Jerry Lee was born in Ferriday, Louisiana, on September 29, 1935 and must be counted one of the great originals of rock'n'roll amongst Chuck Berry and Bill Haley. Coming to the fore in 1957 with Sun Records of Memphis, Tennessee, he was not lost in the famous "Sun Sound" that had by then already spawned Elvis, Carl Perkins and Johnny Cash. Rather, he added his own uniquely attacking style of vocalizing and piano playing, and made the sound even better. The Lewis style is one of the most immediately identifiable in rock-and-roll.
As a showman, too, The Killer, was an original. He broke pianos, set fire on many of them, threw chairs, swore at the band and the audience, but his arrogance was compensated by his supreme talent. He has also recorded with soul, rock, C&W and New Orleans jazz backings, and, nowadays, remained in command at the aged of 80!
Richard PARKIN (under his first real surname) was born in Liverpool, Merseyside, on July 7, 1940. Despite predictions that he would suffer most from the break-up of THE BEATLES in 1970, Ringo renamed himself STARKEY from his stepfather's surname (to become STARR a few years later) and had successfully developed his cheerful, popular persona acquired in the group's seven years of stardom. Sentimental Journey, and Beaucoup Of Blues in 1970 were pleasant collections of childhood favo(u)rites and country standards respectively. Next, Ringo established himself as a major singles artist with a series of his own songs, including "It Don't Come Easy" (June, 1971 - his declaration of independence from the Beatle image). Ringo has been appointed Member of the Order of the British Empire (MBE) since 1965.
Musicians at THE SESSION : Jerry Lee, piano and vocals duet with Ringo; Jim Keltner, drums; Ken Lovelace, Jimmy Rip, Keith Allison, guitars; Nils Lofgrin, pedal steel guitar; Hutch Hutchinson, bass; Ivan Neville, organ. James Saez, engineer. Recorded at Record Plant Los Angeles. Written by Chuck Berry. Published by Arc Music Corp & Isalee Music Publishing. Ringo Starr appears courtesy of Koch Records.
Chuck Berry's signifiance lies partly in his own stylistic innovations and the vivid articulation of a spirit of rock'n'roll rebellion in his lyrics. And, partly, it lies in the fact that his career uniquely encapsulates the links between the rock'n'rollers of the Fifties and the bands of the Seventies, between blues and pop, between black and white musical cultures. His origins are, in many ways, representative of the black artists primarily responsible for hammering out the musical identity of rock. Born Charles Edward Berry in St Louis, Missouri, on October 18, 1931, he began singing in a church choir at the age of six. He learned the rudiments of guitar while still at high school, and made his debut performance at the school glee club review, playing the Chicago blues standard, "Confessin' The Blues" - which, he has recalled, was avidly welcomed for what was seen at the time as an almost risqué earthiness. Chuck Berry wrote lotsa rock'n'roll songs such as "Sweet Little Sixteen" issued on Chess 1683 dating back to January, 1958 later to become a "famous" song but it is another history...
In March of 1956 Powell and his combo record "The Poor People Of Paris" (a French song of origin by Edith Piaf as "La Goualante (popular lament) Du Pauvre Jean" on French Columbia Magic Notes HF 599 in February 1954).
These singles are all fake ones issued in the mid-Seventies. All songs (s) Haley except Rocket 88.
Birth of the boogie (s) B. Haley, Billy Williamson, Johnny Grande (1955/02/21) played by BILL HALEY / Vocal chorus by B. Haley and Ensemble (DECCA/OMEGA 9.61 009). Mambo Rock (s) Bix Reichner, Mildred Phillips, Jimmy Ayre played by BILL Haley, vocal chorus by B. Haley and Ensemble (B-side). The paper boy (On Main street U.S.A.), vocal by B. Haley as (by) Bill Haley And His Comets.
All are original Belgian singles issued in the same time than in America.
Plastic Ono Elephants Memory Band are : John Lennon-Guitar, Keyboards / Yoko Ono-Keyboards / Stan Bronstein-Saxophone / Wayne "Tex" Gabriel-Lead Guitar / John Ward-Bass / Gary Van Scyoc-Bass / Jim Keltner-Drums / Rick Frank-Drums / Adam Ippolito-Keyboards.
John Lennon makes his only major appearance at a concert in New York's Madison Square Garden for the One To One charity. Critics regard it as his first solo performance. He is joined on stage by Stevie Wonder (Superstitious) and Roberta Flack for Give Peace A Chance finale. The re-election of Nixon in 1972 and pressures to have Lennon deported from America were perhaps contributory factors to the political commitment which was the driving-force behind Some Time In New York City (in America this double album, Lennon teams for one disk with group Elephant's Memory). July, 1972 : album makes US #48. The Beatles' song publishing arm, Northern Songs, refuses to recognize some of Yoko Ono's composer credits with her husband, and release of the album is delayed in UK.
Lyrics about the oppression of women, the Attica prison riots and Northern Ireland were attacked as simplistic and extremist, but the album/LP's powerful musical impact was enhanced by spirited rock'n'roll backings from the New York group Elephant's Memory. It was packaged with a second record containing material from two live sessions, with the Frank Zappa's The Mothers Of Invention and a 1969 band, at London's Lyceum, including Eric Clapton, Keith Moon and Delaney and Bonnie (Lynn) Bramlett.
