looking at Gregg Field — he played the drums — before we started the first note and I said, ‘This is your record and my record. It’s all about you and me.’ So the grooves were kind of eye-to-eye. And it just took on this tone.”

Of course, to get into the proper mood, Lynne had a drink or two.

“I always have a drink or two,” she says with a chuckle.

Even in the morning?

“Maybe.”

Over the course of recording 10 albums in 20 years, Lynne, who is 40, has developed a reputation as something of a Nashville problem child, a strong-willed party girl, a spitfire with her own opinions. She can be surly as well as sultry.

Lynne dislikes doing interviews and loathes discussing the defining family tragedy when, at 17, she and her younger sister, singer Allison Moorer, witnessed their father murder their mother and then kill himself.

Even as Lynne has startlingly switched styles from pop-country to Western swing/jazz to Americana and this hushed Southern soul, her music has consistently reflected vulnerability and resilience. Where does her strength come from?

“Life circumstances, the hand that you’re dealt. You’ve got to play it,” she says. “I don’t have any complaints.”

In 1991, she won the Country Music Association’s Horizon award for best newcomer, and 10 years later she grabbed the Grammy for best new artist, for her sixth album, the critically revered but slow-selling “I Am Shelby Lynne.”

That Grammy sits atop the cabinet in which she keeps her beloved vinyl album collection. She is enamored of LPs and their covers.

“You can’t roll a joint on an iPod,” she famously told the Los Angeles Times this year.

She does have an iPod for traveling, she says, but listens only to vinyl at home. She’s not much on computers; in fact, she’s doesn’t visit her MySpace page or Web site. (“The Web site is for fans, not for me,” she says.) She has downloaded only one album — Electric Light Orchestra’s “New World Order” — because she wore out her vinyl copy.

A fan gave her a vinyl copy of Springfield’s landmark “Dusty in Memphis,” a 1969 album that invariably turns up on lists of the greatest rock albums.

“It sounds a hell of a lot better than the reissues,” Lynne says of the original vinyl.

She feels the same about her own tribute to Springfield. She thinks the vinyl version sounds “way better” than the CD.

“I personally think everything does,” she says. “But it was a record recorded the way vinyl needs to be recorded.”

SOURCE: http://www.southbendtribune.com

Chess Records

With the release of the movie "Cadillac Records," there is a renewed interest in the history of Chess Records. I wrote this article for the radio station www.rockitradio.net and thought that others would be interested in this legendary record label:

Chess Records

Written by Robert Benson


Legendary record label founder Leonard Chess was inducted into the Rock & Roll Hall of Fame in 1987, and for good reason. Together with his brother Philip Chess, they founded the quintessential record label of the time whose roster reads as a who’s-who in Blues music. Let’s explore the history of Chess Records:

Brothers Leonard and Philip Chess were Jewish immigrants from Poland who came to Chicago in 1928. They were business partners in liquor sales and by the 1940’s they owned and operated several bars on the south side. One of their largest was a nightclub named the “Macomba,” that featured live entertainment; mainly Blues artists who had migrated to Chicago’s south side from the Mississippi Delta in the 30’s and 40’s.

Quickly realizing that these musicians were not being properly promoted and recorded, they decided to start recording these musicians themselves. In 1947, already aware of what kind of music would appeal to the Black community, the brothers partnered with Charles and Evelyn Aron at Aristocrat Records; who had formed the label specifically to record Blues, Jazz and R&B music.

By 1949, Aristocrat Records (which would ultimately become Chess record in 1950) was a fixture in the music world and some of these early recordings remain some of the most impressive collection of Blues music ever recorded. Their experience in music helped the brothers understanding of their predominantly Black audiences and they knew what this audience craved. But they soon realized that the Blues could be marketed to a much broader audience.

With Philip Chess overseeing the nightclub and offices at Aristocrat/Chess, this allowed Leonard to produce sessions as well as scout around for new and upcoming talent. Through their connections with Chicago radio stations and nightclubs, the pair was able to build an up and coming Blues musician, Muddy Waters, into the area leading Blues attraction.

With the success of Muddy Waters, Blues musicians were drawn to Chicago and Chess records. Artists such as slide guitarist Robert Nighthawk, Willie Dixon, Gene Ammons, Jimmy Rogers and Little Walter (who revolutionized the role of the harmonica in Chicago’s Blues music) were all drawn to Chess- it gave them the chance to record their music and helped promote themselves and the Blues music they loved so much.

However, despite the success, the Chess brothers had with incoming as well as the local talent, they began to search outside of the city for more talent. Leonard was in Memphis and supervised Memphis pianist Roscoe Gordon and also shipped music by Rufus Thomas, Dr. Isaiah Ross, Joe Hill Louis and Bobby Bland up to his brother in Chicago. But one of his greatest finds and one of the top contributors to the label was the music of Chester Arthur Burnett, a.k.a. Howlin’ Wolf.

Many more Blues legends recorded for Chess records in the 1950’s including Memphis Slim, Eddie Boyd, Little Walter, Willie Mabon, John Lee Hooker, Joe Williams, Big Bill Broonzy, and Washboard Sam. Jazzmen Leo Parker, Tab Smith, Otis Spann, Lynn Hope and Eddie Johnson added diversity to the record label.

But in 1955, Chess was able to sign a new talent named Chuck Berry, whose first hit; “Maybellene” added even more credibility to the label. Another new talent was also signed in 1955 (to Checker Records, a subsidiary of Chess), a Mississippi Blues legend named Sonny Boy Williamson. His first recording for the label, “Don’t Start Me Talkin’” was recorded with the help of the Muddy Waters Band. Additionally, Bo Diddley signed in 1955 and produced a two-sided smash hit for Checker, the self-titled ditty called “Bo Diddley and the flipside, “I’m A Man.”

