Rock History

On This Day in Rock History: February 7

Jun 20

1955 – Van Halen bassist Michael Anthony…FEATURED

Posted in 1950s, Bands/Artists that Rock, Bassists, Billboard charts, Bio, Birthdays, Chart Toppers, Classic, Composers & Songwriters, General, Gold, Guitarists, Industry, Platinum, Rock n Roll Hall of Fame (honoured diety) | 2 Comments »

1955 – Van Halen bassist Michael Anthony is born in Chicago.

Michael Anthony Sobolewski (born June 20, 1954) is an American musician. He is best known as the former bassist and a founding member of the hard rock band Van Halen. Anthony joined the band in 1974 and was their official recording and performing bassist for most of their career until he was replaced by Wolfgang Van Halen, son of fellow founding member Eddie Van Halen, after the band’s 2004 tour.

Anthony is known for his stage antics, his effects-laden live solos, and his number of custom-made bass guitars including a Jack Daniel’s model shaped like a whiskey bottle. He also has a signature Yamaha bass guitar series. In total, Anthony is known to have in excess of 150 bass guitars. In addition to his musical career with Van Halen and other acts, Anthony markets a line of hot sauces and related products named Mad Anthony.

Anthony has been married to his wife Sue since 1981 and they have two daughters: Taylor (born 1991) and Elisha (born 1985). Anthony now lives in Glendora, California and can be frequently seen driving his prized hot rods.

Biography

Early life (1954–1966)

Anthony was born in Chicago, Illinois, USA to Polish immigrant parents, and was one of five siblings (Nancy, Michael, Steve, Robert and Dennis). He later moved to California where he attended Arcadia High School, graduating in 1972. He developed his interest in music in childhood, playing the trumpet. He became interested in playing mainly rock, blues, and jazz, taking after his father Walter.

Musical career begins (1967–1974)

While Anthony was a promising catcher in baseball, he also competed on the Dana Junior High School track team (long jump) and played in the marching band there from 1967–1969. He took an interest in guitar as a teenager, but picked up the bass instead since most of his other friends already played guitar or drums. Anthony’s friend Mike Hershey gave him a Fender Mustang electric guitar that Anthony converted by removing its top two strings and playing it as a bass guitar. Eventually, his father bought him a Victoria copy of a Fender Precision Bass and a Gibson amplifier. Anthony modeled his bass playing after Led Zeppelin’s John Paul Jones mostly, but also admired Jack Bruce of Cream, and Harvey Brooks of Electric Flag. His main interest in life was music once he left high school. His first band was called Poverty’s Children. Other bands he played in included Black Opal, Balls and Snake. Although Anthony is naturally left-handed, he plays right-handed.

Snake, a three-piece group featuring Anthony on lead vocals and bass guitar, was the last band Mike played in before joining Van Halen. Snake played covers of ZZ Top, Lynyrd Skynyrd, and Foghat, along with some original songs. They played a lot of the same types of gigs as did the Van Halen brothers’ band Mammoth. Snake even opened for Mammoth at a show at Pasadena High School one night. Mammoth’s PA failed that night, so Anthony lent them Snake’s PA.

While attending Pasadena City College, Mike pursued a degree in music. Alex Van Halen took classes there too and they would often see each other on campus. During this time, Mark Stone was kicked out of Mammoth and the Van Halens decided to audition Anthony to be their new bassist. Anthony was impressed by their skill during subsequent jam sessions even though he had seen the brothers play before. After the session, the Van Halen brothers asked Anthony to join the their band. He said he had to think about it and consulted Snake guitarist Tony Codgen who advised Anthony to go ahead with joining Van Halen. However, according to Michael Anthony’s web site, when asked if he wanted to join Van Halen, Anthony immediately said yes, that there was no consulting with anyone.

Van Halen (1974–1996)

Main article: Van Halen

In 1974, Eddie Van Halen, Alex Van Halen along with David Lee Roth and Michael Anthony became known as Van Halen, dropping the name Mammoth because they discovered that another local band was using that moniker. They were signed to Warner Brothers in 1977 and released their self titled debut album on February 8, 1978. Anthony’s bass lines and high vocal harmonies became a distinctive part of the Van Halen sound. The band released a total of ten studio albums from 1978–1995, along with a live album and a compilation CD in 1996 that featured two previously unreleased songs. Despite the Van Halen brothers falling out with both their vocalists frequently (David Lee Roth in 1985, 1996, 2000 and 2001 and Sammy Hagar in both 1996 and 2004), Anthony maintained positive relationships with all of the musicians.

Diminishing role with Van Halen and side projects (1996–2003)

As early as 1996, rumors periodically surfaced that Anthony had been fired from Van Halen. Despite claims to the contrary and his continued work with the band, these persisted until his final departure.