October, 1972 : Some Time In New York City reaches UK #11. Also known as LIVE in NEW YORK City for CDs (PARLOPHONE CDP 7 461196 2, UK, 1986). We all shine on...John Lennon. R.I.P.
I'm like a one-eyed (borgne in French sp.) cat peepin' in a seafood store...En français : je suis comme un chat borgne jetant un coup d'oeil dans un magasin de fruits de mer. Oups :-) Yummy, yummy ?
Joe Turner, born in Kansas City on May 18, 1911, proved the most experienced of all the singers on the R&B charts in the early Fifties. He was also a prominent part of the Kansas City jazz scene of the Thirties, often teaming up with boogie pianist Pete Johnson. Coming to New York in 1938, he made his first record, the very popular "Roll 'Em Pete"/originally "It's All Right, Baby" (with Pete Johnson on piano) for Vocalion (4607, vocal by Joe Turner [recorded Dec. 30, 1938, rel. Feb., 1939] and became a major figure in the boogie-woogie revival of 1938-1941 (sparkled off his appearance on John Hammond's legendary Spirituals to Swing concert at Carnegie Hall, one of the first instances of authentic black blues and jazz musicians winning a large white audience). By 1951, Atlantic records had signed him to a recording contract and released "Chains Of Love", the first of a string of Joe Turner and his Blues Kings hits that lasted well into the rock'n'roll era. Of these, probably his most influential was the 1954 recording of "Shake, Rattle And Roll", a Jesse Stone composition - written under the pseudonym of Charles Calhoun - that was to form the basis of Bill Haley's bowdlerized version. Whether Turner "The Boss of The Blues"s strictly a rock'n'roll singer is debatable; he never changed his style from the way it was in 1938. But then, he didn't have to. He even sounded great singing "Teenage Letter" at the age of 46. No other artist from the Swing era became anywhere near as vital a force in the R&B music of the Fifties as Joe Turner. Also know as "Big" Joe Turner". John Vernon Turner was born on May 18, 1911 and passed away on November 24, 1985.
Bill Haley's RATC follow-up, "Shake, Rattle And Roll" (a dilution of Turner's original) reached the TOP TEN in both America and Britain and eventually sold a million. Bill felt at the relative failure of his first DECCA single. Myers came up with a nonenty of a song entitled ABC Boogie but at least Gabler picked a hot number for the top side in Joe Turner. He sent sent the lyrics to Haley with instructions to change some of the overtly sexual lines, which Bill did albeit he missed some of the more obscure ones like "I'm like a one-eyed cat peepin' in a seafood store. Panama Francis played drums on the session and the result was that Skake, Rattle And Roll had all the makings of a hit. It lived up to expectations reaching #7 in August 1954. Whislt Turner may have been a better vocalist than Haley, Milt Gabler succeeded in making a better record with SRAR than the original. (R'N'B #1 and POP #22 in April 1954). Tidbit/titbit time : The Springfield Indians, a professional ice hockey team adopted the song and played it every time they scored a goal! Shortly after the session Danny Cedrone died following a fall at home, without ever knowing the success. Bill was distraught at the loss of his friend.
Cilla Black, born Priscilla White on 27.5.1943, died yesterday aged 72. Her version of the Lennon/McCartney song's "YESTERDAY" was released on PARLOPHONE R 5395 (7.01.1966) and climbed to No 5 in the UK. She used to check in the coats at Liverpool's Cavern and occasionally sang a song with one of the local groups. Brian Epstein saw her as perfect material pop stardom and masterminded her rise to the top of middle-of-the-road show business in Britain. Her name was changed to Cilla Black. R.I.P.
..."Speddy's coming, you live in his heart. You like Alice Cooper, you like RINGO STARR, you like David Bowie and friends in the Royal Albert Hall. Stick up the pictures, movies, TV and I'll bring you the show little girl. Come to see me today. Speedy's coming, you live in his heart..." Video footage from WDR, 12/1974 with a long time old friend RUDY LENNERS on drums. Hi, Rudy! Still alive and well?
Last 7 July, 2015, Ringo celebrated his 75° birthday with a friend of his own : Steven Tyler/Tallarico, Aerosmith's vocalist. Happy birthday, Ringo!
Chris Squire (ex-The Syn, which has recorded for DECCA/Deram was born March 4, 1948, London. He has just passed away a few days ago aged 66.
June, 1969, YES signed to Atlantic, first release Sweetness makes a little impact. Next November, debut album Yes features re-workings of The Beatles' Every Little Thing and The Byrds' I See You. The same month, guitarist Peter Banks also ex-The Syn forms Yes including Jon Anderson, Tony Kaye, ex-Federals and Bill Bruford, ex-Savoy Brown.
A Beatles track "Every Little Thing". Exerpt taken from their 1969 ATLANTIC LP/Album YES : https://youtu.be/XIcpJFQDa64
One has my name (the other has my heart), 1960 from Jimmy Wakely w Mary Ford for Capitol 15162, 1/1940.
Yes indeed! , Bill haley and The Saddlemen, Transworld 718, March 1956/2d cover, London HL 8371, January 1957 from Bing Crosby & Connie Boswell with Bob Crosby and his Bobcats, DECCA 25406B, 12/1940.
Detour (1960) from Jimmy Walker acc. by Paul Westmoreland and his Pecos River Boys for Coast RECORDS 253, 1945.