Furthermore, Chess Records branched out and signed and recorded two Black vocal groups, the Flamingos and the Moonglows, whose sentimental singing styles would appeal to both black and white audiences alike. But before their records (“Sincerely” by the Moonglows and “I’ll Be Home” by the Flamingos) could become hits, they were covered by white artists (a common practice back then). The McGuire Sisters recorded “Sincerely” and Pat Boone released his version of the Flamingos’ song “I’ll Be Home.” Although these white artists garnered much of the sales, Chess Records became nationally recognized as a record company that could produce hit music.

In 1956, Chess established a Jazz subsidiary label called Argo. They were able to land some of the biggest and influential Jazz musicians of the time, signing such Jazz greats as Sonny Stitt, Yusef Lateef, James Moody, Gene Ammons, Lou Donaldson, Ahmad Jamal and Ramsey Lewis, among many others. Although Argo was primarily a Jazz label, they also recorded some of the finest female R&B by a singer named Etta James.

Additionally in 1956, Chess had a keen interest in music form New Orleans and signed veteran musician Paul Gayten. Gayten was able to convince others from the area to sign on with Chess including Clarence “Frogman” Henry, Bobby Charles and Eddie Bo.

Chess also had an extensive collection of recordings of gospel and religious music. They devoted an entire series of recordings of sermons by the Rev. C. L. Franklin, who was a pastor at the New Bethel Baptist Church, located in Detroit, Michigan. They became the first record company to record his daughter, Aretha Franklin and their gospel catalog also included albums by the Five Blind Boys, the Soul Stirrers, Alex Bradford and the Violinaires.

By the early 60’s, Chess records was a major player in the music industry, selling records by the thousands. They were able to sign some new, young talented musicians including Buddy Guy and Otis Rush. Etta James made her Chess debut in 1960 and many other female artists signed and recorded with the label including Jan Bradley, Sugar Pie De Santo, Fontella Bass, Jackie Ross, Jo Ann Garrett, Laura Lee as well as a female vocal group called the Gems (that counted Minnie Riperton as a member). Irma Thomas also joined Chess in 1967, recording her music in Muscle Shoals, Alabama.

When R&B merged with gospel influenced music, it formulated the foundation for Soul music and right at the top of this transformation was Chess Records. In fact, the late 60’s were extraordinary banner years for the now well–established record label. But in 1968, after the departure of Billy Davis and founding partner Leonard Chess (who left the record label to concentrate his efforts in a radio station that he owned), much of the creative structure was lost and many of the record producers and songwriters departed as well.

In 1969, Leonard and Philip Chess sold Chess Records to a company called General Recorded Tape (GRT) for over six and a half million dollars (plus twenty-thousand shares of GRT stock). The company also suffered a devastating loss when Leonard Chess died that same year. The quality of the music declined and by the summer of 1972, the Chess Chicago offices were scarcely staffed, the distribution company and pressing plants had been closed as well. In fact, the only Chess studio that was in operation was the Chess Ter Mar studios, which were also operating with a skeleton staff. By the summer of 1975, GRT was dismantling what was left of the legendary record label. By August of 1975, all GRT record operations had been shut down and what was left was sold to a New Jersey-based company called All Platinum Records.

A catastrophic event occurred when the Chess building in Chicago was sold and the new owners brought in dumpsters and chain saws and destroyed over 250,000 vinyl records that had been abandoned. In one of the music industry’s most appalling events, classic recordings by Chuck Berry, Howlin’ Wolf, Little Walter, Bo Diddley, Etta James, Muddy Waters and countless others were hauled away to the landfill. Luckily, the master tapes survived this apocalyptic event and are now the property of MCA Records which has reissued much of the classic Chess material during the 1980’s and 1990’s.

In retrospect, the innovative genius of the Chess brothers, who certainly had a clear eye for talent, is one of the most compelling stories in music history. The now legendary musicians who recorded music at Chess Records are some of the most influential artists of our generation; still influencing a multitude of young musicians to this day.

List of Chess Records Artists

1950s

Muddy Waters
Little Walter
Howlin' Wolf
Sonny Boy Williamson II
Lowell Fulson
Memphis Slim
Jimmy Rogers
John Lee Hooker
Willie Mabon
Buddy Guy
Little Milton
The Flamingos
The Moonglows
Chuck Berry
Bo Diddley
Clarence "Frogman" Henry
The Dells
Billy Stewart
Bobby Charles
Dale Hawkins
Benny Goodman
Gene Ammons
Eddie Bo
Etta James
Jody Williams

1960s

Koko Taylor
Fontella Bass
Sugar Pie DeSanto
Jackie Ross
Bob Kames
Laura Lee
Moms Mabley
Larry Williams
Johnny "Guitar" Watson
Jimmy McCracklin
Sonny Stitt
Big Bill Broonzy and Washboard Sam
Dave "Baby" Cortez
Slappy White
Pigmeat Markham

Cadillac Records

Chess Records History Revealed

Cadillac Records is a 2008 musical biopic written and directed by Darnell Martin. The film explores the musical era from the early 1940s to the late 1960s, chronicling the life of the influential Chicago-based record-company executive Leonard Chess, and the singers who recorded for Chess Records.

The film stars Adrien Brody as Chess, Cedric the Entertainer as Willie Dixon, Mos Def as Chuck Berry, Columbus Short as Little Walter, Jeffrey Wright as Muddy Waters, and Beyoncé Knowles as Etta James. The film has been rated R by the MPAA for "pervasive langauge and some sexuality". The film was released in North America on December 5, 2008.