Anthony’s involvement in the 1998 album Van Halen III was less than for previous albums. Anthony performed on only three songs; Eddie Van Halen recorded the others. Anthony is credited as a songwriter for the album along with the rest of the band as is always the case for Van Halen albums. Anthony performed with the band for the 1998 tour, and was credited for messages from the band thereafter. He participated in the band’s three reunion attempts with David Lee Roth from 2000 through 2001. Anthony’s name was also credited in a few band newsletters during this time, and he appeared in band interviews. Sometime after this, however, Anthony disappeared from public view until the 2004 reunion.

In interviews, Eddie and Alex Van Halen suggested they were jamming and writing/recording new material during this time period but appeared to be working without Anthony.

Anthony began periodic appearances with Sammy Hagar during his solo tours. He usually played as part of The Waboritas, Hagar’s band. During 2002′s David Lee Roth/Sammy Hagar tour, both Michael Anthony and ex-Van Halen vocalist Gary Cherone make guest appearances at concerts, sometimes together. Anthony never performed during Roth’s segment however.

In 2002, Anthony, Hagar, Neal Schon, Deen Castronovo, and Joe Satriani formed the “supergroup” Planet Us and Anthony began making more frequent performances at Sammy Hagar concerts. Planet US recorded two songs, one of which was intended for the Spider-Man soundtrack but ultimately did not make the album. The band did perform the unreleased song Vertigo on the Internet radio show RockLine.

Van Halen reunion (2003–2005)

Initially when Eddie and Alex asked Hagar to rejoin at the end of 2003 for a 2004 tour, the plan was not to invite Anthony back. Hagar, however, refused to perform if Anthony did not rejoin, and Anthony agreed to play but on a reduced royalties contract. The contract drawn up was for the duration of the tour only, with his role within the band resting in the hands of the Van Halen brothers thereafter. Throughout this time, and during the Van Halen III period, the public was unaware of Anthony’s tenuous status within the band and was led to believe that he was still a full-time member.

In 2004, Van Halen released the compilation album The Best of Both Worlds which included three new songs. Anthony did not participate in the writing and recording of the new songs and was not credited on the album for the new material.[1]

Anthony now states in media interviews that he has not spoken to the Van Halen brothers since the 2004 tour. He has also speculated that since the brothers were not pleased with Hagar’s commercial ventures such as the Cabo Wabo product line, their similar displeasure with Anthony’s hot sauce brand may have caused the rift that ultimately separated Hagar and Anthony from the band.[2]

Departure from Van Halen and recent projects (2006–present)

Anthony spent the Summer of 2006 touring as a member of The Other Half during a segment of the Sammy Hagar and the Waboritas tour. The Other Half featured Anthony and Hagar performing classic Van Halen songs from both the Roth and Hagar periods.

On September 8, 2006, Eddie Van Halen announced that his son, Wolfgang, was replacing Michael Anthony as Van Halen’s bass player. On February 2, 2007, it was announced that Van Halen was reuniting for a tour with original vocalist David Lee Roth. The tour began on September 27, 2007. Anthony commented that he heard about his replacement “on the Internet” and stated, “I’m a little miffed that they’re calling it a Van Halen reunion. If I was dead and they needed someone to play, that’s one thing, but to me this is not a reunion.”[3]

Anthony surprised his former bandmate and good friend Sammy Hagar on live national TV on February 25, 2007. During a pre-race performance for the California race on FOX television, the bassist jumped onstage and joined Sammy Hagar during a performance of “I Can’t Drive 55″. Hagar could only respond “Michael Anthony’s in the house.”

Michael Anthony and Sammy Hagar were the only members, former or current, to appear at Van Halen’s induction into the Rock and Roll Hall of Fame on March 12, 2007. Eddie Van Halen was in rehab at the time, and Alex Van Halen and David Lee Roth declined to appear.[4]

Anthony is currently developing a side project called “Chickenfoot” with Sammy Hagar, Red Hot Chili Peppers drummer Chad Smith and guitarist Joe Satriani, which will include a yet unnamed studio album release. He has also recently established a band named the Mad Anthony Xpress that will tour with Hagar in 2007 and 2008.