El Madison by Bill Haley y Sus Cometas, 1962, from Things Ain't What They Used To Be by Charlie Barnet And & His Orchestra, vocal bu Judy Ellington, Bluebird B-10373-A, 1942.
You call everybody darling (1963) from Al Trace & his New Orchestra, REGENT 117, 1948.
Rock-a-beatin' boogie (rec. 1955/09/22 - P. 1956) given to Danny Cedrone : 1st recorded by Esquire Boys with Kay Carol for rainbow records 200, 12/1952 (dashless) then by Esquire Boys for Guyden RECORDS 705-A, 04/1954. Both recordings : same singer!
Altar of love (Guest Star 1454 LP, 1964) from The Channels for Gone records 5019, 1957.
End of part 5 (part 2, special). Enjoy if you want!
Picadilly rock (1958) - original title "London Bridge Is Falling Down" [17th century], nursery rhyme, kid song.
Stop beatin' 'round the mulberry bush (originally called "Here we go round the mulberry bush") : nursery rhyme, kid song published 'round 1840. For the first time; reworded by Bickney Reichner, music by Clay Boland.
Juke Box Cannonball (1952/1954) : original title "The Great Rock Island Route!", 1882 aka Wabash Cannonball then Juke Box Cannonball =>reworded by Jesse Rogers, Arcade Records, 1951.
First recorded on shellac (10") in 1938 by (to name but a few) : Count Basie And His Orchestra (James Rushing, vocal) for DECCA 2004 A (1938).
Tommy Dorsey and his Orchestra, vocal by Edythe Wright for HMV Victor 26012-B, 1938.
Al Donahue and his Orchestra, vocal by Paula Kelly for Vocalion 4318, 1938.
George Scott Wood & His Six Swingers for REGAL ZONOPHONE MR 1771, December 1938 and years later, a very good old rockabilly by Bill Haley's with Haley's Comets for ESSEX Records 45-310 in September 1952.
Jarrito Twist by Bill Haley y Sus Cometas, 1962 from The Little Brown Jug by Joseph Eastburn Winner for Meade 2002 in 1869.
Pretty Alouette (Be My Only One) by Bill Haley and His Comets, 1957 from Alouette by Edouard Le Bel (LeBel) for Victor 3619, Canadian-French folklore, Montreal, 1906 (rec. 6 Nov. 1906).
Ida, sweet as apple cider (1958) from Ida! Sweet as apple cider by Earl Fuller Rector Novelty Orchestra for Columbia Records A2403, US, 1917/05/09.
(I'll be with you in) Apple blossom time, 1957 from I'll be with you in apple blossom time by Reed Miller for Medallion 8193, 1920.
Anytime (1951) from Anytime by Emmett Miller accompanied by his Georgia Crackers, Okeh 40239, late 1924.
Trouble in mind (first recorded in 1960 but remained unissued until 1979 (EP CLAIRE DEP 4779) from Trouble in mind (blues) by Thelma La Vizzo [Richard M. Jones, piano], Paramount 12206, rec. May 15, 1924, released 1924.
(What can I say) After I say I'm sorry (1963) from After I say I'm sorry by Sam Lanin & his orchestra w Red Nichols on vocal for Gennett 3243-B, P. 1926/02/01.
Dance with a dolly (With a hole in her stockin'), 1953 by Bill Haley and The Saddlemen, ESSEX 45-305 from Terry Shand and his orchestra (vocals by Evelyn Knight & Jesters), Decca 18614, 1944 via Round Town Gals by Al Hopkins and His Buckle Busters, Vocalion 103, 1926/10/22 adapted from Lubly Fan which became Buffalo Gals (women following buffalo hunters), fully an American tune - of German-origin (Im Grunewald, im Grunewald ist Holzauktion/Otto Teich's lyrics, Rhineland, 1890), written and composed by John Hodges alias Cool White who presented his song in 1844 (sheet only). Tidbit time : a 1960 hit by Ray Smith, Rockin' Little Angel for Judd 1016 (rec. 08/1959) was also based on the same melody.
One sweet letter from you (1960) from Ted Lewis and his Band, Columbia 988-D, 1927
End of this special Part 1.
Really? Ringo? Thanks for this partical joke. P&L
Did you know that in addition to the comet which gave its name to the group, the scientists named BILLHALEY (in a word) to 79,896 asteroid discovered in 2006. It was a way for scientists to honor the old Bill for the 25th anniversary of his death.
Saviez-vous que, outre la comète qui a donné son nom au groupe, les scientifiques ont donné le nom BILLHALEY (en un mot) à un astéroïde 79896 découvert en 2006. C'était une manière des savants de rendre hommage au vieux Bill pour le 25ème anniversaire de sa mort.
Depuis Abbey Road, cet LP a été enregistré en vraie stéréo. "Full stereo".