I have not seen the movie, but from what I have read it is not the best, historically speaking. Read on:

Controversy Over the Lack of Bo Diddley in Cadillac Records


One of Chess Records biggest stars in the 50's was iconic rocker Bo Diddley, but there isn't even a mention of him in the new movie about the label, Cadillac Records.
The movie even goes as far as opening with Jeffrey Wright, who plays Muddy Waters, singing “I'm a Man.” Unfortunately, Waters never recorded the song, at least under that title. It is known that Diddley based “I'm a Man” on Waters’ “She Moves Me” and that Waters did recorded a variant of the song, called “Mannish Boy,” but he never officially recorded the song he is singing in the film.

So what happened? Diddley's former manager Margo Lewis has her own ideas. "It's no secret that Bo had real issues with the Chess Brothers and their 'creative accounting practices'.


"It was Bo's recollection that every time he or another performer would go to the Chess offices to ask for their royalties, they were given the keys to a new Cadillac instead. So, in that regard, at least they got the title of the movie right.
"Regardless, we are shocked that the producers would omit such a seminal figure as Bo."

Read more about the movie on the official site:
http://www.sonypictures.com/movies/cadillacrecords/





Your Vinyl Destination

Obviously space limits me from listing all of the recordings from this phenomenal record label. Suffice to say most of the black label Chess and Checker albums by their major Blues and R&B artists are very collectible and will always be very much in demand. Even more collectible are some of the early ‘white’ label promotional albums which were pressed and released on colored vinyl. Let’s explore some of the valuable Chess records (all prices listed are quoted from the “Rockin’ Records Price Guide,” written and distributed by vinyl record historian Jerry Osborne).

Gene Ammons
45 rpm
CHESS (1442 "Soulful Saxophone") $100-200 1959
(Multi-colored vinyl. Promotional issue only.)

Chuck Berry
45rpm
CHESS (1604 "Maybellene") $75-100 1955
CHESS (1610 "Thirty Days") $50-70 1955
CHESS (1615 "No Money Down") $30-50 1956

7 inch EPs
CHESS (5118 "After School Session") $400-600 1957
CHESS (5118 "Head Over Heels") $400-600 1957
CHESS (5119 "Rock and Roll Music") $400-600 1958
CHESS (5121 "Sweet Little 16") $300-400 1958
CHESS (5124 "Pickin' Berries") $300-400 1958
LP’s
CHESS (1426 "After School Session") $250-350 1957
CHESS (1432 "One Dozen Berrys") $100-200 1958
CHESS (1435 "Chuck Berry's On Top") $100-200 1959
CHESS (1448 "Rockin' at the Hops") $200-400 1959

Eddie Boyd
45 rpm
CHESS (1523 "Cool Kind Treatment") $200-300 1952
CHESS (1533 "24 Hours") $200-300 1953
CHESS (1541 "Third Degree") $200-300 1953
(Black vinyl.)
CHESS (1541 "Third Degree") $300-500 1953
(Red vinyl.)
CHESS (1552 "That's When I Miss You") $200-300 1953

Bo Diddley
45rpm
CHECKER (819 "Diddley Daddy") $100-150 1955
(Promotional issue only.)
CHECKER (827 "Pretty Thing") $30-40 1955
CHECKER (832 "Diddy Wah Diddy") $30-40 1956
CHECKER (832 "Diddy Wah Diddy") $100-150 1956
LP’s
CHECKER (1436 "Go Bo Diddley") $150-250 1959
CHECKER (2974 "Have Guitar Will Travel") $100-150 1959
CHECKER (2976 "Bo Diddley in the Spotlight") $100-150 1960
CHECKER (2977 "Bo Diddley Is a Gunslinger") $100-15 1961
CHECKER (2980 "Bo Diddley Is a Lover") $100-150 1961

John Lee Hooker
45rpm
CHESS (1505 "High Priced Woman") $200-30 1952
CHESS (1513 "Sugar Mama") $50-100 1952
CHESS (1562 "It's My Own Fault") $100-150 1954

Howlin' Wolf
45rpm
CHESS (1528 "My Last Affair") $300-400 1953
CHESS (1557 "All Night Boogie") $500-700 1953
CHESS (1566 "Rockin' Daddy") $200-400 1954
CHESS (1575 "Baby How Long") $200-400 1954
CHESS (1584 "I'll Be Around") $100-200 1955
CHESS (1593 "Who Will BeNext") $100-200 1955
CHESS (1607 "Come to MeBaby") $100-200 1955
CHESS (1618 "Smoke StackLightning") $100-200 1956
LP’s
CHESS (1434 "Moanin' in theMoonlight") $400-600 1958
CHESS (1469 "Howlin' Wolf") $300-500 1962
(Black label.)
CHESS (1469 "Howlin' Wolf") $400-600 1962
(White label. Promotional issue only.)

Howlin' Wolf - How Many More Years



Muddy Waters
45rpm
CHESS (1509 "All Night Long") $400-500 1952
CHESS (1514 "Looking for My Baby") $300-400 1952
CHESS (1526 "Standing Around Crying") $300-400 1952
CHESS (1537 "She's All Right") $250-300 1953
CHESS (1542 "Who's Gonna Be Your Sweet Man") $150-200 1952
CHESS (1550 "Mad Love") $100-200 1953
LP's
CHESS (1427 "The Best of Muddy Waters") $400-600 1957
(Black label.)
CHESS (1444 "Muddy Waters Sings Big Bill") $300-500 1960
(Black label.)
CHESS (1449 "Muddy Waters at Newport 1960")$250-350 1964
(Black label.)
CHESS (1483 "Folk Singer") $200-400 1964
(Black label.)
Note: Orange and blue labels in the 1400 series are mid-'70s reissues, in the $10 to $20 range.

