2008 – Gilmour’s tribute to Floyd star Roger Waters, Nick Mason, Syd Barrett and Richard Wright
Gilmour said Wright (right) was “gentle, unassuming and private”.
Pink Floyd guitarist David Gilmour has praised late bandmate Richard Wright for his “vitality, spark and humour”.
Writing on his website, Gilmour said he had “never played with anyone quite like” the keyboardist, who has died from cancer at the age of 65.
“In my view, all the greatest Pink Floyd moments are the ones where he is in full flow,” Gilmour added.
He hailed Wright for his songwriting talent, including on two tracks from 1973′s Dark Side of the Moon album.
Gilmour joined the band in 1968 – a year after the group’s first album, The Piper at the Gates of Dawn.
In the welter of arguments about who or what was Pink Floyd, Rick’s enormous input was frequently forgotten
David Gilmour
“No-one can replace Richard Wright – he was my musical partner and my friend,” Gilmour said.
“In the welter of arguments about who or what was Pink Floyd, Rick’s enormous input was frequently forgotten.
“He was gentle, unassuming and private but his soulful voice and playing were vital, magical components of our most recognised Pink Floyd sound.”
Gilmour said the blend of his and Wright’s voices, together with their “musical telepathy, reached their first major flowering” on 1971 track Echoes, which took up the whole of the second side of album Meddle.
Gilmour, Waters, Mason and Wright in 2005
The band performed together at Live 8 in 2005 for the first time in 24 years
Released in 1973, The Dark Side of the Moon went on to become one of the best-selling and most influential albums in rock history.
Wright helped write much of the album, but was responsible for two songs in particular, Gilmour said.
He added: “After all, without Us and Them, and The Great Gig in the Sky – both of which he wrote – what would The Dark Side Of The Moon have been?”
Gilmour has now pulled out of the premiere of a concert film, David Gilmour Live In Gdansk, in London on Tuesday.
But the guitarist has asked for the event to go ahead without him in memory of Wright, his spokesman said.
Joe Boyd, who produced the band’s early records, said Wright’s keyboards were “an integral part of the Pink Floyd sound”.
“He was a very nice and easy going person,” he said. “It’s very sad to hear of his untimely passing.”
‘Influential musician’
Neil Portnow, president of The Recording Academy, which organises the Grammy Awards in the US, added his tribute.
“Richard Wright was an exceptional instrumentalist, whose distinctive keyboard style was essential to the musicality of this world-renowned band,” he said.
“He also scored films and recorded his own instrumental compositions and solo albums.
“Our deepest sympathies go out to his family and fans at this difficult time, as we remember this influential musician.”
The group played at the Live 8 event in Hyde Park in London in 2005, when Roger Waters rejoined his bandmates for a one-off, more than two decades after they fell out.
The four musicians all also played at a tribute concert for Syd Barrett in 2007, with Waters playing a solo set and Wright, Gilmour and Nick Mason making a separate appearance.
Wright’s death was announced in a statement by his spokesman on Monday.
The spokesman said Wright died after “a short struggle with cancer” but declined to give further details.
2008 – Associated Press – LONDON – Richard Wright, a founding member of the rock group Pink Floyd, died today… this day in rock! He was 65.
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Pink Floyd’s spokesman Doug Wright, who is not related to the artist, said Wright died after a battle with cancer at his home in Britain. He says the band member’s family did not want to give more details about his death.
Wright met Pink Floyd members Roger Waters and Nick Mason in college and joined their early band, Sigma 6. Along with the late Syd Barrett, the four formed Pink Floyd in 1965.
The group’s jazz-infused rock and drug-laced multimedia “happenings” made them darlings of the London psychedelic scene, and their 1967 album, “The Piper at the Gates of Dawn,” was a hit.
In the early days of Pink Floyd, Wright, along with Barrett, was seen as the group’s dominant musical force. The London-born musician and son of a biochemist wrote songs and sang.
The band released a series of commercially and critically successful albums including 1973′s “Dark Side of the Moon,” which has sold more than 40 million copies. Wright wrote “The Great Gig In The Sky” and “Us And Them” for that album, and later worked on the group’s epic compositions such as “Atom Heart Mother,” “Echoes” and “Shine On You Crazy Diamond.”
But tensions grew between Waters, Wright and fellow band member David Gilmour. The tensions came to a head during the making of “The Wall” when Waters insisted Wright be fired. As a result, Wright was relegated to the status of session musician on the tour of “The Wall,” and did not perform on Pink Floyd’s 1983 album “The Final Cut.”
Wright formed a new band Zee with Dave Harris, from the band Fashion, and released one album, “Identity,” with Atlantic Records.
Waters left Pink Floyd in 1985 and Wright began recording with Mason and Gilmour again, releasing the albums “The Division Bell” and “A Momentary Lapse of Reason” as Pink Floyd. Wright also released the solo albums “Wet Dream” (1978) and “Broken China” (1996).
In July 2005, Wright, Waters, Mason and Gilmour reunited to perform at the “Live 8″ charity concert in London — the first time in 25 years they had been onstage together.
Wright also worked on Gilmour’s solo projects, most recently playing on the 2006 album “On An Island” and the accompanying world tour.
Richard William Wright (28 July 1943 – 15 September 2008) was a self-taught pianist and keyboardist best known for his long career with Pink Floyd. Though not as prolific a songwriter as his bandmates Syd Barrett, Roger Waters and David Gilmour, he did write significant parts of the music for classic albums such as Meddle, Dark Side of the Moon and Wish You Were Here, as well as for Pink Floyd’s final studio album The Division Bell. Wright’s richly textured keyboard layers have been a vital ingredient and a distinctive characteristic of Pink Floyd’s sound. In addition, Wright frequently sang background and occasionally lead vocals onstage and in the studio with Pink Floyd (most notably on the songs “Time,” “Echoes,” and on the Syd Barrett composition “Astronomy Domine”). Wright died on 15 September 2008, following a short battle with cancer.
Biography
Pink Floyd career
Wright was educated at the Haberdashers’ Aske’s School and the Regent Street Polytechnic College of Architecture, where he met fellow band members Roger Waters and Nick Mason. He was a founding member of The Pink Floyd Sound (as they were then called) in 1965, and also participated in its previous incarnations, Sigma 6 and The (Screaming) Abdabs.
In the early days of Pink Floyd, Wright was seen as a dominant musical force in the group (though not as much of one as Syd Barrett, the band’s chief songwriter and front man at the time) and he wrote and sang several songs of his own during 1967–68. While not credited as a singer on The Piper at the Gates of Dawn, he sung lead on Barrett-penned songs like “Astronomy Domine” and “Matilda Mother,” as well as notable harmonies on “Scarecrow” and “Chapter 24.” Examples of his early compositions include “Remember a Day”, “Paintbox” and “It Would Be So Nice”. As the sound and the goals of the band evolved, Wright became less interested in songwriting and focused primarily on contributing his distinctive style to extended instrumental compositions such as “Interstellar Overdrive”, “A Saucerful of Secrets”, “Careful with That Axe, Eugene”, “One Of These Days” and to musical themes for film scores (More, Zabriskie Point and Obscured by Clouds). He also made essential contributions to Pink Floyd’s long, epic compositions such as “Atom Heart Mother”, “Echoes” and “Shine On You Crazy Diamond”. His most commercially popular compositions are “The Great Gig in the Sky” and “Us and Them” from 1973′s The Dark Side of the Moon. He also contributed significantly to other mid-period Floyd classics like “Breathe” and “Time”.
Wright recorded his first solo project, Wet Dream, and released it in September 1978 with little fanfare. However, the album is regarded with some acclaim among Pink Floyd fans. Battling both personal problems and an increasingly rocky relationship with Roger Waters, he was forced to resign from Pink Floyd during The Wall sessions by Roger Waters, who threatened to pull the plug on the album’s tapes if Wright did not leave the band. However, he was retained as a salaried session musician during the subsequent live concerts to promote that album in 1980 and 1981. Ironically, Wright became the only member of Pink Floyd to profit from those hugely spectacular shows, since the net financial loss had to be borne by the three remaining “full-time” members. He was the only member of the band not to attend the 1982 première of the film version of The Wall. In 1983, Pink Floyd released the only album on which Wright does not appear with The Final Cut.
During 1984, Wright formed a new musical duo with Dave Harris (from the band Fashion) called Zee. They signed a record deal with Atlantic Records and released only one album, Identity, which was a commercial and critical flop. Wright rejoined Pink Floyd following Waters’ departure. Because of legal and contractual issues from his “hired gun” status during The Wall world tour, Wright’s photo was not included in the 1987 album A Momentary Lapse of Reason and his name was listed in smaller letters than Mason and Gilmour. By the time of the Momentary Lapse world tour and the 1988 live album The Delicate Sound of Thunder, Wright was contractually a member of Pink Floyd once again. In 1994, he co-wrote five songs and sang lead vocals on one song (“Wearing the Inside Out”) for the next Pink Floyd album, The Division Bell. This recording provided material for the double live album and video release P*U*L*S*E in 1995. Wright, like Nick Mason, has performed on every Pink Floyd tour.