Un an après son enregistrement, l'américain Phil Spector remet aux Beatles le mixage définitif de l'album Let It Be. Paul McCartney explose de colère (on le comprend aisément) lorsqu'il écoute des arrangements de cordes réalisés par Spector sur sa chanson The Long And Winding Road. Il tempête (à juste titre) et exige que le disque ne sorte pas avec ce désastreux mixage. Mais "on" n'en tient pas compte et Let It Be est considéré achevé tel quel. En raison de cet événement, Paul prend brutalement conscience de la réalité. Les Beatles, pour lesquels il s'est battu jusqu'au dernier moment, lui échappent. Ou du moins, il n'est plus capable d'avoir emprise sur ses propres compositions. Alors, il sait que tout est fini. Il téléphone à John pour lui annoncer qu'il a lui aussi l'intention de laisser tomber le groupe. Et en effet, Paul se retire dans sa ferme écossaise où il a fait construire son propre studio d'enregistrement. Il y prépare un album en solitaire, qu'il souhaite lancer très rapidement. Après d'âpres discussions pour savoir si son disque doit sortir avant Let It Be, les trois autres Beatles finissent par accepter que Paul fasse paraître sous le label Apple, le 17 avril, son album McCartney. Dans le disque figure une auto-interview de Paul dans laquelle il explique le pourquoi de ce disque et la dissolution des Beatles, ce qui irrite passablement John Lennon.
Un mois plus tard, c'est la première du film Let It Be mais aucun des Beatles n'assiste à sa projection. Le film reflète la réalité interne du groupe au moment où il a été filmé : tendus, distants, malgré quelques moments brillants de convivialité, essentiellement lorsqu'ils reprenaient des chansons anciennes. L'album sort au même moment, mettant en évidence l'apathie musicale du groupe, sauvé par quelques chansons magnifiques comme Across The Universe ou I've Got A Feeling (de John), Let It Be (de Paul), qui sort en 45 tours ou le magistral Get Back. Quand le disque paraît, les Beatles n'existent déjà plus en tant que groupe.
C'est Paul qui met la touche finale à cette séparation le 30 décembre 1970, en intentant une procédure judiciaire contre John, George et Ringo, manœuvre juridique qui, selon lui, est exclusivement dirigée à l'encontre d'Allen Klein. Il ne devait pas avoir tort puisque, par la suite, les autres membres du groupe disparu ont tous fini par faire de même. Quoi qu'il en soit, c'est bel et bien la fin de l'histoire.
Cet LP non-remasterisé sort le 10 octobre 1987. UK PARLOPHONE CD-PCS 7088 // EUROPE CDP 7 46446 2. Le disque Let It Be est fin prêt mais il doit attendre la sortie du film, encore en phase de montage. C'est pourquoi Paul demande à George Martin de les aider à enregistrer un autre album, mais à l'ancienne manière, c'est-à-dire en s'enfermant à Abbey Road et en collaborant comme au bon vieux temps. C'est de nouveau Paul qui fait cette démarche, seul Beatle à croire encore au groupe. Se doutant que l'histoire touche à sa fin, tous, y compris John Lennon, sont d'accord pour retrouver l'esprit de leur meilleure époque pour ce qui sera vraisemblablement l'ultime album des Beatles.
C'est ainsi qu'en juillet et août 1969 John, Paul, George et Ringo retrouvent la plus pure essence des Beatles et s'enferment dans les studios d'Abbey Road pour y enregistrer, en totale harmonie, bien que pas toujours ensemble, un disque mémorable auquel ils donnent le nom des studios et de la rue dans laquelle ils sont situés, Abbey Road.
On y trouve deux chefs-d'oeuvre de George, Here Comes The Sun et Something (c'est la première fois qu'une de ses chansons figure sur la face A d'un 45 tours). John interprète Come Together puissant et cadencé, Paul se donne à fond dans Oh! Darling et, sur la face B ils unissent magistralement une série de morceaux inachevés lors d'enregistrements précédents. Ringo lui aussi, avec un petit coup de pouce de Paul, signe Octopus's Garden. Sur la pochette on voit les quatre Beatles traverser le passage piétons de cette rue : le fait que Paul soit pieds nus, ainsi que d'autres détails figurant sur ladite pochette relancent les rumeurs relatives à son décès présumé des années auparavant. L'album sort au mois de septembre 1969. Maintenant, l'on peut dire aussi que les Beatles jouent aussi de la POP MUSIC comme tant d'autres. HARDEST THE BETTER !
Après la sortie du disque, et malgré les efforts de Paul pour maintenir le groupe en vie et revenir à la scène, les autres considèrent l'aventure terminée. Le premier à prendre la décision de quitter le groupe est John Lennon qui en fait part directement à Paul, acceptant toutefois sa demande de ne pas rendre la nouvelle publique. A suivre avec Let It Be...
En fait, il ne s'agit pas d'une remasterisation mais d'un transfert analogique vers un support numérique.
Maintenant que ce CD est sorti, EMI pourra en effectuer une véritable remasterisation. Il faudra attendre 2009 pour avoir enfin ce CD en stéréo numérique. D'autres CD Abbey Road sortis aussi en 1987 se verront retirer la mention "re-mastered" mais peut à peu celle-ci reviendra en douce!
Fausse stéréo ! Le terme anglais est "DUOPHONY" qui n'a pas d'équivalent en français.
Il faudrait l'inventer! Soit "DUOPHONIE". Voilà qui est fait (sous copyright).