Willie Mabon
45rpm
CHESS (1531 "I Don't Know") $40-60 1952
(Black vinyl.)
CHESS (1531 "I Don't Know") $100-150 1952
(Red vinyl.)
CHESS (1538 "I'm Mad") $40-60 1953
(Black vinyl.)
CHESS (1538 "I'm Mad") $100-150 1953
(Red vinyl.)
CHESS (1548 "You're a Fool") $40-60 1953
CHESS (1554 "I Got to Go") $40-60 1953
CHESS (1564 "Would You, Baby") $40-60 1954
CHESS (1580 "Poison Ivy") $40-60 1954
CHESS (1592 "Come On Baby") $40-60 1954
CHESS (1608 "The Seventh Son") $30-40 1955
CHESS (1627 "Knock on Wood") $30-40 1956
CHESS (1627 "Knock on Wood") $75-125 1956
(Promotional issue only.)

Moonglows
45rpm
CHESS (1611 In My Diary") $250-275 1955
(White label. Promotional issue only.)
CHESS (1611 In My Diary") $75-100 1955
(Silver top label with chess pieces.)
CHESS (1619 "We Go Together") $30-50 1956
(Black vinyl. Silver top label with chess pieces.)
CHESS (1619 "We Go Together") $500-750 1956
(Red vinyl. Silver top label with chess pieces.)
LP's
CHESS (1430 "Look, It's the Moonglows") $200-300 1959

Classic Rock Videos

Moody Blues - Tuesday Afternoon (1970)

Madness Signs a Deal for New Album and Catalog Rerelease

Seminal rockers Madness are very busy as they approach their 30th anniversary in the music industry. The group has signed a funding deal with Power Amp Music, who will assist the band with the release of their new album “The Liberty of Norton Folgate.” Their ninth LP will be released in 2009 via their own “Lucky 7” record label.

Power Amp Music has been formed to help artists fund and navigate the new music industry landscape.

“We recognize that established artists are now demanding more innovative and efficient financing solutions and we have built a robust, flexible and cost effective platform to provide such solutions,” explained company founder Tom Bywater. “When Power Amp Music invests in an artist, the artist retains control of their rights and enjoys total transparency on their finances.”

In addition to enlisting the aid of Power Amp Music, the band has also signed on with Union Square Music, a marketing firm that will represent their recording catalog. Over time, Madness plans to reissue their entire back catalog which kicks off with the 30th anniversary edition of the band’s smash dingle and LP “One Step Beyond.”

Smashed Kurt Cobain Guitar Sells For $100,000

A smashed-up guitar that belonged to the late grunge-god Kurt Cobain has been sold to an unidentified collector for $100,000.


According to Helen Hall, a broker from the UK, it is the second-highest known price for an item of Cobain memorabilia. She also stated that the highest price that was paid for another Cobain guitar (a Mosrite Gospel Mark IV model) was $131,000 in 2006.

The guitar had belonged to punk-rocker Sluggo (yes, that’s his real name) of the Grannies and Hullabaloo. He said he acquired the smashed guitar in a trade with Cobain (for a working guitar) while Nirvana was on their first tour of the US.

The sale of the guitar was confirmed by Jacob McMurray, senior curator at the Experience Music Project in Seattle, who had the taped-up Fender Mustang guitar on display for a time.

“It’s a really cool-looking guitar because it’s smashed and held together with duct tape and Kurt Cobain wrote on it,” said McMurray. He also hoped that the buyer would allow the guitar to return to Seattle in 2010 for a Cobain exhibit that he is preparing.

“There’s not a huge amount of broken Nirvana guitars out there,” he explained, adding that most amount to nothing more than “little slivers and fragments.”

This Date In Music History-December 27

Birthdays:

Born on this day in 1931, Scotty Moore, guitarist. He played on the first Sun Studios session with Elvis Presley and went on to a lengthy career with Presley, playing on many of his most famous recordings including "Baby Let's Play House,” "Heartbreak Hotel," "Mystery Train,” "That's All Right,” "Hound Dog" and "Jailhouse Rock.”

Mike Pinder, The Moody Blues (1941)

Mike Jones, guitar, Foreigner (1944)

Larry Byrom, guitar, Steppenwolf (1948)

Singer Karla Bonoff (1951)

Leslie Maguire -Gerry & the Pacemakers (1941)


They Are Missed:

Blues guitarist Freddie King died of heart trouble in 1976.

US singer songwriter and bandleader Hoagy Carmichael died in 1981 (age 82). Composer of “Georgia On My Mind,” “Star Dust” and “Lazy River.”

Hank Garland, a guitarist who played with Elvis Presley, Roy Orbison and Patsy Cline among others, died from a staph infection in 2004.

Dick St. John of Dick & Dee Dee died in 2003.


History:

In 1957, 20,000 fans began lining up at 5:30 in the morning for Alan Freed's Christmas show at Brooklyn's Paramount Theatre, set to kick off at 9:00 AM. The average ticket price was $1.85.

In 1903, in New York City, the barbershop quartet favorite, "Sweet Adeline," was sung for the first time.

Jackie Wilson had his biggest hit in Great Britain in 1986 when the re-release of "Reet Petite" hit #1, almost three years after he died. The song, which first made the UK Top Ten 29 years earlier, would go on to sell over 700,000 copies.

The Supremes made the first of 20 appearances on CBS-TV's "Ed Sullivan Show" in 1964.