From Wikipedia

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Jun 18

1942 – Paul McCartney is born in Liverpool, Englan…

Posted in 1940s, Bands/Artists that Rock, Bassists, Billboard charts, Bio, Birthdays, Chart Toppers, Classic, Composers & Songwriters, General, Gold, Guitarists, Industry, Off the Hook, Rock n Roll Hall of Fame (honoured diety), Singers, TV, Movies, Radio, Internet, & itunes | 7 Comments »

1942 – Paul McCartney is born in Liverpool, England. The Beatles have 20 No. 1 songs, more than any other recording act, and McCartney by himself or in duets has another nine. His biggest post-Beatles hits are “Ebony and Ivory,” a duet with Stevie Wonder that stays at No. 1 for seven weeks, and “Say Say Say,” a duet with Michael Jackson that tops the pop chart for six weeks.
Sir James Paul McCartney, MBE (born 18 June 1942) is an English rock singer, bass guitarist, songwriter, composer, multi-instrumentalist, entrepreneur, record producer, film producer and animal-rights activist. He gained worldwide fame as a member of The Beatles, with John Lennon, George Harrison, and Ringo Starr. Stuart Sutcliffe and Pete Best had previously played with the group, before Starr was asked to join. McCartney and Lennon formed one of the most influential and successful songwriting partnerships and “wrote some of the most popular music in rock and roll history”. After leaving The Beatles, McCartney launched a successful solo career and formed the band Wings with his first wife, Linda Eastman McCartney, and singer-songwriter Denny Laine. He has worked on film scores, classical music, and ambient/electronic music; released a large catalogue of songs as a solo artist; and taken part in projects to help international charities.

McCartney is listed in Guinness World Records as the most successful musician and composer in popular music history, with 60 gold discs and sales of 100 million singles. His song “Yesterday” is listed as the most covered song in history and has been played more than 7,000,000 times on American television and radio. Wings’ 1977 single “Mull of Kintyre” became the first single to sell more than two million copies in the UK, and remains the UK’s top selling non-charity single. (Three charity singles have since surpassed it in sales; the first to do so—in 1984—was Band Aid’s “Do They Know It’s Christmas?”, whose participants included McCartney.)

His company MPL Communications owns the copyrights to more than 3,000 songs, including all of the songs written by Buddy Holly, along with the publishing rights to such musicals as Guys and Dolls, A Chorus Line, and Grease. McCartney is also an advocate for animal rights, vegetarianism, and music education; he is active in campaigns against landmines, seal hunting, and Third World debt.
Early years: 1942–1957

Jim & Mary McCartney

Paul McCartney was born in Walton Hospital in Liverpool, England, where his mother, Mary, had worked as a nurse in the maternity ward. He has one brother, Michael, born January 7, 1944. McCartney was baptised Roman Catholic but was raised non-denominationally: his mother was Roman Catholic, and his father, James “Jim” McCartney, was a Protestant turned agnostic.

In 1947, he began attending Stockton Wood Road Primary school. He then attended the Joseph Williams Junior School, and passed the 11-plus exam in 1953 with three others out of the 90 examinees and thus gained admission to the Liverpool Institute. In 1954, while riding on the bus to the Institute, he met George Harrison, who lived nearby. Passing the exam meant that McCartney and Harrison did not have to go to a secondary modern school, which most pupils attended until they were eligible to work. It also meant that Grammar school pupils had to find new friends.

20 Forthlin Road now attracts large numbers of tourists

In 1955 the McCartney family moved to 20 Forthlin Road in Allerton. Mary McCartney rode a bicycle to houses where she was needed as a midwife, and an early McCartney memory is of her leaving when it was snowing heavily. On 31 October 1956, Mary McCartney (who was a heavy smoker) died of an embolism after a mastectomy operation to stop the spread of her breast cancer. The early loss of his mother later connected McCartney with John Lennon, whose mother, Julia, died when Lennon was 17.

McCartney’s father was a trumpet player and pianist who had led Jim Mac’s Jazz Band in the 1920s. He encouraged his two sons to be musical. Jim had an upright piano in the front room that he had bought from Harry Epstein’s store, and McCartney’s grandfather, Joe McCartney, played an E-flat tuba. Jim McCartney used to point out the different instruments in songs on the radio, and often took McCartney to local brass band concerts. After the death of his wife, Mary, Jim McCartney gave McCartney a nickel-plated trumpet, but when skiffle music became popular, McCartney swapped the trumpet for a £15 Framus Zenith (model 17) acoustic guitar.

McCartney, being left-handed, found the Zenith difficult to play. He then saw a poster advertising a Slim Whitman concert, and realised that Whitman played left-handed, with his guitar strung the opposite way to a right-handed player. McCartney wrote his first song (“I Lost My Little Girl”) on the Zenith, and also played his father’s Framus Spanish guitar when writing early songs with Lennon. He later started playing piano and wrote “When I’m Sixty-Four”. Per his father’s advice, he took music lessons, but since he preferred to learn ‘by ear’ he never paid attention in them.

1957–1960: The Quarrymen and the Silver Beetles

Main articles: The Quarrymen and Lennon/McCartney

Fifteen-year-old McCartney met Lennon and The Quarrymen at the Woolton (St. Peter’s church hall) fête on July 6, 1957. At the start of their friendship Lennon’s Aunt Mimi disapproved of McCartney because he was, she said, “working class”, and called him “John’s little friend”. McCartney’s father told his son that Lennon would get him “into trouble”, although he later allowed The Quarrymen to rehearse in the front room at 20 Forthlin Road.