Modern days
In 1996, inspired by his successful input into The Division Bell, Wright released his second solo album, Broken China, including contributions from Sinéad O’Connor on vocals, Pino Palladino on bass, Manu Katché on drums, Dominic Miller (known from his guitar work with Sting) and Tim Renwick, another Pink Floyd associate, on electric guitar. Broken China was considered to be a more focused and artistically successful work than Wet Dream and marked a new phase in Richard Wright’s modus operandi, with extensive use of computer-based recording and production techniques, assisted by Anthony Moore with whom he co-wrote the album’s lyrics.
On 2 July 2005, Wright, Gilmour, Mason were joined by Waters on stage for the first time since the Wall concerts for a short set at the Live 8 concert in London. Wright underwent eye surgery for cataracts in November 2005, preventing him from attending Pink Floyd’s induction into the UK Music Hall of Fame. Roger Waters, who was also unable to attend the band’s induction due to rehearsals for the opening of his opera Ça Ira in Rome, appeared in video link and stated, tongue-in-cheek:
“ Rick actually hasn’t had an eye operation, he and I have eloped to Rome and we’re living happily in a small apartment off the Via Venuti! ”
Wright contributed keyboards and background vocals to David Gilmour’s most recent solo album, On an Island, and performed with Gilmour’s touring band for over two dozen shows in Europe and North America in 2006 . On stage with Gilmour he performed piano, electric piano and synth leads with his Kurzweil K2600 workstation, Hammond organ and even his long-inactive Farfisa organ, which was resurrected especially for performing “Echoes” and a couple of Pink Floyd’s and Syd Barrett’s older numbers that Gilmour chose to revisit in his recent concerts. He also provided backing vocals and lead vocals (notably on “Echoes”, “Time”, “Comfortably Numb”, “Wearing the Inside Out” “Astronomy Domine” and “Arnold Layne” – the latter released as a live single). He declined an offer to join Roger Waters and Nick Mason on Waters’ The Dark Side of the Moon Live tour in order to spend more time working on an upcoming solo project (which may be an instrumental album released in 2008).
On 4 July 2006, Wright joined Gilmour and Mason for the official screening of the P•U•L•S•E DVD. Inevitably, Live 8 surfaced as a subject in an interview. When asked about performing again, Wright replied he would be happy on stage anywhere. He explained that his plan is to “meander” along and said about playing live:
“ …and whenever Dave wants me to play with him, I’m really happy to play with him. And you’ll play with me, right? ”
However, Wright stated that he had no desire to perform as part of an officially-reformed ‘Pink Floyd’ again, saying that the Live 8 concert was nice as a “one off.”
Wright had the lowest profile of any member of a band known for their lack of individual attention seeking. Unlike the three other surviving band members who have emerged as public figures, Wright rarely spoke in public. Wright was very rarely seen in the live footage from the Live 8 reunion performance; with a few exceptions he was only shown in wide shots. Some have suggested that the director of the broadcast did not know which musician was the fourth member of Pink Floyd until the very end when they got together for a group shot.
Personal
He married his first wife, Juliette Gale, in 1964 and they divorced in 1982 after having two children. He married his second wife Franka in 1984 and they divorced in 1994. Wright married his third wife Millie (to whom he dedicated his second solo album Broken China) in 1996; their one child is named Ben.
In 1996 Wright’s daughter Gala married Guy Pratt, a session musician who has played bass for Pink Floyd since Roger Waters’ exit.
Wright died on 15 September 2008 after a battle with cancer.
Influence
Wright’s style fuses jazz and neoclassical influences that complemented the simple harmonic structures of the more blues and folk-based songs written by Roger Waters and David Gilmour. As a keyboardist, he is more interested in complementing each piece with organ or synthesizer layers and tasteful piano or electric piano passages. Unlike his contemporaries Rick Wakeman, Tony Banks or Keith Emerson, only occasionally did he opt for solo playing, notably in “Atom Heart Mother”, “Echoes”, “Any Colour You Like”, “Shine On You Crazy Diamond” Parts 1-5 and 6-9, “Welcome to the Machine”, “Dogs”, “Run Like Hell” and “Keep Talking”. Another notable solo is the first solo in Syd Barrett’s song “Love Song”. Wright is known for his ghostly atmospheric textures such as the Leslie piano arpeggios at the beginning of “Echoes”, the echoed Farfisa Organ in the live versions of “Careful with That Axe, Eugene” and “Set the Controls for the Heart of the Sun”, the distinctive Minimoog solos in “Any Colour You Like” and, more famously, “Shine On You Crazy Diamond” and the jazzy electric piano passages in “Money”, “Time” and “Sheep”. In “A Saucerful of Secrets” and “Sysyphus” he experimented with ‘treated piano’. “Sysyphus” also made extensive use of Mellotron sounds, something of a rarity in the Pink Floyd canon. Wright also used Indian modal scales in “Set the Controls for the Heart of the Sun” and “Matilda Mother”. Although he is not often mentioned among the ‘synthesizer greats’, it is widely acknowledged that Wright’s inventive use of keyboards and synthesizers with Pink Floyd has been pioneering.
Equipment
In the early days of the band, Wright dabbled with brass before settling on the Farfisa organ as his main instrument onstage (in addition to piano and Hammond Organ in the studio). For a brief period in 1969, Wright played vibraphone on several of the band’s songs and in some live shows, and he even played trombone on “Biding My Time” (also dating from this experimental period). During the formative years of Pink Floyd with Syd Barrett, Wright relied heavily on his Farfisa organ, fed through a Binson Echorec platter echo, to achieve distinctive sounds that helped the band gain their “psychedelic rock” edge. He started using a Hammond organ regularly onstage thereafter, and a grand piano later became part of his usual live concert setup when “Echoes” was added to Pink Floyd’s regular set-list. For tours in the 1970s centering around The Dark Side of the Moon, Wish You Were Here, Animals and The Wall, the Farfisa was dropped (although it was brought back when Wright toured with David Gilmour on his On An Island tour), and an array of other instruments were added to the lineup, such as: Fender Rhodes, Wurlitzer and Hohner electric pianos, VCS 3, Minimoog, ARP String Ensemble and Prophet 5 synthesizers. Since 1987 Wright favoured Kurzweil digital synthesisers for reproducing his analogue synthesiser sounds, even though he still used his favourite Hammond C-3 organ. However, the one that he used with Pink Floyd at Live 8 and with David Gilmour was a “chopped” version (being stripped down of unnecessary weight and put into a more compact casing).
Discography
Further information: Pink Floyd discography
Solo albums
* Wet Dream – 15 September 1978
* Broken China – 26 November 1996
Zee albums
* Identity – 9 April 1984
With David Gilmour
* David Gilmour in Concert (DVD) – October, 2002
o Appears on two tracks: “Breakthrough” (Keyboard / Vocals) & “Comfortably Numb (With Bob Geldof)” (Keyboard)
* On an Island – 6 March 2006
o Appears on two tracks: “On an Island” (Hammond organ) & “The Blue” (Keyboards / Vocals)
* Remember That Night (DVD) – September, 2007
With Syd Barrett
* The Madcap Laughs – 3 January 1970
* Barrett – 14 November 1970
2005 – Motley Crue’s Vince Neil slips and tears his calf onstage during one a reunion concert in Atlanta. “I just felt something snap in my leg,” the singer says. “I just couldn’t go on.”
2003 – No one is injured when a chartered plane carrying the Dixie Chicks clips a building at Glasgow Airport. The group is en route from Dublin for a concert at Glasgow’s Exhibition and Conference Center. The show goes on as planned.
2003 – Iron Butterfly guitarist Erik Braunn dies of heart failure. He was 52.
Erik Brann aka Erik Braunn aka Erik Braun (born August 11, 1950 – died July 25, 2003), American musician, was a guitarist with the 1960s heavy metal band Iron Butterfly. He is featured on the band’s greatest hit, the legendary 17-minute piece In-A-Gadda-Da-Vida (1968), recorded when he was just 17.
A Boston, Massachusetts native and a brilliant violinist, Brann was accepted as a child into the prodigy program at the Boston Symphony Orchestra, but was soon lured away to become a rock guitarist, joining Iron Butterfly at 16. He played with Ron Bushy, Lee Dorman and Doug Ingle from 1967 to 1969. In-A-Gadda-Da-Vida sold over 20 million copies, went platinum and stayed on Billboard magazine’s charts for over a year. With arrangement assistance from Lee Dorman, Brann wrote the song “Termination,” which was featured on the In-A-Gadda-Da-Vida album.