Alors que le monde entier chantonne le refrain de Hey Jude, les Beatles peaufinent l'enregistrement d'un nouvel album. L'abondant matériel des sessions d'Abbey Road est composé en majeure partie de chansons écrites durant leur séjour en Inde. Le nouveau disque, qui s'appellera simplement THE BEATLES, prouve à l'évidence que ceux-ci, depuis la mort de Brian Epstein, s'effacent en tant que groupe au profit de la montée en puissance des personnalités individuelles de chacun de ses membres. John, encouragé par l'esprit novateur et provocateur de Yoko, écrit des morceaux au caractère aride et agressif: Sexy Sadie, pamphlet contre le Maharishi, Revolution, une approche personnelle de la révolte étudiante de 1968, Hapiness is a warm gun, contre la guerre du Vietnam, et le choc sonore de Revolution 9 (qui n'est qu'un collage de huit minutes quinze secondes réalisé par John et Yoko d'après l'insipide Revolution 1.)
Paul n'apprécie pas du tout les chansons de John qu'il trouve trop crues, mais il ne peut rien faire. Pour la première fois de leur histoire, Paul et John renoncent à se compléter mutuellement leurs chansons. Celles de Paul ne plaisent pas non plus à John qui les trouve trop mièvres: Martha my dear, qui parle de son bobtail, Honey pie, hommage de Paul à son père, Jim McCartney ou Rocky raccoon, un western musical. Paul a aussi composé un rock puissant, cette fois du goût de John, Back in the USSR, ainsi que la puissante Why don't we do it in the road et la superbe Blackbird. Il a aussi écrit la toute simple Ob-la-di Ob-la-da (avec le nigérien Jimmy "Scott" aux congas), destinée à Desmond Dekker dont sa version sort en avril 1969), une comptine pour enfants sur un rythme de ska, en opposition avec la violente Helter Skelter. Le manque de collaboration mutuelle met en évidence le secret des compositions du tandem Lennon/McCartney: la douceur mélodique de Paul (avec les exceptions mentionnées), l'acidité et la force de John. Au beau milieu de ce désaccord, George Harrison arrive à inclure dans le disque quatre de ses chansons, dont l'une d'entre elles aura un retentissement énorme: "While my guitar gently weeps", sur laquelle Eric Clapton joue de la guitare. Et Ringo case un morceau de sa composition, Don't pass me by.
Avec autant de matériel enregistré, les Beatles décident, contre la volonté de George Martin, de faire paraître le disque sous forme d'un double album. Martin aurait préféré supprimer les chansons superflues, à raison, et faire un grand disque en ne gardant que les meilleurs morceaux. Mais ils ne suivent pas son avis. Le double disque, surnommé "White Album", sort le 22 novembre 1968.
John Lennon, de plus en plus amoureux de Yoko Ono, décide de publier un album reprenant les bandes expérimentales qu'il a enregistrées chez lui avec sa nouvelle compagne qui deviendra sa femme par la suite. Le disque s'appelle Two Virgins avec, sur la pochette, une photo du couple entièrement nu.
EMI, effrayée par cette nudité crue, refuse de distribuer le disque, qui sera finalement repris par Track Records, le label des WHO. Chez les disquaires, le disque se vend sous une couverture opaque. C'est un échec retentissant, comme on pouvait s'y attendre en l'écoutant. Lennon qui pensait pouvoir tout faire avait complètement disjoncté ! R.I.P
Ce DLP est la 1ère réédition en album / No 004523 (1976): 3/04/1976 : Comme la nostalgie s'intensifie, le magazine no 1 Beatles Monthly entame toute une série de rééditions.
Pressage NL et DE pochette 1A 138-04173/174 (tous les inserts sont inclus !)
THE BEATLES est la 1ère parution en CD publiée par PARLOPHONE, 7 46443 2, GB, 9/05/1987.
C'est toujours de la "fausse stéréo" qu'on appelle en anglais "DUOPHONY"
THE BEATLES Double LP is referred to as the White Album : its plain white sleeve is a reversal from Sgt. Pepper's lavish one
Featuring Billy Preston, not credited because of his contract to A&M RECORDS.
This DLP is the 1st reissue released / No 004523. April 3, 1976 : As nostalgia increases, Beatles Monthly begins a reissue series from magazine #1.
NL pressing and German cover 1A 138-04173/174 (including all inserts !)
THE BEATLES 1st issue on CD is released by PARLOPHONE 7 46443 2, UK, May 9, 1987.
While the world sings the chorus of Hey Jude, The Beatles refine recording a new album. The abundant material from the Abbey Road sessions is mostly composed of songs written during their stay in India. The new album, which is simply called THE BEATLES, clearly proves that the Beatles (!), since Brian Epstein passed away, disappear as a group in favour of the rise of the individual personalities of each of its members. John, encouraged by the innovative and provocative spirit of Yoko, wrote pieces in arid and aggressive style: Sexy Sadie, pamphlet (satirical tract) against the Maharishi, Revolution, a personal approach to the student revolt of 1968, Hapiness is a warm gun, against the Vietnam War, and the sound shock Revolution 9 (not written: just an 8,15 minutes collage realized by John and Yoko from the asipid Revolution 1.)
Paul does not like all the songs that John is too crude, but he can do nothing. For the first time in their history, Paul and John complement each waive their songs. Those of Paul do not like either John who is too cutesy: Martha my dear, who speaks of his dog, Honey pie, Paul's tribute to his father, Jim McCartney or Rocky raccoon, a western in music written by Paul. Paul also wrote a powerful rock, this time the taste of John, Back in the USSR, as well as the powerful Why do not we do it in the road and the super Blackbird. He also wrote the simple Ob-la-di Ob-la-da (Nigerian Jimmy"Scott", congas), a fairy tale for children at a rate of ska for Desmond Dekker (released in April 1969) in opposition to the violent Helter Skelter. The lack of mutual collaboration highlights the secret of compositions tandem Lennon/McCartney melodic sweetness of Paul (with the exceptions mentioned), acidity and John's force. In the midst of this disagreement, George Harrison arrives to include in the record four songs, one of them will have a huge impact: While my guitar gently weeps on which Eric Clapton plays guitar. Ringo puts a piece of his own composition, Don't pass me by.