McCartney formed a close working relationship with Lennon and they collaborated on many songs. He convinced Lennon to allow Harrison to join The Quarrymen (Lennon thought Harrison was too young) after Lennon heard Harrison play at a rehearsal in March 1958. Harrison joined the group as lead guitarist, followed by Lennon’s art school friend, Stuart Sutcliffe, on bass, although McCartney was later dismissive about Sutcliffe’s musical ability. By May 1960, they had tried several new names, including The Silver Beetles; playing a tour of Scotland under that name with Johnny Gentle. They finally changed the name of the group to The Beatles for their performances in Hamburg.

1960–1970: The Beatles

Main article: The Beatles

Starting in May 1960, The Beatles were managed by Allan Williams, who booked them into Bruno Koschmider’s Indra club in Hamburg. McCartney’s father was reluctant to let the teenage McCartney go to Hamburg until McCartney pointed out that he would earn ₤2/10s per day. As this was more than he earned himself, Jim finally agreed.
The Indra Club,Hamburg where the Beatles first played
The Indra Club,Hamburg where the Beatles first played

The Beatles first played at the Indra club, sleeping in small, “dirty” rooms in the Bambi Kino, and then moved (after the closure of the Indra) to the larger Kaiserkeller. In October 1960, they left Koschmider’s club and worked at the “Top Ten Club”, which was run by Peter Eckhorn. When McCartney and Pete Best went back to the Bambi Kino to get their belongings they found it in almost total darkness. As a snub to Koschmider, they found a condom, attached it to a nail on the concrete wall of their room, and set fire to it. There was no real damage, but Koschmider reported them for attempted arson. McCartney and Best spent three hours in a local jail and were deported, as was Harrison, for working under the legal age limit. Lennon’s work permit was revoked a few days later and he went home by train, but Sutcliffe had a cold and stayed in Hamburg, and then flew home.

The group reunited in December 1960, and on 21 March 1961, played their first of many concerts at Liverpool’s Cavern club. McCartney realised that other Liverpool bands were playing the same cover songs, which prompted him and Lennon to write more original material. The Beatles returned to Hamburg in April 1961, and recorded “My Bonnie” with Tony Sheridan. Sutcliffe left the band after the end of their contract, so McCartney reluctantly took over bass. After borrowing Sutcliffe’s Hõfner 500/5 model for a short time, he bought a left-handed 1962 500/1 model Höfner bass. On 1 October 1961, McCartney went with Lennon (who paid for the trip) to Paris for two weeks.

The Beatles were first seen by Brian Epstein at the Cavern club on 9 November 1961, and he later signed them to a management contract. The Beatles’ road manager, Neil Aspinall, drove them to London on 31 December 1961, where they auditioned the next day, but were rejected by Decca Records. In April 1962, they went back to Hamburg to play at the Star-Club, and learned of Stuart Sutcliffe’s death a few hours before they arrived. The Beatles were ready to sign a record contract on 9 May 1962, with Parlophone Records—after having been rejected by many record companies—but Epstein sacked Pete Best (at the behest of McCartney, Lennon and Harrison) before they signed the contract. “Love Me Do” was released on 5 October 1962, featuring McCartney singing solo on the chorus line. Over the course of the next two years, McCartney and his band mates would rise from relative obscurity to international stardom, an unprecedented feat at that time for a rock-music combo.

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Yesterday (1965)
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Hey Jude (1968)
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All Lennon-McCartney songs on the first pressing of Please Please Me album (recorded in one day on 11 February 1963) as well as the “Please Please Me” single, “From Me to You”, and its B-side, “Thank You Girl”, are credited to “McCartney-Lennon”, but this was later changed to “Lennon-McCartney”. They usually needed an hour or two to finish a song, which were written in hotel rooms after a concert, at Wimpole Street, at Cavendish Avenue, or at Kenwood (Lennon’s house). McCartney also wrote songs for other artists, such as Billy J. Kramer, Cilla Black, Badfinger, and Mary Hopkin -and most notably he wrote two hit songs for the group Peter & Gordon-launching their career. One song, “World Without Love”, became a #1 hit in the U.K. & U.S. (Peter was the brother of Jane Asher, McCartney’s girlfriend at the time)
Epiphone Texan modeled after the one often used by McCartney.
Epiphone Texan modeled after the one often used by McCartney.

Lennon, Harrison, and Starr lived in large houses in the ‘stockbroker belt’ of southern England,] but McCartney continued to live in central London: in Jane Asher’s parents’ house, and then at 7 Cavendish Avenue, St John’s Wood, near the Abbey Road Studios.] It was at Cavendish Avenue that McCartney bought his first Old English Sheepdog, Martha, which inspired the song “Martha My Dear”.