The album’s mini-bio, written when he was 17, tells of an acting ambition he once had, clothing and food preference and the ease with which rock ‘n roll artists were able to arrange sexual encounters (usually with groupies). It reads: “Although music has always been his one great love, Erik studied drama and before joining the Butterfly, his acting ability had landed him the lead role in a local play. …Erik hopes to, one day, continue in the acting field. Right now, however, his only concern is the Iron Butterfly, turtleneck sweaters, bananas and the fairer sex.”
After 1969 Brann disappeared from view, apparently an ex-rock star at 19. In 1974, he reunited with Ron Bushy to form a new version of Iron Butterfly. The 1975 LP “Scorching Beauty” featured Brann on lead guitar and vocals, Bushy on drums, Philip Taylor Kramer on bass and Howard Reitzes on keyboards. A year later, the band released “Sun and Steel” early 1976 with Bill DeMartines replacing Reitzes on keyboards. Neither album sold well, and the band disbanded shortly afterward (around summer 1977).
Brann occasionally reunited with Iron Butterfly for concerts, and was working diligently on his solo debut when he died of a heart attack in 2003. This followed an ongoing struggle with complications from a birth defect that Braunn had battled for years.
2003 - Eight people are struck by lightning before a Dave Matthews Band concert in East Troy, Wisconsin. Further confirming suspicions that one “in fact” should not go to a Dave Mathews Band Concert… Either that or East Troy is just lightningy.
2002 – Lonnie Donegan, known as the “king of skiffle’ dies in his sleep in Peterborough, Cambridgeshire, England. He is 71.
Lonnie Donegan MBE (29 April 1931 – 3 November 2002) was a skiffle musician, possibly the most famous of them all, with more than 20 UK Top 30 hits to his name. He is also known as the King of Skiffle and is often cited as a large influence on the generation of British musicians who became famous in the 1960s.
Early life and trad jazz
He was born Anthony James Donegan in Bridgeton, Glasgow, Scotland, the son of a professional violinist who had played with the Scottish National Orchestra. His father was unemployed in the 1930s, and in 1933 the family moved to East London. In the early 1940s he mostly listened to Swing jazz and vocal acts, and became interested in the guitar. Country & western and blues records, particularly by Frank Crumit and Josh White, attracted his interest and he bought his first guitar at the age of fourteen, around 1945. From listening to BBC radio broadcasts in the following years he began learning songs such as “Frankie and Johnny”, “Puttin’ On the Style”, and “The House of the Rising Sun”. By the end of the 1940s he was playing guitar around London and visiting small jazz clubs.
The first band he played in was the trad jazz band led by Chris Barber, who approached him on a train asking him if he wanted to audition for his band. Barber had heard that Donegan was a good banjo player; in fact, Donegan had never played the banjo at this point, but he bought one and tried to bluff his way through the audition. More on personality than playing, he was brought into Barber’s band. His stint with the band was interrupted when he was called up for National Service in 1949, but his military service in Vienna gave him contact with American troops, and access to records as well as the opportunity to listen to the American Forces Network radio station.
In 1952 he formed his first group, the Tony Donegan Jazzband, which found some work around London. On one occasion they opened for the blues musician Lonnie Johnson at the Royal Festival Hall. Donegan was a big fan of Johnson, and took his first name as a tribute to him. The story goes that the host at the concert got the musicians’ names confused, calling them “Tony Johnson” and “Lonnie Donegan”, and Donegan was happy to keep the name.
In 1953 cornetist Ken Colyer, enjoying hero status for having spent time in a New Orleans jail (due to a visa problem), returned to England and, when invited to play with Chris Barber’s band, became the moving figure in it, more or less taking it over and running it as if it were his own creation. It actually was very much a cooperative. With the new name, Ken Colyer’s Jazzmen, the group, with Donegan, made its initial public appearance on 11 April 1953 in Copenhagen, Denmark. The following day, Chris Albertson recorded the group (as well as a Monty Sunshine Trio, with Donegan and Barber) for Storyville Records. These were Lonnie Donegan’s first commercially released recordings.
Skiffle
Donegan was the first person to become famous playing skiffle in the United Kingdom, and went on to have an influential hit in Britain and America with “Does Your Chewing Gum Lose Its Flavour”, released in 1959 and 1961 respectively.
While playing in Ken Colyer’s Jazzmen with Chris Barber, Donegan sang and played both guitar and banjo as part of their Dixieland jazz, and also began playing with two other band members during the intervals to provide what was called on their posters a “skiffle” break, a name suggested by Ken Colyer’s brother Bill after recalling the Dan Burley Skiffle Group of the 1930s. In 1954 Colyer left, and the band became Chris Barber’s Jazz Band.
With a washboard, a tea-chest bass and a cheap Spanish guitar, Donegan had a lot of fun entertaining the audiences with folk songs and blues by artists such as Leadbelly and Woody Guthrie, casually giving the impression that anyone could do it. This proved so popular that in July 1954 he recorded a fast-tempoed version of Leadbelly’s “Rock Island Line”, featuring a washboard but not a tea-chest bass, with “John Henry” on the B-side. It was an enormous hit in 1956 (which also later inspired the creation of a full LP album, “An Englishman Sings American Folk Songs”, released in America on the Mercury label in the early 60s) but ironically, because it was a band recording, Lonnie made no money from it beyond his original session fee. It was the first debut record to go gold in Britain, and reached the top ten in the United States, and Donegan has suggested that it might have influenced the beginnings of white rock and roll, and certainly was an influence of a hybrid version of American country-rock later called Rockabilly.
The skiffle style encouraged amateurs to get started, and one of the many skiffle groups that followed was The Quarrymen formed in March 1957 by John Lennon. Donegan’s “Putting On The Style” / “Gamblin’ Man” single was number one on the British charts in July 1957, when Lennon first met Paul McCartney.
After splitting from Barber, Donegan went on to make a series of popular records as “Lonnie Donegan’s Skiffle Group”, with successes including “Cumberland Gap” and, particularly “Does Your Chewing Gum Lose Its Flavour”, his only hit song in America, released on Dot Records. He turned to a music hall style with “My Old Man’s a Dustman” which was not well received by skiffle fans, or in an attempted but ultimately unsuccessful American release by Atlantic Records in 1960, but reached number one in the UK singles charts. Donegan’s group had a flexible line-up, but was generally formed by Denny Wright or Les Bennetts (of Les Hobeaux and Chas McDevvit’s skiffle groups) playing lead guitar and singing harmony vocals, Pete Huggett on upright bass, Nick Nichols – later Pete Appleby – on drums or percussion and Lonnie playing acoustic guitar or banjo and singing the lead. Despite appearances that the style was simple and somewhat ‘unpolished’, all were accomplished and highly talented musicians.
Later career
Donegan was unfashionable and generally ignored through the late 1960s and 1970s (although he wrote “I’ll Never Fall in Love Again” for Tom Jones in 1969), and he began to play on the American cabaret circuit. There was a reunion concert with the original Chris Barber band in Croydon in June 1975 – notable for a bomb scare, meaning that the recording had to be finished in the studio, though patrons were treated to an impromptu concert in the car park.
He suffered his first heart attack in 1976 while in the United States. Donegan underwent quadruple bypass surgery. He returned to the public’s attention in 1978, when he made a record of his early songs with such figures as Ringo Starr, Elton John and Brian May called Putting on the Style. In 1992 Donegan underwent further bypass surgery following another heart attack.
Then in 1994, the Chris Barber band celebrated 40 years, with a long tour with both bands, rather than just a concert. Pat Halcox was still on trumpet (a position he retains as of 2006). The reunion concert and the tour, were recorded on CD, and also on video (and later released on DVD, though the quality isn’t up to digital standard). As is Chris Barber’s normal style, he generously featured Lonnie in the concerts and the whole original band were much more relaxed than in 1954, making these real collectors’ items as the stereo was real and not electronically created.
He experienced another late renaissance when in 2000 he appeared on Van Morrison’s album The Skiffle Sessions – Live In Belfast 1998, a critically acclaimed album featuring Donegan sharing vocals with Van Morrison and also featuring Chris Barber, with a guest appearance by Dr John. He also played at the Glastonbury Festival, and was awarded the MBE in 2000.
His last CD was “This Y’ere the Story”, which tells his story – complete with the inaccuracies as to his introduction to the banjo and the Barber band as related above…
Donegan’s influence on the generation of musicians that followed him is unquestioned. He inspired both John Lennon and Pete Townshend to learn to play the guitar, and was responsible for hundreds of other skiffle groups being formed. One of them, The Quarrymen, later evolved into The Beatles.