In 1958, Buddy Holly made his first appearance in his hometown of Lubbock, Texas since become a major star. Along with broadcasting 'live' over KLLL radio from a fruit and vegetable store, he would return to the station's studios to record "You're The One", a song that station management challenged him to write in half an hour.

The Beatles were a last minute addition to a show at the Litherland Town Hall Ballroom in Liverpool in 1960. Advertising posters were altered to read "Direct From Hamburg, The Beatles!,” causing some to believe they were a German group.

Led Zeppelin II was at #1 on the US album charts in 1969, it went on to sell over six million copies in the US.

Queen started a two-week run at #1 on the UK chart in 1975 with “A Night At The Opera” the group’s first #1 album.

"Hello, Dolly!" closed on Broadway in 1970 after a run of 2,844 performances.

John and Yoko's 'Double Fantasy' album started an eight-week run at #1 on the US chart in 1980. The single, “Just Like Starting Over” started a five-week stay at #1 on the singles chart.

In 1962, the Beatles first single "Love Me Do" reached its peak of #17 in the chart. Cynics suggest that manager Brian Epstein personally bought 10,000 copies to boost its position.

In 1963, the London Times declared that Lennon and McCartney are "The Outstanding Composers of 1963," with music critic Richard Buckle raving that they are "the greatest composers since Beethoven."

In 1989, a former chef at the Chuck Berry owned restaurant Southern Air started court proceedings against Berry alleging that the singer had installed secret video cameras in the ladies toilets. A further 200 other women also took action claiming that the recordings were used for improper sexual fetishes.

Barenaked Ladies Assembling Boxed Set

Has it really been that long? In 2009, the quirky Canadian rockers Barenaked ladies will celebrate the 20th anniversary- with plans for a boxed set of old and new music and possibly a tour.


It has been a tumultuous year for the band’s two lead singers. Steven Page is on six months probation after being arrested and charged with cocaine possession in Fayetteville, NY. Singer Ed Robertson has had his troubles as well, in August he survived a float plane crash as well as losing his mother to cancer on December 13.

Drummer Tyler Stewart admits that the quintet is looking forward to the end of 2008 and hopes the New Year will be better.

“Adversity, if it doesn’t kill you it makes you strong, I guess,” Stewart recently explained to Billboard.com. “We’ve rallied through adversity before. In some ways I’m looking forward to getting together and making some great music based on all these intense and emotional experiences. That’s when we feel the most alive, the most energetic.”

Stewart goes on to say, “The guys have been working individually on stuff, and together,” and expects an early summer return to the studio, maybe in early summer, but adds that “Maybe we’ll get some inspiration and jump in before that.”

In the meantime, BNL have been immersed in preparing the 20th anniversary boxed set that will include rarities, demos and unreleased material and some “really complex stuff” that was written by former keyboardist Andy Creegan.

“It’s a bit of a pat on the back,” Stewart says. “Like, hey you’ve done a lot. But is also, OK, now what else can we do? How can we move forward from here, because we feel like we’re not done yet by any means.”

The band is planning a 20th anniversary tour, likely to kick off in May of 2009.

Discography

• Gordon (1992)
• Maybe You Should Drive (1994)
• Born on a Pirate Ship (1996)
• Rock Spectacle (1996).
• Stunt (1998)
• Maroon (2000)
• Everything to Everyone (2003)
• Barenaked for the Holidays (2004)
• Barenaked Ladies Are Me (2006)
• Barenaked Ladies Are Men (2007)
• Snacktime! (2008)

Barenaked Ladies - Brian Wilson

Classic Rock Videos

The Moody Blues - Nights in White satin´67

Sultry `Santa Baby' singer Eartha Kitt dies at 81

Eartha Kitt



Eartha Kitt was daringly sexy and always flirtatious onstage, but, offstage Kitt described herself as shy and almost reclusive. This sultry vixen passed away after a long battle against colon cancer on December 25 (Christmas Day), 2008. She was 81.

EARTHA KITT was an international star who gives new meaning to the word versatile. She has distinguished herself in film, theater, cabaret, music and on television. Miss Kitt is one of only a handful of performers to be nominated for a Tony (three times), the Grammy (twice), and Emmy Award (twice). She regularly enthralls New York nightclub audiences during her extended stays at THE CAFÉ CARLYLE and these intimate performances have been captured in her newest recording, Eartha Kitt, Live at The Carlyle.

Miss Kitt's distinctive voice has enthralled an entirely new generation of fans. Young fans loved her as YZMA, the villain, in Disney's animated feature THE EMPEROR'S NEW GROOVE, (2001 Annie Award for Best Vocal Performance / Animated Feature). Miss Kitt was also featured in the sequel, THE EMPEROR'S NEW GROOVE II and reprised the role in the popular Saturday morning animated series THE EMPEROR'S NEW SCHOOL for which she received a 2007 and 2008 Emmy Award for Outstanding Performer in an Animated Program and a 2007 and 2008 Annie Award for Best Vocal Performance in an Animated Television Production.

Eartha Mae Kitt was ostracized at an early age because of her mixed-race heritage. At eight years old, she was given away by her mother and sent from the South Carolina cotton fields to live with an aunt in Harlem. In New York her distinct individuality and flair for show business manifested itself, and on a friend's dare, the shy teen auditioned for the famed KATHERINE DUNHAM DANCE TROUPE. She won a spot as a featured dancer and vocalist and before the age of twenty, toured worldwide with the company. During a performance in Paris, Miss Kitt was spotted by a nightclub owner and booked as a featured singer at his club. Her unique persona earned her fans and fame quickly, including Orson Welles, who called her "the most exciting woman in the world". Welles was so taken with her talent that he cast her as Helen of Troy in his fabled production of DR. FAUST.