With so much recorded material, the Beatles decided, against the will of George Martin, to publish the disc as a double album. Martin would rather remove unnecessary songs to reason and make a great record keeping only the best pieces. But they do not follow his advice. The double disc, nicknamed "White Album", is released the 22th November 1968.
John Lennon, more and more in love with Yoko Ono, decided to publish an album containing the experimental tapes he recorded at home with his new girlfriend. The disc is called Two Virgins, on the cover, a photo of the couple completely naked.
EMI, frightened by this flood nudity, refuses to distribute the disc, which was finally taken over by Track Records, the label of the Who. In the shops, the record is sold under an opaque cover. This is a resounding failure, hardest the better (!), as might be expected in listening. Lennon had completely tripped. (R.I.P)
http://youtu.be/gRtAO-nffz0 (Ob la di ob la da by The Beatles)
http://youtu.be/xv6W9MQwG_8 (by Desmond Dekker recorded as a medley and released in April 1969)
Franny Beecher (b. 1921/09/29 (Norristown) - d. 2014/02/24 (Philadelphia) aged 92. He first played guitar for the Buddy Greco Orchestra in 1947 then joined the Benny Goodman Orchestra in 1948 until 1949 for whom he played lotsa song i.a. The Hucklebuck; Jercy Bounce; El Greco...Ooh, look-a-there, ain't she pretty for Buddy Greco and his Three Sharps, Musicraft 515, 'round July 1947.
Frank Beecher was a very well-known lead guitarist for Bill Haley And His Comets from June 7, 1954 until September 23, 1959 (DECCA) with whom he played several songs of which he composed himself Goofin' Around, Blue Comet Blues, The Catwalk, Shaky and also played guitar on many other songs including Happy Baby, Birth of the Boogie, Mambo Rock,Two Hound Dogs, Razzle Dazzle, R-O-C-K, Rock-A-Beatin' Boogie, Burn That Candle, See You Later, Alligaror, Hot Dog Buddy Buddy and also (New) Rock The Joint...
On October 14 and 15, the band played at l'OLYMPIA, Paris (France) i.a. a new compostion composed by Beecher entitled Beecher's Boogie Woogie. This concert has been available in January 1997 and in France, a few years later.
In 1960, Bill Haley signed for Warner Bros. and let it albums a.o. entitled "Bill Haley And His Comets, Sep. 1960 and Haley's Juke Box / Songs of the Bill Haley Generation, Aug. 1960 and some singles such as Tamiami; Crazy Man, Crazy; Chick Safari; Let The Good Times, Creole; Spanish Twist; Florida Twist and also a live album called "twinstin' knights AT THE ROUNDTABLE CLUB IN NEW YORK CITY" (ROULETTE), March 1962. By the time, Bill Haley moved himself with Franny including Rudy Pompilli and the other Comets to Mexico where they recorded under the name Bill Haley y Sus Cometas songs (mostly instrumentals) like Tampico Twist (composed by Beecher himself.)
http://youtu.be/b-rv3Dl0Kuc (Tampico Twist) http://youtu.be/q8qyXBDcgLQ (Ooh! Look-a there, ain't she pretty by Buddy Greco and his Three Sharps) http://youtu.be/it20dB3ohCY (Ooh! Look-a-there, ain't she pretty by Bill Haley and His Comets)
Francis BEECHER was inducted into Norristown Area High School's Hall of Fame in 2013. R.I.P
The recording of this song at Abbey Road studios was transmitted world-wide (I saw it at the time!!!) as part of the first global TV link-up, "Our World", to an estimated audience of 400 million.***The song features exerpts from the Bach's Brandenburger concertos, the French National Anthem "La Marseillaise", "Greensleeves" (1960 oldie by The Brothers Four) and She Loves You.***George Martin, also used a segment of the Glenn Miller Orchestra's In The Mood, thinking it was out of (C).***He was later successfully sued for a royalty settlement by Miller's publishers.***In addition to 13 session musicians [some of them playing Bach's Trumpets], friends on backing vocals were Mick Jagger, Keith Richard(s), Marianne Faithfull, Eric Clapton, Keith Moon, Jane Asher, Paul's brother Mike McGear from The Scaffold, The Walker Brothers' Gary Leeds and finally Graham Nash and his wife. (Our world, June 25, 1967.) All You Need Is Love recorded during a LIVE WORLD TELEVISION TRANSMISSION (original live Odeon O 23 560, Germany.) Video below.