Personal life
Lonnie married three times. He had two daughters by his first wife, Maureen Tyler (divorced 1962), a son and a daughter by his second wife, Jill Westlake (divorced 1971), and three sons by his third wife, Sharon, whom he married in 1977.
Death
Lonnie died in 2002 aged 71, after suffering a heart attack in Peterborough mid-way through a UK tour and shortly before he was due to perform at a memorial concert for George Harrison. He had suffered from cardiac problems since the 1970s and had several heart attacks in his last years.
Legacy
Musician Mark Knopfler released a tribute song to Lonnie Donegan called “Donegan’s Gone” on his 2004 album Shangri-La and said that he was one of his greatest musical influences. Donegan’s music formed the basis for a musical starring his two sons. Lonnie D – The Musical took its name from the Chas & Dave tribute song which starts the show. Subsequently, Peter Donegan formed a new band that performs his father’s material. Lonnies eldest son Anthony also formed his own band under the name Lonnie Donegan Jnr
Quotations
* “In England, we were separated from our folk music tradition centuries ago and were imbued with the idea that music was for the upper classes. You had to be very clever to play music. When I came along with the old three chords, people began to think that if I could do it, so could they. It was the reintroduction of the folk music bridge which did that.” — Interview, 2002.
* “He was the first person we had heard of from Britain to get to the coveted No. 1 in the charts, and we studied his records avidly. We all bought guitars to be in a skiffle group. He was the man.” — Paul McCartney
* “He really was at the very cornerstone of English blues and rock.” — Brian May.
Discography
* Rock Island Line/ John Henry (1955)
* Diggin’ My Potatoes/ Bury My Body (1956)
* On A Christmas Day/ Take My Hand Precious Lord (1956)
* Lonnie Donegan Showcase (December 1956)
* Jack O’Diamonds/ Ham ‘N’ Eggs (1957)
* Lonnie (November 1957)
* The Grand Coulee Dam/ Nobody Loves Like An Irishman (1958)
* Midnight Special/ When The Sun Goes Down (1958)
* Sally Don’t You Grieve/ Betty Betty Betty (1958)
* Lonesome Traveller/ Times Are Getting Hard Boys (1958)
* Lonnie’s Skiffle Party Pt.1/ Pt.2 (1958)
* Tom Dooley/ Rock O’ My Soul (1958)
* Tops with Lonnie (September 1958)
* Does Your Chewing Gum Lose Its Flavour/ Aunt Rhody (1959)
* Fort Worth Jail/ Whoa Buck (1959)
* Fort Bewildered/ Kevin Barry / It Is No Secret / My Lagan Love Buck (1959)
* Battle Of New Orleans/ Darling Corey (1959)
* Sal’s Got A Sugar Lip/ Chesapeake Bay (1959)
* San Miguel/ Talking Guitar Blues (1959)
* Lonnie Rides Again (May 1959)
* My Old Man’s A Dustman/ The Golden Vanity (1960)
* I Wanna Go Home (Wreck Of the John B.)/ Jimmy Brown The Newsboy (1960)
* Lorelei/ In All My Wildest Dreams (1960)
* Lively/ Black Cat (Cross My Path Today) (1960)
* Virgin Mary/ Beyond The Sunset (1960)
* (Bury Me) Beneath The Willow/ Leave My Woman Alone (1961)
* Have A Drink On Me/ Seven Daffodils (1961)
* Michael Row the Boat/ Lumbered (1961)
* The Comancheros/ Ramblin’ Round (1961)
* Does Your Chewing Gum Lose It’s Flavor (On The Bedpost Over Night) (1961)
* More! Tops with Lonnie (April 1961)
* The Party’s Over/ Over the Rainbow (1962)
* I’ll Never Fall In Love Again/ Keep On The Sunny Side (1962)
* Pick A Bale Of Cotton/ Steal Away (1962)
* The Market Song/ Tit-Bits (1962)
* Sing Hallelujah (December 1962)
* Losing My Hair/ Trumpet Sounds (1963)
* It Was A Very Good Year/ Rise Up (1963)
* Lemon Tree/ I’ve Gotta Girl So Far (1963)
* 500 Miles Away From Home/ This Train (1963)
* Beans In My Ears/ It’s A Long Road To Travel (1964)
* Fisherman’s Luck/ There’s A Big Wheel (1964)
* Get Out Of My Life/ Won’t You Tell Me (1965)
* Louisiana Man/ Bound For Zion (1965)
* The Lonnie Donegan Folk Album (August 1965)
* World Cup Willie/ Where In This World Are We Going (1966)
* I Wanna Go Home/ Black Cat (Cross My Path Today) (1966)
* Aunt Maggie’s Remedy/ (Ah) My Sweet Marie (1967)
* Toys/ Relax Your Mind (1968)
* My Lovely Juanita/ Who Knows Where the Time Goes (1969)
* Lonniepops–Lonnie Donegan Today (1970)
* Speak To The Sky / Get Out Of My Life (1972)
* Jump Down Turn Around (Pick a Bale of Cotton) / Lost John Blues (1973 – Australia only)
* Lonnie Donegan Meets Leinemann (1974)
* Country Roads (1976)
* Puttin’ On The Style (February 1978)
* Sundown (May 1979)
* Muleskinner Blues (January 1999)
* The song Lost John was used to open the John Peel tribute album
* This Y’ere The Story (2000?)
* The Last Tour (2006)
2002 – The Who’s John Entwistle is found dead in his hotel room in Las Vegas. He has cocaine in his system, and the Deaths is ruled accidental. He is 57.
John Alec Entwistle (October 9, 1944 – June 27, 2002) was an English bass guitarist, songwriter, singer, and horn player, who was best known as the bass guitarist for the rock band The Who. His aggressive lead sound influenced rock bass players[1][2] such as Steve Harris, Geddy Lee, Phil Lesh, Billy Sheehan and Chris Squire.
Entwistle’s lead instrument approach used pentatonic lead lines, and a then-unusual trebly sound created by roundwound RotoSound steel bass strings. He had a collection of over 200 instruments by the time of his death, reflecting the different brands he used over his career: Fender and Rickenbacker basses in the 1960s, Alembic’s basses in the 1970s, Warwick in the 1980s, and Status all-graphite basses in the 1990s.
Entwistle was on medication for a heart condition
Entwistle was on medication for a heart condition
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(CNN) — In “Rock Dreams,” writer Nik Cohn and artist Guy Peellaert’s slightly surreal history of rock ‘n’ roll, the early Who are summarized by means of a simple, fictional ledger.
On the credit side are the band’s gigs for the week, a couple hundred pounds for concerts at the Marquee Club and other venues in and around London. On the debit side are several hundred pounds of expenses for new guitars, microphones and drum kits, new clothes for guitarist Pete Townshend, repairs to vocalist Roger Daltrey’s car, and nightlife money for drummer Keith Moon.
And, at the bottom, is a debit for 1 pound, 17 shillings, 6 pence for bassist John Entwistle’s luncheon vouchers.
That was Entwistle: an oasis of personal, working-class quietude among the band’s chaotic sturm und drang.
Entwistle, 57, known as “Ox” or “Thunderfingers,” died at the Hard Rock Hotel and Casino in Las Vegas, Nevada, on Thursday, after suffering an apparent heart attack.
His death came just one day before the group was set to begin a North American tour. An autopsy is due to be held Friday to determine the cause of death.
CNN NewsPass VIDEO
CNN’s Tim Lister looks back on the career of bassist John Entwistle of The Who (June 28)
Play video
Fans at the Las Vegas Hard Rock Hotel Casino pay their respects (June 27)
MORE STORIES
• Who’s Entwistle dies
• Obituary: The quiet artist
• Entwistle tributes pour in
• Novel to go unpublished
EXTRA INFORMATION
Gallery: Memories and tributes
RESOURCES
EW.com: All About The Who
In Memoriam: John Entwistle
The group now has just two of its four original members — Roger Daltrey and Pete Townshend. Moon died in 1978 of a drug overdose.
Townshend and Daltrey posted a tribute to Entwistle on Townshend’s Web site Friday.
“The Ox has left the building — we’ve lost another great friend,” it read. “Thanks for your support and love. Pete and Roger.”
Entwistle was on medication for a heart condition, according to Steve Luongo, a member of The John Entwistle Band.
The Who’s scheduled concert at the Hard Rock on Friday was canceled, but the rest of the tour will apparently continue. On Friday, Townshend posted a message on his Web site that read, “We are going on. First show Hollywood Bowl. Pray for us John, wherever you are.”
The tour takes in more than 20 venues in various American states including New York, California, Indiana, Illinois, Colorado and Texas before finishing up in Cleveland, Ohio, on September 27.
‘Unique and irreplaceable’
While the spotlight focused on Daltrey’s microphone spinning, Townshend’s guitar windmilling and Moon’s cataclysmic drumming, Entwistle stood off to the side, his stolid, nimble-fingered presence anchoring the group.