Back in New York, Miss Kitt was booked at The Village Vanguard, and soon spotted by a Broadway producer who put her in NEW FACES OF 1952 where every night she transfixed audiences with her sultry rendition of Monotonous. Her show stopping performance in NEW FACES, which ran for a year, led to a national tour and a Twentieth Century Fox film version.

Broadway stardom led to a recording contract and a succession of best-selling records including Love for Sale, I Want to Be Evil, Santa Baby and Folk Tales of the Tribes of Africa, which earned her a Grammy nomination. During this period, she published her first autobiography, THURSDAY'S CHILD. Miss Kitt then returned to Broadway in the dramatic play MRS. PATTERSON, and received her first Tony nomination. Other stage appearances followed, as did films including THE MARK OF The HAWK with Sidney Poitier, ANNA LUCASTA with Sammy Davis, Jr. and ST LOUIS BLUES with Nat King Cole.


In 1967, Miss Kitt made an indelible mark on pop culture as the infamous CATWOMAN in the television series, BATMAN. She immediately became synonymous with the role and her trademark growl became imitated worldwide.

Singing in ten different languages, Miss Kitt has performed in over 100 countries and was honored with a star on The Hollywood Walk of Fame in 1960. In 1966, she was nominated for an Emmy for her role in the series, I SPY. In 1968, Miss Kitt's career took a sudden turn when, at a White House luncheon hosted by Lady Bird Johnson, she spoke out against the Vietnam War. For years afterward, Miss Kitt was blacklisted in the U.S. and was forced to work abroad where her status remained undiminished. In December 2006 she returned to Washington and lit the National Christmas Tree alongside President and Mrs. George W. Bush

In 1974, Miss Kitt returned to the United States, with a triumphant Carnegie Hall concert and, in 1978, received a second Tony nomination for her starring role in the musical, TIMBUKTU. Miss Kitt's second autobiography, ALONE WITH ME, was published in 1976 and I'M STILL HERE: CONFESSIONS OF A SEX KITTEN was released in 1989. Her best-selling book on fitness and positive attitude, REJUVENATE! (IT'S NEVER TOO LATE), was released by Scribner in May 2001.

Live theater is Miss Kitt's passion. In 2001, Broadway critics singled her out with a Tony and Drama Desk nomination for her role as Dolores in George Wolfe's THE WILD PARTY. Over the last few years, she has starred in National Tours of THE WIZARD OF OZ and Rogers & Hammerstein's CINDERELLA. In December 2003, Miss Kitt dazzled Broadway audiences as Liliane Le Fleur in the revival of NINE, THE MUSICAL. In December 2004, she appeared as The Fairy Godmother in The New York City Opera production (Lincoln Center) of CINDERELLA. She also starred in the off-Broadway production of MIMI LE DUCK (2006) and The Westport County Playhouse production of THE SKIN OF OUR TEETH (2007).

Miss Kitt remained devoted to performing in front of live audiences, from intimate cabarets to concert halls with local symphonies. Recent engagements include appearances with The Atlanta Symphony, The Portland Symphony, Detroit's Music Hall, D.C.'s Blues Alley, Seattle's Jazz Alley, Palm Beach's Kravis Center for the Performing Arts, The Mohegan Sun, Sarasota's Van Wetzel Center for the Performing Arts Festival. She was especially proud to have brought her one-woman show to the 51st Annual JVC Newport Jazz Festival and the Miami Beach JVC Jazz Festival.

In February 2007, Miss Kitt returned to London after a 15 year absence for a remarkable series of sold-out performances at The Shaw Theater. She returned to Great Britain in 2008 to critical raves at London’s Place Pigalle and to headline the prestigious Cheltenham Jazz Festival .

On January 17 2007, Miss Kitt turned eighty years old and marked the occasion at Carnegie Hall with a celebratory concert, JVC Jazz presents EARTHA KITT AND FRIENDS.



SOURCE: http://www.earthakitt.com/

Six Alan Parsons Project Albums Getting Extended Editions

Alan Parsons and Eric Woolfson are personally overseeing production of six of the Alan Parsons Project's albums for release on January 27 through Arista/Legacy. The releases follow up the March 2007 updates of I Robot and Eye in the Sky, completing the restoration project of all Arista issued titles (Tales of Mystery & Imagination was issued on Mercury).

Between the six albums, there are over forty previously unreleased tracks that include demos, instrumental versions, rough mixes and variations on the arrangements. Each release will also include an essay by Jerry Ewing of Classic Rock magazine and annotations of the bonus tracks by Parsons and Woolfson.

The track lists:



Pyramid (1978)
• Voyager
• What Goes Up
• The Eagle Will Rise Again
• One More River
• Can't Take It With You
• In The Lap Of The Gods
• Pyramania
• Hyper-Gamma-Spaces
• Shadow Of A Lonely Man
• Voyager / What Goes Up / The Eagle Will Rise Again (Instrumental Version)
• What Goes Up/Little Voice (Early Version Demo)
• Can't Take It With You (Early Version Demo)
• Hyper-Gamma-Spaces (Demo)
• The Eagle Will Rise Again (Alternate Version - Backing Track)
• In The Lap Of The Gods (Part 1 - Demo)
• In The Lap Of The Gods (Part 2 - Backing Track Rough Mix)





Eve (1979)
• Lucifer
• You Lie Down With Dogs
• I'd Rather Be A Man
• You Won't Be There
• Winding Me Up
• Damned If I Do
• Don't Hold Back
• Secret Garden
• If I Could Change Your Mind
• Elsie's Theme from The Sicilian Defence (The Project That Never Was)
• Lucifer (Demo)
• Secret Garden (Rough Mix)
• Damned If I Do (Rough Mix)
• Don't Hold Back (Vocal Rehearsal Rough Mix)
• Lucifer (Early Rough Mix)
• If I Could Change Your Mind (Rough Mix)