When the Beatles in their last end with U.S. commitments , released in England their new album REVOLVER . On the cover face a collage of photos b / w psychedelic style , the work of Klaus Voorman , their old Hamburg friend . The disc continues the momentum of RUBBER SOUL , amplifying its obvious changes , its avant-garde and maturity. REVOLVER is designed as a disk where the songs follow each other without interruption. It begins with a further contribution of George Harrison who takes the Inland Revenue in a brilliant song called Taxman . In I Love You, he uses the sitar again . Paul wrote a new song in the style of classical music , performed by an octet string , Eleanor Rigby, an ode to solitude. He also wrote another memorable melody , Here there and everywhere and an excellent demonstration of soul music , Got to get you into my life . And also stand And your bird can sing , composed by John and Yellow submarine , small return to childhood offered by Paul and George Martin . The disc ends with Tomorrow never knows , a strange and sophisticated song by John , in a surreal style , built around a single note whose title , to withdraw any dramatic connotation , is based on a common expression Ringo as a hard day 's night (night of a hard day) , another of his leitmotifs . Tomorrow never knows is an abrupt change of course in the music of the Beatles, a harbinger of what will happen thereafter.
REVOLVER is also the first album that The Beatles were recording in a more relaxed atmosphere . The group has decided to leave the scene because of the unbearable pressure of touring and because the cries of fans covering their music, there were less good in concert. Now they have time and Abbey Road Studios become their second home. They are no longer forced to write songs at full speed on the seat of a van/small truck or in a hotel room .
Now they can have fun in the studio , search , engaging experiences . The result will be the definitive abandonment of teenage love songs of their first time , together with a mature sensitive text . Working in studio finally represents a major step forward for the Beatles: new opportunities available to them and many barriers fall . REVOLVER is a beautiful and amazing record, but it is only the announcement of the great work begins to mature around an imaginary character , Sergeant Pepper marking the era of psychedelic time ..."Fausse stéréo" (English duophony). By the way, LP cover made with collages by their friend Klaus Voormann.
Quand les Beatles en finissent avec leurs derniers engagements américains, sort en Angleterre leur nouvel album intitulé REVOLVER. Sur la pochette figure un collage de photos en n/b de style psychédélique, oeuvre de Klaus Voorman, leur vieux copain de Hambourg. Le disque continue sur la lancée de RUBBER SOUL, en amplifiant ses changements manifestes, son avant-gardisme et sa maturité. REVOLVER est conçu comme un disque où les chansons se suivent sans interruption. Il débute par une nouvelle contribution de George Harrison qui s'en prend au fisc dans une brillante chanson intitulée Taxman. Dans I Love You, il reprend de nouveau le sitar. Paul a écrit une nouvelle chanson dans un style de musique classique, interprétée par un octuor à cordes, Eleanor Rigby, une ode à la solitude. Il a aussi composé une autre mélodie mémorable, Here there and everywhere ainsi qu'une excellente démonstration de soul music, Got to get you into my life. Ressortent aussi And your bird can sing, composée par John et Yellow submarine, petit retour en enfance offert par Paul et George Martin. Le disque s'achève sur Tomorrow never knows, une chanson étrange et sophistiquée de John, dans un style surréaliste, construite autour d'une seule note et dont le titre, pour lui retirer toute connotation dramatique, s'inspire d'une expression habituelle de Ringo, comme A hard day's night (la nuit d'une dure journée), un autre de ses leitmotivs. Tomorrow never knows est un brusque coup de barre dans la musique des Beatles, annonciateur de ce qui va se produire par la suite.
REVOLVER est aussi le premier disque que les Beatles ont pu enregistrer dans une atmosphère plus détendue. Le groupe vient de décider d'abandonner la scène en raison de la pression insupportable des tournées et parce que, les cris des fans couvrant leur musique, il se trouvaient de moins en moins bons en concert. Maintenant ils disposent de temps et les studios Abbey Road deviennent leur seconde maison. Ils ne sont plus obligés d'écrire des chansons à toute allure, sur la banquette d'une camionnette ou dans une chambre d'hôtel.
Ils peuvent maintenant s'amuser en studio, rechercher, se livrer à des expériences. Le résultat sera l'abandon définitif des chansons d'amours adolescentes de leur première époque, en même temps qu'une maturité sensible des textes. Travailler en studio représente finalement un grand progrès pour les Beatles : de nouvelles possibilités s'offrent à eux et beaucoup de barrières tombent. REVOLVER est un disque superbe et surprenant mais ce n'est que l'annonce de la grande oeuvre qui commence à mûrir autour d'un personnage imaginaire, Sergeant Pepper qui marquera l'ère de l'époque psychédélique...
Bill Haley is the man in the blue jacket. At his right, his friend of all time, Mr. Rudy Pompilli (real house hold name : Pompillii.)