With Townshend’s power chords effectively providing rhythm for the group, Entwistle’s intricate bass lines essentially provided the group’s melodic lead. On songs ranging from “My Generation” to “The Real Me” to “You Better You Bet,” he moved up and down the fretboard, providing bottom and filling the gaps between Townshend’s bursts of guitar.
In an interview with The Associated Press, longtime Rolling Stones’ bassist Bill Wyman described Entwistle as “the quietest man in private but the loudest man on stage. He was unique and irreplaceable,” he said.
“He just was the most humble rock star I have ever met, besides having the best hands of any bass player in the history of rock and roll,” rocker Sammy Hagar told the AP.
John Alec Entwistle was born October 9, 1944 — exactly four years after John Lennon — in Chiswick, London, England. He played brass instruments in his early years, and was often known to lend a French horn to Who songs.
Entwistle and Townshend were schoolboy friends, but didn’t play in a rock band together until Entwistle suggested his old friend to Roger Daltrey, then in a band called the Detours, in 1962. Moon joined the group the next year, and the group renamed itself The Who in 1964.
Songwriting prowess
The group became a key band for Britain’s Mod movement, and had its first British hit in 1965 with “I Can’t Explain.” By the end of the year they’d become a force on the UK scene, with “My Generation” going to No. 2.
The Who
The Who: From left, Roger Daltrey, Pete Townshend, John Entwistle and Keith Moon, in the 1970s.
Entwistle’s bass solo on that song took several takes, in large part because he kept breaking bass strings. The trebly strings were difficult to replace, and the story goes that Entwistle had to keep going out to buy new basses because he wasn’t allowed to buy the strings separately.
The Who finally broke through in the United States with “Happy Jack,” which made the Top 30, and “I Can See for Miles,” which hit the Top 10, both in 1967.
The band cemented its U.S. success with 1969′s “Tommy” album, and played Woodstock in August of that year. (The group had also played 1967′s Monterey Pop Festival, and taped a memorable appearance on “The Smothers Brothers Comedy Hour.”)
A critic once wrote that Entwistle had the misfortune of being a good songwriter in a band with a great one — Townshend — and his contributions to Who albums were only occasional. But Entwistle-penned songs such as “Boris the Spider,” “Cousin Kevin,” and “My Wife” were standouts on Who albums as well as being concert favorites.
Entwistle released nine albums, solo and with his band Ox. He also formed The John Entwistle Band, while continuing to play with The Who.
The Who were inducted into the Rock and Roll Hall of Fame in 1990.
‘It’s just devastating’
Entwistle was also a talented artist. He created the cover for The Who’s 1975 “The Who By Numbers” album, and an art exhibition featuring his work at Grammy’s Art of Music Gallery was due to open in Las Vegas on Thursday.
The gallery’s assistant manager, Diana Tabor, said staff and fans were in a state of shock.
“I’m emotionally distraught just now, it’s just devastating. I just had to break the news to a client who broke down in tears,” she said.
“The entire Who family is terribly saddened by John’s passing. Our deepest sympathies go out to his family, friends and the millions of Who fans the world over,” said Bill Curbishley, The Who’s manager.
Entwistle was married twice and has one son from his first marriage, Christopher.
Outside The Joint in Las Vegas, where the concert was scheduled, fans like Lauren J. Hammer, 35, of Boulder, Colorado, gathered in front of a growing collection of flower bouquets and a large British flag, the AP reported. She held her Colorado license plate that read “WHO R U” and business cards that stated “Who Fan Extraordinaire.”
The casino played the band’s songs, and the hotel changed its marquee from a concert promotion to a memorial reading, “John Entwistle. 1944-2002. You will be missed by all.”
2001 – Bluesman John Lee Hooker, believed to be 83, dies of natural causes at his home in Los Altos, Calif. The singer/guitarist began his career in 1949, when his Modern Records single “Boogie Chillen” became a No. 1 R&B hit.
Lyrics:
Boom boom boom boom
I’m gonna shoot you right down,
right offa your feet
Take you home with me,
put you in my house
Boom boom boom boom
A-haw haw haw haw
Hmmm hmmm hmmm hmmm
Hmmm hmmm hmmm hmmm
I love to see you strut,
up and down the floor
When you talking to me,
that baby talk
I like it like that
Whoa, yeah!
Talk that talk, walk that walk
When she walk that walk,
and talk that talk,
and whisper in my ear,
tell me that you love me
I love that talk
When you talk like that,
you knocks me out,
right off of my feet
Hoo hoo hoo
Talk that talk, and walk that walk
John Lee Hooker (August 22, 1917 – June 21, 2001) was an influential American post-war blues singer, guitarist, and songwriter born in Coahoma County near Clarksdale, Mississippi. From a musical family, he was a cousin of Earl Hooker. John was also influenced by his stepfather, a local blues guitarist, who learned in Shreveport, Louisiana to play a droning, one-chord blues that was strikingly different from the Delta blues of the time. John developed a half-spoken style that was his trademark. Though similar to the early Delta blues, his music was rhythmically free. John Lee Hooker could be said to embody his own unique genre of the blues, often incorporating the boogie-woogie piano style and a driving rhythm into his masterful and idiosyncratic blues guitar and singing. His best known songs include “Boogie Chillen” (1948) and “Boom Boom” (1962).
Biography
Early life
Hooker was born on August 22, 1917 in Coahoma County near Clarksdale, Mississippi, the youngest of the eleven children of William Hooker (1871–1923), a sharecropper and a Baptist preacher, and Minnie Ramsey (1875–?). Hooker and his siblings were home-schooled. They were permitted to listen only to religious songs, with his earliest musical exposure being the spirituals sung in church. In 1921, his parents separated. The next year, his mother married William Moore, a blues singer who provided John’s first introduction to the guitar (and whom John would later credit for his distinctive playing style). The year after that (1923), John’s natural father died; and at age 15, John ran away from home, never to see his mother and stepfather again.
Throughout the 1930s, Hooker lived in Memphis where he worked on Beale Street and occasionally performed at house parties. He worked in factories in various cities during World War II, drifting until he found himself in Detroit in 1948 working at Ford Motor Company. He felt right at home near the blues venues and saloons on Hastings Street, the heart of black entertainment on Detroit’s east side. In a city noted for its piano players, guitar players were scarce. Performing in Detroit clubs, his popularity grew quickly, and seeking a louder instrument than his crude acoustic guitar, he bought his first electric guitar.
Career
Hooker’s recording career began in 1948 when his agent placed a demo disc, made by Hooker, with the Bihari brothers, owners of the Modern Records label. The company initially released an up-tempo number, “Boogie Chillen”, which became Hooker’s first hit single. Though they were not songwriters, the Biharis often purchased or claimed co-authorship of songs that appeared on their labels, thus securing songwriting royalties for themselves, in addition to their streams of income.
Sometimes these songs were older tunes renamed (B.B.King’s “Rock Me Baby”), anonymous jams (“B.B.’s Boogie”) or songs by employees (bandleader Vince Weaver). The Biharis used a number of pseudonyms for songwriting credits: Jules was credited as Jules Taub; Joe as Joe Josea; and Sam as Sam Ling. One song by John Lee Hooker, “Down Child” is solely credited to “Taub”, with Hooker receiving no credit for the song whatsoever. Another, “Turn Over a New Leaf” is credited to Hooker and “Ling”.
Despite being illiterate, Hooker was a prolific lyricist. In addition to adapting the occasionally traditional blues lyric (such as “if I was chief of police, I would run her right out of town”), he freely invented many of his songs from scratch. Recording studios in the 1950s rarely paid black musicians more than a pittance, so Hooker would spend the night wandering from studio to studio, coming up with new songs or variations on his songs for each studio. Due to his recording contract, he would record these songs under obvious pseudonyms such as “John Lee Booker”, “Johnny Hooker”, or “John Cooker.”
His early solo songs were recorded under Bernie Besman. John Lee Hooker rarely played on a standard beat, changing tempo to fit the needs of the song. This often made it difficult to use backing musicians who were not accustomed to Hooker’s musical vagaries: As a result, Besman would record Hooker, in addition to playing guitar and singing, stomping along with the music on a wooden pallet. For much of this time period he recorded and toured with Eddie Kirkland, who is still performing as of 2008. Later sessions for the VeeJay label in Chicago used studio musicians on most of his recordings, including Eddie Taylor, who could handle his musical idiosyncrasies very well. His biggest UK hit, “Boom Boom”, (originally released on VeeJay) had a horn section to boot!
He appeared and sang in the 1980 movie The Blues Brothers. Due to Hooker’s improvisatory style, his performance was filmed and sound-recorded live at the scene at Chicago’s Maxwell Street Market, in contrast to the usual “playback” technique used in most film musicals. Hooker was also a direct influence in the look of John Belushi’s character Jake Blues, borrowing his trademark sunglasses and soul patch.