The Turn of a Friendly Card (1980)
• May Be A Price To Pay
• Games People Play
• Time
• I Don't Wanna Go Home
• The Gold Bug
• The Turn Of A Friendly Card (Part One)
• Snake Eyes
• The Ace Of Swords
• Nothing Left To Lose
• The Turn Of A Friendly Card (Part Two)
• May Be A Price To Pay (Intro - Demo)
• Nothing Left To Lose (Basic Backing Track)
• Nothing Left To Lose (Chris Rainbow Overdub Vocal Compilation)
• Nothing Left To Lose (Early Studio Version with Eric's Guide Vocal)
• Time (Early Studio Attempt)
• Games People Play (Rough Mix)
• The Gold Bug (Demo)



Ammonia Avenue (1984)
• Prime Time
• Let Me Go Home
• One Good Reason
• Since The Last Goodbye
• Don't Answer Me
• Dancing On A Highwire
• You Don't Believe
• Pipeline
• Ammonia Avenue
• Don't Answer Me (Early Rough Mix)
• You Don't Believe (Demo)
• Since The Last Goodbye (Chris Rainbow Vocal Overdubs)
• Since The Last Goodbye (Eric Guide Vocal - Rough Mix)
• You Don't Believe (Instrumental Tribute To The Shadows)
• Dancing On A Highwire/Spotlight (Work In Progress)
• Ammonia Avenue Part 1 (Eric Demo Vocal - Rough Mix)
• Ammonia Avenue (Orchestral Overdub)



Sterotomy (1985)
• Stereotomy
• Beaujolais
• Urbania
• Limelight
• In The Real World
• Where's The Walrus?
• Light Of The World
• Chinese Whispers
• Stereotomy Two
• Light Of The World (Instrumental)
• Rumour Goin' Round (Demo)
• Stereotomy (Guide Vocal)
• Stereotomy (Reprise)



Gaudi (1987)
• La Sagrada Familia
• Too Late
• Closer To Heaven
• Standing On Higher Ground
• Money Talks
• Inside Looking Out
• Paseo de Gracia
• Too Late (Eric Woolfson Rough Guide Vocal)
• Standing On Higher Ground/Losing Proposition (Vocal Experiments)
• Money Talks (Chris Rainbow/Percussion Overdubs)
• Money Talks (Rough Mix Backing Track)
• Closer To Heaven (Sax/Chris Rainbow Overdub section)
• Paseo de Gracia (Rough Mix)
• La Sagrada Familia (Rough Mix)

SOURCE: http://winkscollectibles.blogspot.com

Music News & Notes

Zombi Posts Two Preview Tracks from Upcoming Album Spirit Animal


Ambient, cinematic acoustic/electronic duo Zombi has pair of preview tracks from Spirit Animal, its new album set for a February 3 North American release via Relapse.

True to form, the tunes — “Spirit Animal” and “Spirit Warrior” — showcase a sound that fits horror films and any number of other retro soundtracks. The songs are a bit more focused on modern rock sounds than the older material, and they certainly pack a punch.

Head to the duo’s MySpace page to hear the new songs.
http://www.myspace.com/Zombi

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Best of 2008: Rolling Stone's Reissues


David Fricke of Rolling Stone Magazine has released his list of 2008’s best reissues. This proves to be a very eclectic list including the legendary country star Hank Williams, alt-rocker Robyn Hitchcock, rock gods U2, an album of Boogie Woogie & Blues Piano featuring Albert Ammons, Meade Lux Lewis, Cripple Clarence Lofton among others, reggae’s Augustus Pablo, jazz singer Nina Simone as well as the late Beach Boy Dennis Wilson. Here is the top ten:


1. Pacific Ocean Blue - Dennis Wilson

2. The Unreleased Recordings - Hank Williams

3. Let Me Be Your Sidekick: The Influence of Jimmie Rodgers - Various Artists (including Rick Nelson, Bob Dylan, Pete Seeger and more)

4. Boy - U2

5. Luminous Groove - Robyn Hitchcock & the Egyptians

6. Boogie Woogie & Blues Piano - Various Artists (including Meade Lux Lewis, Albert Ammons, Cripple Clarence Lofton, more)

7. To Be Free: The Nina Simone Story - Nina Simone

8. The Jerry Ragovoy Story: Time is On My Side 1953-2003 - Various Artists (including Dusty Springfield, Miriam Makeba, Garnet Mimms, more)

9. Cold Fact - Rodriguez

10. The Mystic World of Augustus Pablo: The Rockers Story - Augustus Pablo

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Top 5 lists in Music this week:

HOT FIVE


1. "Single Ladies (Put a Ring on It)," Beyonce. Music World/Columbia.
2. "Live Your Life," T.I. feat. Rihanna. Def Jam/Grand Hustle/IDJMG/Atlantic. (Platinum)
3. "Just Dance," Lady GaGa feat. Colby O'Donis. Streamline/KonLive/Cherrytree/Interscope.
4. "Heartless," Kanye West. Roc-a-Fella/Def Jam/IDJMG.
5. "Womanizer," Britney Spears. Jive/Zomba.
(From Billboard magazine)

ALBUMS

1. "Fearless," Taylor Swift. Big Machine.
2. "A Different Me," Keyshia Cole. Imani/Geffen/IGA.
3. "Intuition," Jamie Foxx. J/RMG.
4. "Circus," Britney Spears. Jive/Zomba.
5. "I Am Sasha Fierce," Beyonce. Music World/Columbia/Sony Music. (Platinum)
(From Billboard magazine)

CONCERT TOURS

1. Madonna
2. Celine Dion
3. Tina Turner
4. AC/DC
5. Coldplay
(From Pollstar)

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Happy Xmas

Happy Xmas (War Is Over) - John Lennon
(warning, Yoko sings)

This Date In Music History-December 25

While I enjoy Christmas with my family, here is "This Date In Music History" (an expanded version) a bit early. In fact, I have decided not even to turn my computer on tomorrow. May all my faithful readers have a safe and Happy Holiday Season.