McCartney often went to nightclubs alone, which offered ‘dining and dancing until 4:00 a.m.’ and featured cabaret acts. McCartney would get preferential treatment everywhere he went, which he readily accepted. He even once accepted an offer from a policeman to be allowed to park McCartney’s car. He later visited gambling clubs after 4:00am, such as ‘The Curzon House’, and often saw Brian Epstein there. The Ad Lib club (above the Prince Charles Theatre at 7 Leicester Place) was later opened for the emerging ‘Rock and Roll’ crowd of musicians, and tolerated their unusual lifestyle. After the Ad Lib fell out of favour, McCartney moved on to the Scotch of St James, at 13 Masons Yard. He also frequented The Bag O’Nails club at 8 Kingly Street in Soho, London, where he met Linda Eastman.

On 12 June 1965, The Beatles were appointed Members of the Order of the British Empire (MBE); they received their insignia from Queen Elizabeth II at an investiture at Buckingham Palace on 26 October 1965. They stopped touring after their last concert at Candlestick Park, San Francisco, on 29 August 1966. The other three Beatles had often talked about stopping touring, but after the Candlestick Park concert, and after having played so many concerts where they could not be heard, McCartney finally agreed that they should stop playing live concerts.
Beatles Houston sculpture
Beatles Houston sculpture

McCartney was the first to be involved in a project outside of the group, when he composed the score for the film The Family Way in 1966. The soundtrack was later released as an album (also called The Family Way), and won the Ivor Novello Award for Best Instrumental Theme, ahead of acclaimed jazz musician Mike Turner. McCartney wrote songs for and produced other artists, including Mary Hopkin, Badfinger, and the Bonzo Dog Band, and in 1966, he was asked by Kenneth Tynan to write the songs for the National Theatre’s production of As You Like It by William Shakespeare (starring Laurence Olivier) but declined. In 1968 he co-produced the song “I’m the Urban Spaceman” by the Bonzo Dog Doo-Dah Band and was credited as “Apollo C. Vermouth” because of contractual restrictions.

McCartney later attempted to persuade Lennon and Harrison to return to the stage, and when they had a meeting to sign a new contract with Capitol Records, McCartney suggested “going back to our roots,” to which Lennon replied, “I think you’re mad!” Although Lennon had quit the group in September 1969, and Harrison and Starr had temporarily left the group at various times, McCartney was the one who publicly announced The Beatles’ breakup on 10 April 1970—one week before releasing his first solo album, McCartney. The album included a press release inside with a self-written interview stating McCartney’s hopes about the future. The Beatles’ partnership was legally dissolved after McCartney filed a lawsuit on 31 December 1970.]

1970s: Paul McCartney (solo) and Wings

Wings (band)

Paul and Linda McCartney at the 1974 Academy Awards.
Paul and Linda McCartney at the 1974 Academy Awards.

McCartney released his debut solo album, McCartney, in April 1970. He insisted that his wife should be involved in his musical career so that they would not be apart when he was on tour. McCartney’s second solo album, Ram (1971) was credited to both Paul and Linda McCartney. In August of that year McCartney formed Wings with guitarist Denny Laine and drummer Denny Seiwell (although membership in Wings would change several times during its existence) and released their debut album, Wild Life. In 1972, Wings started an unplanned tour of British universities and small European venues. In February of that year, they released a single called “Give Ireland Back to the Irish”, which was banned by the BBC. Wings then embarked on the 26-date Wings Over Europe Tour.

The first of Wings’ two 1973 albums Red Rose Speedway spawned the band’s first #1 in the United States, “My Love”. On 16 April, McCartney starred in a TV variety show called James Paul McCartney. Wings then released the theme song for the James Bond film Live and Let Die. It reunited McCartney with George Martin, who both produced the song and arranged the orchestral break. Their second 1973 album Band on the Run, which won two Grammy Awards is Wings’ most lauded work. From it were released the singles “Jet”, and, in 1974, “Band on the Run” (the song) as well as the non-album single “Junior’s Farm”. A jam session — with Lennon and McCartney — was recorded in California, in 1974, and released on the bootleg A Toot and a Snore in ’74. The same year, he recorded an instrumental, “Walking in the Park with Eloise”, which had been written by his father. The song featured Wings, Floyd Cramer and Chet Atkins. Venus and Mars was released in 1975, which featured “Listen to What the Man Said” and “Rock Show.” Till 1976, Wings embarked on the Wings Over the World tour.

In 1977, McCartney released Thrillington under the name “Percy ‘Thrills’ Thrillington”. Wings also released “Mull of Kintyre”. It stayed at #1 in the UK for nine weeks, and was the highest-selling single in the UK until 1984, when Band Aid’s Do They Know It’s Christmas beat its record. Wings toured again in 1979, and McCartney organised the Concerts for the People of Kampuchea. McCartney’s “Rockestra” theme won a Grammy award. At Christmas 1979, McCartney released his (solo) “Wonderful Christmastime”.