In 1989, he joined with a number of musicians, including Keith Richards, Carlos Santana and Bonnie Raitt to record The Healer, for which he and Carlos Santana won a Grammy Award. Hooker recorded several songs with Van Morrison, including “Never Get Out of These Blues Alive”, “The Healing Game” and “I Cover the Waterfront”. He also appeared on stage with Van Morrison several times, some of which was released on the live album A Night in San Francisco. The same year he appeared as the title character on Pete Townshend’s The Iron Man: A Musical.
Hooker recorded over 100 albums. He lived the last years of his life in the San Francisco Bay Area, where, in 1997, he opened a nightclub called “John Lee Hooker’s Boom Boom Room”, after one of his hits.
He fell ill just before a tour of Europe in 2001 and died soon afterwards at the age of 83. The last song Hooker recorded before his death, is “Ali D’Oro”, a collaboration with the Italian soul singer Zucchero, in which Hooker sang the chorus “I lay down with an angel”. He was survived by eight children, nineteen grandchildren, numerous great-grandchildren and a nephew.
Among his many awards, Hooker has a star on the Hollywood Walk of Fame and in 1991 he was inducted into the Rock and Roll Hall of Fame. Two of his songs, “Boogie Chillen” and “Boom Boom” were named to the list of The Rock and Roll Hall of Fame’s 500 Songs that Shaped Rock and Roll. “Boogie Chillen” was included as one of the Songs of the Century. He was also inducted in 1980 into the Blues Hall of Fame. In 2000, Hooker was awarded the Grammy Lifetime Achievement Award.
Music
Hooker’s guitar playing is closely aligned with piano Boogie Woogie. He would play the walking bass pattern with his thumb, stopping to emphasize the end of a line with a series of trills, done by rapid hammer-ons and pull-offs. The songs that most epitomize his early sound are “Boogie Chillen”, about being 17 and wanting to go out to dance at the Boogie clubs, “Baby Please Don’t Go”, a blues standard first recorded by Big Joe Williams, and “Tupelo Blues”, a stunningly sad song about the flooding of Tupelo, Mississippi in April 1936.
He maintained a solo career, popular with blues and folk music fans of the early 1960s and crossed over to white audiences, giving an early opportunity to the young Bob Dylan. As he got older, he added more and more people to his band, changing his live show from simply Hooker with his guitar to a large band, with Hooker singing.
His vocal phrasing was less closely tied to specific bars than most blues singers’. This casual, rambling style had been gradually diminishing with the onset of electric blues bands from Chicago but, even when not playing solo, Hooker retained it in his sound.
Though Hooker lived in Detroit during most of his career, he is not associated with the Chicago-style blues prevalent in large northern cities, as much as he is with the southern rural blues styles, known as delta blues, country blues, folk blues, or “front porch blues”. His use of an electric guitar tied together the Delta blues with the emerging post-war electric blues.
His songs have been covered by The White Stripes, MC5, The Doors, George Thorogood, Jimi Hendrix, Led Zeppelin, Van Morrison, The Yardbirds, The Animals, R. L. Burnside, the J. Geils Band and The Jon Spencer Blues Explosion.
Awards and Recognition
* A Star on the Hollywood Walk of Fame
* Inducted into the Blues Hall of Fame in 1980
* Inducted into the Rock and Roll Hall of Fame in 1991
Grammy Awards:
* Best Traditional Blues Recording, 1990 for “I’m in the Mood” (with Bonnie Raitt)
* Best Traditional Blues Recording, 1998 for Don’t Look Back
* Best Pop Collaboration with Vocals, 1998, “Don’t Look Back” (with Van Morrison)
* Grammy Lifetime Achievement Award in 2000
* Two of his songs, “Boogie Chillen” and “Boom Boom” were named to the list of The Rock and Roll Hall of Fame’s 500 Songs that Shaped Rock and Roll. “Boogie Chillen” was included as one of the Songs of the Century.
Quotes
* “It don’t take me no three days to do no album.” (during the recording of the double album Hooker ‘N’ Heat with Canned Heat.)
* “I don’t play a lot of fancy guitar. I don’t want to play it. The kind of guitar I want to play is mean, mean licks.” (when describing his own music in an article from The Daily News, Atlanta, Ga. 1992)
* “Women are like wet bars of soap. Hold on to em too hard and they pop outta your hands.” (as spoken to Randy Wilkinson in New Orleans 1983, friend and road manager)
* “His [Grateful Dead keyboardist/singer Ron 'Pig Pen' McKernan's] wife can cook but Pig can’t cook, I told him ‘Man, I can’t eat your cookin’.” (during the recording of Hooker ‘N Heat.)
* “Elvis Presley – one of the greatest people ever been born.”
Discography
Singles
Hooker issued a large number of singles, with almost a hundred releases by 1960.
Here are ten of his early classic recordings:
* Detroit September 1948 – Boogie Chillen’ – Modern 627 (11/48) R&B #1 (Crown LP “The Blues”)
* Detroit September 1948 – Hobo Blues – Modern 663 (3/49) R&B #5 (Crown LP “The Blues”)
* Detroit September 1948 – Crawling King Snake – Modern 715 (10/49) R&B #6 (Crown LP “The Blues”)
* Detroit August 7, 1951 – I’m In the Mood – Modern 835 (9/51) R&B #1 (Crown LP “The Blues”)
* Detroit Early 1955 – The Syndicator b/w Hug And Squeeze – Modern 966 (8/55) (Crown LP “Sings The Blues”)
* Chicago March 17, 1956 – Dimples – Vee-Jay 205 (8/56) (VJ LP “I’m John Lee Hooker”)
* Chicago June 10, 1958 – I Love You Honey – Vee-Jay 293 (9/58) R&B #29 (VJ LP “I’m John Lee Hooker”)
* Chicago March 1, 1960 – No Shoes – Vee-Jay 349 (4/60) R&B#21 (VJ LP “Travelin’”)
* Chicago Late 1961 – Boom Boom – Vee-Jay 438 (4/62) R&B #16 (VJ LP “Burnin’”)
* Chicago Mid 1964 – It Serves Me Right (To Suffer) – Vee-Jay 708 (11/65) (VJ/Dynasty LP “In Person”)
Albums
There are many John Lee Hooker albums out there. Below you will find the original albums with notable reissues.