Birthdays:

Robin Campbell (UB40-1954)

Jimmy Buffett ("Margaritaville”-1946)

Country singer Barbara Mandrell (1948). She was named Country Music Association entertainer of the year in 1979, 1980 and 1981.

Annie Lennox (Eurythmics-1954)

Shane MacGowan (The Pogues-1957)

Alannah Myles, (Canadian singer-1958) 1990 US #1 and UK #2 single “Black Velvet.”

Dido, singer, songwriter (1971)

Pete Brown, lyricist, poet, singer, producer, Cream (1940). Also worked with Jack Bruce, Graham Bond, Mick Jagger and Peter Green.


They Are Missed:

Swing icon Cabell "Cab" Calloway III (December 25, 1907 – November 18, 1994)

Born on this day in 1937, O'Kelly Isley, of The Isley Brothers. Died on March 31, 1986.

Born on this day Noel Redding, bass, Jimi Hendrix Experience, (1945-2003)

Born on this day in 1944, Henry Vestine, guitar, Canned Heat. Died on October 20, 1997.

Dean Martin, US actor and singer, died in 1995. Had the 1956 UK & US #1 single “Memories Are Made Of This,” plus over 15 other UK Top 40 singles.

In 1998, Bryan MacLean, guitarist with Love, died of a heart attack (age 62) while having Christmas dinner with a young fan who was researching a book about the band.

James Brown, the "Godfather of Soul", died in 2006 (age of 73), after being diagnosed with severe pneumonia. Brown went to his dentist in Atlanta the previous day who told him something was wrong, and he sent him to a doctor immediately.

Trumpeter Gene Miller, who played with Otis Redding and Etta James among others, died in Memphis in 1987.


History:

"Silent Night" was performed for the first time in 1818, at the Church of St. Nikolaus in Oberndorff, Austria.

In 1960, 17 year-old Mary Wells made her debut on the US charts with her first release, "Bye Bye Baby.” The record would make the R&B Top Ten and the Pop Top Fifty. Over the next five years, she would provide Motown with eleven Top Forty hits.

Bing Crosby's “White Christmas” entered the Billboard Pop chart for the first time in 1954, seven years after it was recorded. Bing's rendition has sold over 100 million copies around the world, with at least 50 million sales as singles. It was the largest selling single in music history until it was surpassed by Elton John's “Candle in the Wind 1997.”

Melanie started a three week run at #1 on the US singles chart in 1971 with “Brand New Key,” the first release on her new label Neighborhood Records (a song that she would later say took her only fifteen minutes to write).

The Eagles started a eight-week run at #1 on the US album chart in 1976 with “Hotel California.”

Dave Clark Five went to #1 on the US singles chart in 1965 with “Over And Over.” They became the 7th UK act of 1965 to score a US #1 single.

The Beatles 6th album “Rubber Soul” started a nine-week run at #1 on the UK chart in 1965. It spent a total of 42 week's on the UK chart and was also a #1 in the US.

Appearing at The Fox Theatre, Brooklyn, New York in 1964 were The Supremes, Marvin Gaye, The Temptations, The Miracles, Stevie Wonder and The Marvelettes. What a line-up!

In 1964, The Beatles, recorded six songs for the BBC radio program Saturday Club in London: “Rock and Roll Music,” “I'm a Loser,” “Everybody's Trying to Be My Baby,””I Feel Fine,” “Kansas City/Hey Hey Hey Hey” and “She's a Woman.”

David Bowie had a #3 UK hit in 1982 with a duet with Bing Crosby, “Peace On Earth - Little Drummer Boy.”

In 1993, Mariah Carey started a four week run at #1 on the US singles chart with “Hero,” a #7 hit in the UK. Also on this day Mariah went to #1 on the US album chart with “Music Box.”

James Taylor received his first guitar for Christmas in 1960, at the age of 12.

In 1958, Alan Freed organized quite a Christmas Rock & Roll Spectacular at Manhattan's Loew's State Theatre. Among the 17 acts on the bill were: Bo Diddley, Chuck Berry, Eddie Cochran, the Moonglows, Jackie Wilson, Frankie Avalon, the Everly Brothers and headliner Johnnie Ray.

On Christmas morning in 1959, a young Richard Starkey received his first drum set for Christmas. The 18-year-old apprentice/engineer later become world famous as Ringo Starr, drummer for the Beatles.

In 1964, female fans of George Harrison attacked his girlfriend, Patti Boyd at one of The Beatles' Christmas shows in London. It seems the girls were resentful of Patti's place in George's life.

In 1981, Michael Jackson called Paul McCartney and suggested they write and record together. Their first effort would result in a US #2 and UK #8 hit, "The Girl Is Mine" in late 1982.

Lou Christie's biggest song, "Lightning Strikes" enters Billboard's Hot 100 in 1965 for a 15-week stay. Although he would have many other hits, this would be Christie's only number one.

The Young Rascals entered the Hot 100 in 1965 for the first time with "I Ain't Gonna Eat My Heart Out Anymore", which peaked at #52.

On Christmas Day in 1967, Paul McCartney became engaged to Jane Asher, but they would never marry.