Although McCartney’s relationship with Lennon was troubled, they reconciled during the 1970s. McCartney would often call Lennon, but was never sure of what sort of reception he would get, such as when McCartney once called Lennon and was told, “You’re all pizza and fairytales!” McCartney understood that he could not just phone Lennon and only talk about business, so they often talked about cats, baking bread, or babies.

1980s-1990s: Solo career

Paul McCartney (solo)

McCartney played every instrument on the 1980 release McCartney II (as he had on McCartney before it), this time with an emphasis on synthesisers instead of guitars. The single “Coming Up” reached #2 in Britain and #1 in the US. “Waterfalls” was another UK Top 10 hit. McCartney’s next album, 1982′s Tug of War, reunited him with Ringo Starr and Beatles producer George Martin, and the album hit No.1 on both sides of the Atlantic at the same time as it’s lead single, a duet with Stevie Wonder, “Ebony and Ivory”, did likewise. Two further hit duets followed, both with Michael Jackson: “The Girl Is Mine”, from Jackson’s Thriller album, and “Say Say Say”, a single from McCartney’s 1983 album, Pipes of Peace.

McCartney wrote and starred in the 1984 film Give My Regards to Broad Street. The film and soundtrack featured the US and UK Top 10 hit “No More Lonely Nights”, and the album reached #1 in the UK, but the film did not do well commercially or critically. Roger Ebert awarded the film a single star and wrote, “You can safely skip the movie and proceed directly to the sound track”. Later that year, McCartney released “We All Stand Together”, the title song from the animated film Rupert and the Frog Song, which was the supporting feature to “Broad Street” in cinemas and which, when released on video cassette would become the year’s top-seller. The following year, McCartney released Spies Like Us the title song to the Dan Ackroyd/Chevy Chase comedy which hit #7 on the Billboard chart (making it his last US Top 20 hit to date).

In the second half of the decade McCartney would find new collaborators. Eric Stewart had appeared on McCartney’s Pipes of Peace album, and he co-wrote most of McCartney’s 1986 album Press to Play. The album and its lead single, “Press”, became minor hits. McCartney returned the favour by co-writing two songs for Stewart’s band, 10cc: “Don’t Break the Promises” (…Meanwhile, 1992), and “Yvonne’s the One” (Mirror Mirror, 1995). In 1987, EMI released All the Best! which was the first compilation of McCartney’s own songs.

In 1988, he released, initially in the Soviet Union only, Снова в СССР a collection of McCartney cover-versions of his favourite vintage Rock and roll classics which later had a general release in 1991. Around this time, McCartney also began a songwriting partnership with Elvis Costello (Declan MacManus) from which songs would appear on singles and albums by both artists, notably “Veronica”on Costello’s album Spike and “My Brave Face” from McCartney’s Flowers in the Dirt, (which reached #1 in the UK on releas in 1989). Further McCartney/MacManus compositions for surfaced on Costello’s 1991 album Mighty Like a Rose and McCartney’s 1993 album Off the Ground. In late 1989, McCartney started his first concert tour since Lennon’s murder, also his first tour of the US in thirteen years.

In a 1980 interview, Lennon said that the last time he had seen McCartney was when they had watched the episode of Saturday Night Live (May 1976) in which Lorne Michaels had made his $3,000 cash offer to get Lennon, McCartney, Harrison, and Starr to reunite on the show. McCartney and Lennon had seriously considered going to the studio, but were too tired. This event was fictionalised in the 2000 television film Two of Us.

Reaction to John Lennon’s murder

On the morning of December 9, 1980, McCartney awoke to the news that Lennon had been murdered outside his home in the Dakota building in New York. Lennon’s death created a media frenzy around the surviving members of The Beatles. On the evening of 9 December, as McCartney was leaving an Oxford Street recording studio, he was surrounded by reporters and asked for his reaction to Lennon’s death. He replied, “I was very shocked, you know—this is terrible news,” and said that he had spent the day in the studio listening to some material because he “just didn’t want to sit at home.” When asked why, he replied, “I didn’t feel like it,” he was then asked when he first heard the news McCartney replied “This morning sometime” and one of the reporters asked “very early?” and said “yeah” and then asked the reporters if they all knew, they added “yeah” McCartney then added, “drag, isn’t it?” When published, his “drag” remark was criticised, and McCartney later regretted it. He furthermore stated that he had intended no disrespect but had just been at a loss for words, after the shock and sadness he felt over his friend’s murder. He was also to recall:
“ I talked to Yoko the day after he was killed and the first thing she said was, “John was really fond of you.” The last telephone conversation I had with him we were still the best of mates. He was always a very warm guy, John. His bluff was all on the surface. He used to take his glasses down, those granny glasses, and say, “It’s only me.” They were like a wall, you know? A shield. Those are the moments I treasure. ”

In 1983 Paul said:
“ I would not have been as typically human and standoffish as I was if I knew John was going to die. I would have made more of an effort to try and get behind his “mask” and have a better relationship with him.’ ”

In a Playboy interview in 1984, McCartney said that he went home that night and watched the news on television—while sitting with all his children—and cried all evening. His last telephone call to Lennon, which was just before Lennon and Yoko released Double Fantasy, was friendly. During the call, Lennon said (laughing) to McCartney, “This housewife wants a career!” which referred to Lennon’s “house-husband” years, while looking after Sean Lennon.