THE DETROIT YEARS (recordings 1948-1955)
* 1960 – The Blues (Crown) – reissued on United, also as “The Greatest Hits” (Kent, 1971) Modern tracks
* 1960 – House Of The Blues (Chess) 1951-52 tracks
* 1961 – Sings The Blues (Crown) – reissued on United, also as “Driftin’ Thru The Blues” (Custom) Modern tracks
* 1961 – Plays And Sings The Blues (Chess) 1950-52 tracks
* 1961 – Sings Blues (King) – reissued as “Moanin’ and Stompin’”, and “Don’t You Remember Me” (Charly) Texas Slim 1948-50 tracks
* 1962 – Folk Blues (Crown) – reissued on United (Modern tracks)
* 1963 – The Great John Lee Hooker (Crown) – reissued as “The Great Blues Sounds of” (United) Modern tracks
* 1963 – Don’t Turn Me from Your Door – John Lee Hooker Sings His Blues (Atco) 1953 and 1961
* 1963 – Big Maceo Merriweather / John Lee Hooker (Fortune) 1/2 of an LP
* 1964 – Original Folk Blues (Kent) Modern compilation – reissued on United
* 1967 – John Lee Hooker & his Guitar (Advent) British bootleg; early tracks
* 1969 – No Friend Around (Red Lightnin’) early tracks, bootleg compilation
* 1970 – Alone (Specialty) 1949-1951 tracks
* 1971 – Goin’ Down Highway 51 (Specialty) 1949-1951 tracks
* 1972 – Coast to Coast Blues Band – Anywhere Anytime Anyplace (United Artists) 1948-1952 tracks
* 1972 – Johnny Lee (Greene Bottle) early Besman alternates (not issued on CD)
* 1973 – Hooker, Hopkins, Hogg (Specialty) half an LP of 1954 recordings
* 1973 – Slim’s Stomp (Polydor) King’s “Sings Blues” plus bonus tracks
* 1973 – John Lee Hooker’s Detroit (United Artists) Besman alternate 1948-1952 tracks
* 1973 – Mad Man Blues (Chess) compilation 1950s and 1966
* 1979 – Southern Blues (Savoy) 1948 tracks on half an LP
* 1981 – Blues For Big Town (Chess) compilation featuring unissed early 1950s
* 1987 – Gotham Golden Classics – Rare Recordings (Collectables) 1951-52 tracks – also issued as “Detroit Blues, 1950-51″ (Krazy Kat with bonus tracks)
* 1989 – 40th Anniversary Album (DCC) – also issued on Demon as “The Detroit Lion” (compilation of early tracks)
* 1990 – Boogie Awhile (Krazy Kat) unissued early Elmer Barbee recordings
* 1999 – Savoy Blues Legends, 1948-1949 (SavoyJazz/Atlantic) – reissued on Savoy (Elmer Barbee recordings)
* 2000 – The Unknown John Lee Hooker (Krazy Kat, 1951 tracks) – reissued as “Jack 0′Diamonds” (Eagle, 2004)
THE CHICAGO YEARS (recordings 1955-1964)
* 1959 – I’m John Lee Hooker (Vee Jay 1955-1959)
* 1960 – Travelin (Vee Jay)
* 1961 – The Folk Lore of John Lee Hooker (Vee Jay)
* 1962 – Burnin’ (Vee Jay)
* 1962 – The Big Soul of John Lee Hooker (Vee Jay)
* 1962 – The Best of John Lee Hooker (Vee Jay) – compilation
* 1962 – Gold (Vee Jay) – compilation
* 1963 – John Lee Hooker On Campus (Vee Jay) – reissued as “Big Band Blues” (Buddah)
* 1965 – … And Seven Nights (Verve-Folkways) British recordings of 1964 (re-issued with brass overdub as “On The Waterfront” on Wand) – and reissued in several versions later
* 1965 – Is He The World’s Greatest Blues Singer? (Vee Jay) compilation – reissued on Exodus
* 1974 – In Person (VeeJay/Dynasty) late Vee-Jay tracks
* 1993 – John Lee Hooker on Vee-Jay 1955-1958 (VeeJay) compilation
THE FOLK YEARS (recordings 1959-1963)
* 1959 – The Country Blues of John Lee Hooker (Riverside) – reissued as “How Long Blues” (Battle, 1963)
* 1960 – That’s My Story – JLH Sings the Blues (Riverside) – reissued as “The Blues Man” (Battle, 1963)
* 1962 – John Lee Hooker (Galaxy) – reissued as “The King of Folk Blues” (America)
* 1963 – Live At Sugar Hill (Galaxy)
* 1964 – Burning Hell (Riverside) recorded 1959
* 1964 – Concert At Newport (Vee Jay) – reissued with bonus tracks as “Live At Newport” (Fantasy)
* 1966 – Teachin’ The Blues (Guest Star) half an LP of recordings from 1961
* 1969 – That’s Where It’s At! (Stax) recordings of 1961
* 1971 – Detroit Special (Atlantic) compilation (“Don’t Turn Me From Your Door” plus bonus tracks)
* 1972 – Boogie Chillun (Fantasy) (“Live at Sugar Hill” plus bonus tracks) – reissued on Ace as “Live at Sugar Hill Vol. 1 & 2″
* 1979 – Sittin’ Here Thinkin (Muse) – reissued as “Sad And Lonesome” (Savoy recordings of 1961)
* 2002 – Live At Sugar Hill, Vol. 2 (Fantasy) unissued recordings from 1961 (featuring a “third session”)
THE ABC YEARS (recordings 1965-1974)
* 1966 – It Serves You Right To Suffer (Impulse)
* 1966 – The Real Folk Blues (Chess) new Chicago recordings
* 1967 – Live at the Cafè Au Go-Go (Bluesway)
* 1968 – Urban Blues (Bluesway)
* 1969 – Simply The Truth (Bluesway)
* 1969 – If You Miss ‘Im … I Got ‘Im (Bluesway)
* 1969 – On The Waterfront (Wand) (… And Seven Nights” with brass overdub)
* 1970 – I Wanna Dance All Night (America) Europe recordings – reissued with the next as “Black Rhythm & Blues” (Festival)
* 1970 – I Feel Good (Carson) Europe recordings – reissued on Jewel (1972)
* 1971 – Endless Boogie (ABC)
* 1971 – Get Back Home In The USA (Black & Blue) Europe recordings – reissued with bonus tracks as “Get Back Home”
* 1971 – Hooker ‘N’ Heat (Liberty) – reissued as “Infinite Boogie” (Rhino)
* 1972 – Never Get Out Of These Blues Alive (ABC)
* 1972 – Live at Kabuki Wuki (Bluesway)
* 1973 – Live At Soledad Prison (ABC)
* 1973 – Born In Mississippi, Raised Up In Tennessee (ABC)
* 1974 – Free Beer And Chicken (ABC)
* 1991 – More Real Folk Blues – The Missing Album (Chess) – also issued with “The Real Folk Blues” as “The Complete Chess Folk Blues Sessions”
THE ROSEBUD YEARS (recordings 1975-2001)
* 1976 – Alone Vol 1 (Labor) live – reissued on Tomato
* 1976 – Alone – Live in New York Vol 2 (MMG) – reissued on Tomato
* 1978 – Live + Well (Ornament)
* 1978 – The Cream (Tomato) live recordings – reissued with bonus tracks on Charly
* 1979 – Live in 1978 (Lunar)
* 1981 – Hooker ‘n’ Heat Recorded Live at the Fox Venice Theatre (Rhino, various artists)
* 1986 – Jealous (Pulsa) – reissued on Pointblank 1996 – and on Shout!Factory with bonus tracks
* 1989 – The Healer (Chameleon)
* 1990 – The Hot Spot (Featuring Miles Davis)
* 1991 – Mr. Lucky (Pointblank)
* 1992 – Boom Boom (Pointblank) – reissued on Shout!Factory with bonus tracks
* 1995 – Chill Out (Pointblank) – reissued on Shout!Factory with bonus tracks
* 1997 – Don’t Look Back (Pointblank/Virgin) – reissued on Shout!Factory with bonus tracks
* 1998 – The Best of Friends (Pointblank) compilation 1986-1998 incl one new track – reissued on Shout!Factory download with bonus track
* 2003 – Face to Face (Eagle) new recordings
Selected CD Compilations
* 1990 – That’s My Story/The Folk Blues of (Ace) – the two original Riverside LPs on one CD
* 1990 – That’s Where It’s At (Stax) reissue of Florida recordings from 1961
* 1991 – The Ultimate Collection 1948-1990 (Rhino 2CDbox)
* 1991 – Half A Stranger (Mainstream) Modern tracks 1948-1955 incl unedited masters
* 1991 – Free Beer And Chicken (BeatGoesOn/MCA) recorded 1974
* 1991 – Don’t Turn Me From Your Door (Atlantic/Atco) 1953 and 1961 (incl the bonus tracks)
* 1992 – Graveyard Blues (Specialty/Ace) 1948-1950 Besman/Sensation tracks
* 1992 – The Best of John Lee Hooker 1965 to 1974 (Universal) Impulse and ABC/Bluesway recordings
* 1993 – Everybody’s Blues (Specialty/Ace) Besman tracks of 1950-51 plus two 1954 sessions direct for Specialty
* 1993 – The Legendary Modern Recordings 1948-1954 (Flair/Ace) the original singles
* 1994 – The Boogie Man (Charly DIG 5) anthology box featuring 1948-1966 (excluding Modern)
* 1995 – Alternative Boogie – Early Studio Recordings, 1948-1952 (Capitol 3CD) Besman alternates
* 1996 – Live at the Café Au Go-Go (and Soledad Prison) (Universal) 1966 with Muddy Waters’ band and 1972
* 1998 – The Complete 50′s Chess Recordings (Chess 2CD) anthology featuring the tracks from “House of the Blues” and “Plays and Sings the Blues” (1951-52) plus several bonus tracks from Fortune 1954 incl “Blues For Big Town”
* 2000 – The Complete 1964 recordings (RPM) last Vee-Jay session 1964 plus British London recordings – the British tracks reissued with brass overdubs as “The London 1965 Sessions” on Sequel
* 2000 – I’m John Lee Hooker (Charly -with bonus tracks) his very first LP, 1955-1959 recordings – reissued on SNAP in 2003 and without bonus tracks on Shout!Factory in 2007
* 2000 – Travelin’ (Charly -with bonus tracks) the great LP session of 1960- reissued on SNAP in 2003
* 2000 – The Folk Lore of John Lee Hooker (Charly -with bonus tracks) his third VJ LP – reissued on SNAP in 2003
* 2000 – Burnin’ (Charly -with bonus tracks) the fourth VJ LP, 1962 – reissued on SNAP in 2003
* 2000 – The Complete – Vol. 1 1948-49 [Body & Soul 2CD]
* 2000 – The Complete – Vol. 2 1949 [Body & Soul 2CD]
* 2001 – The Complete – Vol. 3 1949-50 [Body & Soul 2CD]
* 2001 – House Rent Boogie (Ace) Modern compilation of rare early 1950s recordings
* 2001 – Testament – 3CDbox featuring some of the very best Vee-Jay recordings (Charly/Snapper)
* 2002 – The Complete – Vol. 4 1950-51 [Body & Soul 2CD]
* 2002 – The Real Folk Blues/More Real Folk Blues (Chess) 1966 recordings; reissue of the 1991 CD “The Complete Chess Folk Blues Sessions”
* 2003 – Boogie Chillen’ (Audio Fidelity) 1949 – 1952 Besman and Siracuse (engineer) compilation
* 2003 – Blues Kingpins – Blues Immortal (Virgin) 1948-1955 Modern anthology
* 2004 – Early Years – The Classic Savoy Sessions (Metro Doubles 2CD) recorded 1948 and 1961 – comprising the tracks from “Savoy Blues Legends” (Savoy in 1999 and 2003) and the 1961 Savoy recordings from “Sittin’ Here Thinkin’” (32Blues in 2004 with the bonus track)
* 2004 – I’m A Boogie Man (Varése Sarabande) Vintage 1948 – 1953 Texas Slim and John Lee Booker (King/DeLuxe tracks featuring all the King singles)
* 2004 – The Complete – Vol. 5 1951-53 [Body & Soul 2CD]
* 2005 – The Complete – Vol. 6 1953-54 [Body & Soul 2CD]
* 2006 – Hooker (a terrific 4CD Box chronological anthology covering his whole career) (Shout!Factory)
* 2006 – The Boogie Man 1948 – 1955 (Charly 4 CDBox) – not identical to Charly’s rare CD DIG 5 (but this time also featuring Modern recordings)
* 2007 – Gold (Hip-O Select 2CD) 1948-2001 chronological anthology
2000 – ‘You’re the One,’ Paul Simon’s ninth solo album (excepting compilations and concert discs), is released. It is his first album of songs not tied to a larger conceptual framework since 1983′s ‘Hearts and Bones.’