Pictures : CC-BY - 2.0 Belgium
The song Rock Around The Clock was written and composed in November 1952 by Jimmy De Knight (aka James E. Myers) in collaboration with composer "freelance" , Max C. Freedman . It is likely , as was common at the time a publisher has offered Rock Around The Clock Dave Miller , owner of Essex Records in Chester ( Pennsylvania ) or someone around him but nobody ever wanted . It is finally Sonny Dae (aka Paschal Vennitti ) and His Knights in Chester which record the song in October 1953. Rock Around The Clock comes out ARCADE (45- AR- 123), a small label owned by Jack Howard in March 1954. (*) RATC sells for at least a thousand copies in the Delaware Valley , but it is not distributed nationally ( coast to coast ) lack of interest in a Major. Despite his insistence , "on" denied him the right to record (not even in the demo ) . Finally released from his contract with Essex Records, "Bill Haley and His Comets" will save RATC April 12, 1954 at the Pythian Temple in New York City. Bill Haley was so late ( arriving from the neighboring state , New Jersey ) for the record that he had to be back there twice which cost three hours of studio ( thin! Price to cost one hour. ..) . The disc is distributed by Decca ( the 78s 29124 ) and Decca ( the single 9-29124 ) " coast to coast " simultaneously with another country located in Western Europe : Belgium ! DECCA Label 9.60.961 B side of Pinball Boogie Red Foley ( 10 May 1954 ) . But back about seven months ago : Bill Haley , great musician and multi-instrumentalist ( guitar , slap bass ) has a flair like no other and he believes in this song . At the end of September 53 , he added to his repertoire and playing for the first time in public in the name of the time "Bill Haley With Haley's Comets" in the resort of Wildwood -by-the -Sea Hotel Hofbrau in southern New Jersey ( **) . A few months later , Rock Around The Clock does not take long to rank No. 23 in the Billboard Pop chart of May 29, 1954 (***) ... The following is part of the history of the "Popular Music" . .. Sources: (*) Billboard magazine , March 20, 1954 (**) Jersey City : Da Capo Press, 1987 ( ***) The Billboard Book of Top 40 Hits . New York: Billboard Publications , 1984. To enhance this topic , I added two pictures that I took at the Conservatoire de Liège 05/14/74 . First photo : From left to right: Ray Cawley , bass and vocals - Rudy Pompilli , tenor sax - Freddy Moore , drums - Bill Haley, rhythm guitar and vocals - Nick Masters ( Nastos ) , solo guitar, Spanish guitar and vocals and behind back but invisible : Ray Parsons , steel and lead guitar , vocals . Wilwood-by-the-Sea : here's the source : http://www.visitnj.org/trip-idea/birthplace-rock-n-roll
The Fourmost are : Brian O'Hara (gtr, vcls), Mike Millward (gtr, vcls), Billy Hatton (bs gtr) and Dave Lovelady (drums.)
March 1, 1961 : The Four Jays, still amateurs since 1958, make their debut at Liverpool's cavern club, 3 weeks beforeThe Beatles' first performance there.
Nov. 1961 : Millward and old friend O'Hara and Hatton, moves to Liverpool to join the group when a guitar slot falls vavcant.
Nov. 1962 : Deciding to turn professional, and now with a stable line-up, the group changes its name to THE FOUR MOSTS.
June, 1963 : Brian Epstein takes over the band's management, amends the name to THE FOURMOST, and signs it to EMI's Parlophone label.
July 3, 1963 : Debut single is recorded at Abbey Road studios. It is an early Lennon/McCartney song which The Beatles have chosen not to record commercially. As in his lauch of Billy J. Kramer, Epstein encourages full exploitation of this Beatles connection.
Oct. 19, 1963 : Hello Little Girl hits UK #9
Dec. 24, 1963 : The Fourmost take part in "The Beatles Christmas Show", with Rolph Harris, The Barron Knights, Tommy Quickly, B.J. Kramer & The Dakotas andCilla Black, mixing music and pantomime, which opens at London's Finsburry Park Astoria. It runs until January 11, 1964.
Jan. 25, 1964 : A 2d Lennon/McCartney song, the soft-rock ballad I'm In Love, reaches UK #17.
Mar. 7, 1966 : Millward dies; aged 23, in Bromborough hospital, Cheshire.
May 1, 1966 : Group plays on a bill topped by The Beatles and The Rolling Stones at the NEW MUSICAL EXPRESS Poll Winners concert at the Empire Pool, Wembley, London.
Aug. , 1966 : Here There And Everywhere, a cover of a track from The Beatles' album REVOLVER, is released inter alia Rosetta, produced by Paul.
1967 : Group will move into musical / comedy cabaret in UK Northern clubs during the remainder of the 60's, before eventually disbanding.
Born in Malaysia, Antony "Lee" Cooper lived his youth in America and in Holland. Orphan when he was just a baby, he used to sing in the streets to win some money as long as he recalls. In the early sixties Antony was on tour in Germany with an unknowned British band called...The Beat Brothers (backing Tony Sheridan). He was in the same show that is now legendary at the Star Club in Hamburg. Twenty years on stage made of him one of the best entertainers in Belgium. A little bit of Elvis, a little bit of Dean Martin, Antony sings soft ballads and country songs as well as rockin' tunes.
He cut his first record in 1982 (this one) with the SHAKIN' GUYS, an exciting band whose members made the arrangements of the songs, the vocal Chorus and the backing group.
THE SHAKIN' GUYS ARE :
Giovanni DEL DUCA (wall of guitars, backin' voice), Jean Claude BAADE (bass guitar, backin' voice), Jimmy WARZE (drums), Rosario ONDARO (piano, strings and backin voice) with appreciated help of Christian DETHIER (steel guitar) and "Mangaf" LOVY (sax).
This 7" single is dating back to May 1982. A BLACKJACK PRODUCTION / NASHVILLE-ROCK PUBLICATION.
SLEEVE AND PICTURE : Robby VALTIN - Recorded at MD STUDIO-OUGREE (Liège).
Reference : BLACKJACK NR 4032 STEREO, May 1982. Distribution : inelco.
http://youtu.be/2XXroGdmhLc (Satin Doll)
http://youtu.be/2XXroGdmhLc (Drunken Cowboy)
Antony and I became friends at that time. I was his best man at his civil wedding 'round 40 years ago...