McCartney carried on recording after the death of Lennon but did not play any live concerts for some time. He explained that this was because he was nervous that he would be “the next” to be murdered. This led to a disagreement with Denny Laine, who wanted to continue touring and subsequently left Wings, which McCartney disbanded in 1981. Also in 1981, six months after Lennon’s death, McCartney sang backup on George Harrison’s tribute to Lennon, “All Those Years Ago,” which also featured Ringo Starr on drums. McCartney would go on to record “Here Today”, a tribute song to Lennon.

1990s: Classical music
McCartney at the Grammy Awards, February 1990.
McCartney at the Grammy Awards, February 1990.

The 1990s saw McCartney venture into classical music. In 1991 the Royal Liverpool Philharmonic Society commissioned a musical piece by McCartney to celebrate its sesquicentennial. McCartney collaborated with Carl Davis to release Liverpool Oratorio. The Oratorio was premiered in Liverpool’s Anglican Cathedral, and had its North American premiere in Carnegie Hall in New York on 18 November 1991, with Davis conducting. McCartney’s singers and musicians included the opera singers Dame Kiri Te Kanawa, Sally Burgess, Jerry Hadley and Willard White, with the Royal Liverpool Philharmonic Orchestra and the choir of Liverpool Cathedral. EMI Classics recorded the premiere of the oratorio and released it on a 2-CD album which topped the classical charts. His next classical project to be released (in 1995) was A Leaf, a solo-piano piece played by Royal College of Music gold-medal winner Anya Alexeyev. The Prince of Wales later honoured McCartney as a Fellow of The Royal College of Music. Other forays into classical music included Standing Stone (1997), Working Classical (1999), and “Ecce Cor Meum” (2006).

In the early 1990s (after another world tour), McCartney reunited with Harrison and Starr to work on Apple’s The Beatles Anthology documentary series. It included three double albums of alternative takes, live recordings, and previously unreleased Beatles songs, as well as a ten-hour video boxed set. Anthology 1 was released in 1995, and featured “Free as a Bird”, which was the first Beatles reunion track, while Anthology 2, released in 1996, included “Real Love” (1996), the second and final in the reunion series. Both reunion tracks were co produced by Electric Light Orchestra frontman Jeff Lynne, who had worked with Harrison in The Traveling Wilburys. Both reunion tracks were completed by adding new music and vocal tracks to Lennon’s demos from the late 1970s.

In 1997, McCartney released Flaming Pie which was produced by Lynne and Martin. It debuted at #2 in the UK and the US, and was nominated in the Grammy Awards category Album of the Year. The same year, McCartney made his second venture into classical music with Standing Stone, which was commissioned by EMI Records to mark their 100th anniversary in autumn. On 11 March 1997, he was knighted as “Sir Paul McCartney” for his “services to music”. He dedicated his knighthood to fellow Beatles Lennon, Harrison, and Starr, and to the people of Liverpool. In 1999, McCartney released another album of rock ‘n’ roll songs, titled Run Devil Run. That same year he was inducted into the Rock and Roll Hall of Fame as a solo artist. (Bitter that he had not been inducted sooner, McCartney brought his daughter to the stage with him and smiled as he pointed to her shirt, which read: “About Fucking Time.”) In 1999, he released Working Classical.

2000s
McCartney on Live8.
McCartney on Live8.

In 2000, McCartney released A Garland for Linda; a choral tribute album with compositions from eight other contemporary composers. The music was performed by “The Joyful Company of Singers” to raise funds for The Garland Appeal, a fund to aid cancer patients. In May 2001, he released Wingspan: An Intimate Portrait, a retrospective documentary that features behind-the-scenes films and photographs that he and Linda McCartney (who had died in 1998) took of their family and bands. Interspersed throughout the 88 minute film is an interview by Mary McCartney with her father. Mary was the baby photographed inside McCartney’s jacket on the back cover of McCartney, and was one of the producers of the documentary.