2000 – The recording industry asks Congress to repeal the “work for hire” amendment. Sheryl Crow and Don Henley had been among those artists complaining that the law prevented them from ever owning their masters.
As they say in the music business, “It all begins with a song.”1 This is true from a commercial perspective, as it would be difficult to record albums, film videos, license music for video games, sell sheet music, or promote concerts without the basic building block of the musical composition. It is also true on the metaphysical level, because the organization of sounds into compositional form creates the necessary order that distinguishes music from noise.3 Yet despite the centrality of the song, for legal purposes it is difficult to answer the question, “What is a song?” Or, to use a less colloquial term, “What is a musical work?”4 There is no definition of “musical work” in the Copyright Act.5 Black’s Law Dictionary is similarly unavailing.6 Not surprisingly, judicial interpretations of the term have been inconsistent.
Thus, when listening to a recorded song, it is hard to know which aural sensations are protected by the composition’s copyright and which are not.8 The original lyrics and vocal melody, to the extent they satisfy the requisite level of creativity, are generally protected as part of the musical composition.9 However, the degree of protection afforded unique instrumental figures (i.e., “riffs”10) played by session musicians or band members is less clear. Record producers often create or influence the instrumental parts played by recording artists, and they implement sound manipulation techniques in the recording studio that give a recorded composition its unique character.11 Are the producer’s contributions part of the musical composition?12 Many judges believe that, for purposes of copyright protection, a “musical work” is comprised primarily of melody and lyrics.13 This belief probably stems from the 1909 Copyright Act requirement that musical works be documented in written notation and filed with the Copyright Office to obtain copyright protection. However, that requirement was not included in the 1976 Copyright Act.14 The problem with this judicial belief is that the “melody and lyrics” conception of musical works is archaic when applied to contemporary popular music.15 In popular music, sound manipulation is often as important as melody for establishing the originality of a composition.16 Furthermore, a restrictive view of musical works ignores the collaborative process through which much popular music is composed today. Musicians often compose in the studio while recording. In those situations, the sound recording is the first fixation of the composition and the definitive guide as to what constitutes the “musical work.”17
Accordingly, it is more difficult to parse the distinct musical composition and sound recording copyrights than is often suggested. One commentator summarized the changes in record production and music composition over the past fifty years as follows: Originally, the aim of recordings was to create the illusion of a concert hall setting. The idea was to bring to the living room the sensation of being at a live performance . . . . Rock and the many subgenres it has spawned are a different story: timbre and rhythm are arguably the most important aspects of this music. Generally, nothing beyond a lyric sheet and possibly a few chord changes is written down; the recording of a song functions as its score, its definitive version. . . . For rock and pop, the interest generally lies not in virtuosity or harmonic complexity, but in a mood, an atmosphere, an unusual combination of sounds . . . .19 Unfortunately, copyright law has not adapted to these changes in compositional norms.20 Thus, copyright law does not consistently protect the many artists that contribute to the creation of musical compositions. This Note analyzes the scope of the musical work copyright in light of current popular music composition and production practices to reveal copyright’s fundamentally unfair treatment of record producers to those record producers and side musicians who are not credited as authors of the musical composition as “secondary contributors.” This designation distinguishes them from those authors who explicitly receive musical composition authorship credit, who are referred to as “primary contributors.”21 The term “side musician” refers to any musician who performs on the recorded version of a musical composition but is not credited as a composer of such composition. This designation encompasses both session musicians, who are paid a fee to perform on the recording but have no formal affiliation with the performer featured on the recording,22 and members of a band who are not credited as composers of a composition recorded by that group.23 This Note focuses on the treatment of secondary contributors. Their work, while significant in the artistic sense and relied on by primary contributors to prove infringement, is often judged insufficient to garner legal authorship credit in the musical composition. This Note argues that current copyright jurisprudence allows primary contributors to free ride on the contributions of secondary contributors by subsuming the contributions of the latter to the recorded version of the composition into the copyright of the composition itself.
Specifically, courts more narrowly construe the scope of musical works when secondary contributors bring claims for joint authorship against primary contributors than when primary contributors claim copyright infringement by third parties. Because this inconsistency has not been examined in detail, if it has been discussed at all, primary contributors have been able to expand the scope of their protectable expression through the creative efforts of secondary contributors without necessarily compensating such secondary contributors for this broadened monopoly. Part II of this Note provides a background on relevant copyright law principles. Part III discusses contemporary industry practices in music composition, production, and recording, including the respective roles of record producers and side musicians, to explicate the collaborative nature of contemporary music composition. With these industry practices in mind, Part IV examines the current ambiguity surrounding the scope of the musical work copyright, which has resulted from the absence of a statutory definition and the elimination of any requirement that musical compositions be reduced to written notation to obtain copyright protection.24 Part V addresses courts’ disparate treatment of musical works in joint authorship and copyright infringement cases and argues that this inconsistent treatment short-changes secondary contributors while unfairly enriching primary contributors. Finally, Part VI argues for both the adoption of a “musical work” definition that includes all non de minimis contributions of expression made by secondary contributors and the wider adoption of the Nimmer Rule for joint authorship claims, so that contributions need not be independently copyrightable for secondary contributors to obtain joint authorship. These changes would ensure that record producers and side musicians are more fairly recognized and compensated for their work. II. LEGAL BACKGROUND The Copyright Act protects “original works of authorship fixed in any tangible medium of expression.”25 The Act specifically protects two distinct copyrights evident in the recorded version of a musical composition: the copyright in the underlying musical work26 and the copyright in the sound recording of the specific performance of the work.27 While this Note deals primarily with the contours of the musical work copyright, an understanding of how the musical work copyright interacts with the sound recording copyright is crucial.
This Part first describes the nature of these two independent yet related copyrights. Next, it provides some legal background on both copyright infringement and joint authorship doctrines. A. Distinct Copyrights for Musical Compositions and Sound Recordings The Copyright Act includes “musical works, including any accompanying words” as copyrightable subject matter.28 The term “musical works” is not defined in the Act; legislative history indicates that Congress believed it had a “fairly settled meaning[].”29 Unfortunately, the legislative history provides no further elaboration,30 and courts have adopted varying interpretations. Some courts adhere to the simplistic notion that a musical composition is merely “melody and lyrics.”31 Other courts take a slightly broader view, including rhythm and harmony in addition to melody and lyrics.32 However, as discussed below, both of these definitions are underinclusive given the realities of contemporary popular music production and composition.33 As a third approach, one court has said that “a musical composition’s copyright protects the generic sound that would necessarily result from any performance of the piece.”34 This definition encapsulates the theory of the musical work copyright and its distinction from the sound recording copyright. However, it still does not indicate which sonic elements expressed in the recording are included within the musical composition. The logic of this putative definition is circuitous, because it merely begs the question: Which sounds would result from any performance and which are unique to the specific performance captured by the sound recording? This court’s attempt at a definition does little to answer that more fundamental question.
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