Earlier in the year, McCartney worked on what would become his new album, Driving Rain, released on November 12. Driving Rain featured uplifting songs inspired by and written for his soon-to-be wife Heather. Clearly determined to follow the example of Run Devil Run’s brisk recording pace, most of the album was recorded in two weeks, starting in February 2001. McCartney also composed and recorded the title track for the film Vanilla Sky, released later that year. The track was nominated for—but did not win—an Oscar for Best Original Song.

McCartney took a lead role in organising The Concert for New York City in response to the events of September 11. The concert took place on 20 October 2001.

In late 2001, McCartney was informed that George Harrison was losing his battle with cancer. Upon Harrison’s death on 29 November, McCartney told Entertainment Tonight, Access Hollywood, Extra, Good Morning America, The Early Show, MTV, VH-1 and Today that Harrison was like his “baby brother”. Harrison spent his last days in a Hollywood Hills mansion that was once leased by McCartney. On 29 November 2002—on the first anniversary of George Harrison’s death—McCartney played Harrison’s “Something” on a ukulele at the Concert for George.

In 2002, McCartney began a two-year world tour. He contributed to an album titled Good Rockin’ Tonight: The Legacy Of Sun Records, which included a version of Elvis Presley’s song “That’s All Right (Mama)”. He performed during the pre-game ceremonies at the NFL’s Super Bowl XXXVI in 2002 and starred in the halftime show at Super Bowl XXXIX in 2005. In 2003, McCartney played a concert in Red Square, Russia. Vladimir Putin gave him a tour of the Square.

In what would be his first British music festival appearance, McCartney headlined the Glastonbury Festival in June 2004. McCartney and festival organiser Michael Eavis won the NME Award on behalf of the festival, which won ‘Best Live Event’ in the 2005 awards. McCartney performed at the main Live 8 concert on 2 July 2005, playing “Sgt. Pepper’s Lonely Hearts Club Band” with U2 to open the Hyde Park event, although Ringo Starr criticised McCartney for not asking him to play.

On November 13th, 2005, McCartney played a live concert at the Arrowhead Pond in Anaheim, CA. Towards the end of the concert, a satellite link-up was made to the International Space Station so McCartney and those at the concert could see NASA Astronaut Bill McArthur and Russian Cosmonaut Valery Tokarev as they were awakening for the 44th day of their six month mission in space. McCartney proceeded to play the traditional wakeup song played on each space mission, a tradition that began during the moon missions. McCartney also performed “Good Day Sunshine”, and “English Tea”. Afterwards he and the concert goers talked with McArthur and Tokarev via a projection screen. This was the first time a live concert had been linked to a U.S. spacecraft.
McCartney gives a speech at the US premier of Ecce Cor Meum at Carnegie Hall..
McCartney gives a speech at the US premier of Ecce Cor Meum at Carnegie Hall..

In March 2006, McCartney finished composing a ‘modern classical’ musical work named Ecce Cor Meum [Behold My Heart]. It was recorded with the Academy of St. Martin in the Fields, and the boys of King’s College Choir, Cambridge, Magdalen College School, Oxford, and was premiered at the Royal Albert Hall in London on 3 November 2006..[141] It was voted Classical Album of the Year in 2007 in the Classical Brit Awards.[142]

On 18 June 2006, McCartney celebrated his 64th birthday, as in “When I’m Sixty-Four.” Paul Vallely noted it in The Independent as “a cultural milestone for a generation. Such is the nature of celebrity, McCartney is one of those people who have represented the hopes and aspirations of those born in the baby-boom era, which had its awakening in the Sixties.”[143]

McCartney joined Jay-Z and Linkin Park onstage at the 2006 Grammy Awards in a performance of “Numb/Encore” & “Yesterday” to commemorate the recent passing of Coretta Scott King. McCartney later noted that it was the first time he had performed at the Grammys and quipped, “I finally passed the audition,” which was a reference to the Lennon comment at the end of the Let It Be film: “I’d like to say thank you on behalf of the group and ourselves and I hope we passed the audition.”[144] McCartney was nominated for another Grammy Award in 2007 for “Jenny Wren”—a song from his 2005 album Chaos and Creation in the Backyard, which itself had been nominated as Album of the Year in 2006.[145]

On 21 March 2007, McCartney left EMI to become the first artist signed to Starbucks’s new record label, Los Angeles-based Hear Music, to be distributed by Concord Music Group. He made an appearance via a video-feed from London at the company’s annual meeting.[146] “For me, the great thing is the commitment and the passion and the love of music, which as an artist is good to see. It’s a new world now and people are thinking of new ways to reach the people, and that’s always been my aim”.[147]

On 2 April 2007, a fan drove through the security fence on McCartney’s Peasmarsh county estate shouting that he had to “get at” the ex-Beatle. The incident echoed the murder of Lennon and the attempted murder of George Harrison. The assailant was arrested after a chase through Sussex country lanes.[148][149][150]

McCartney played “secret gigs” in London, New York, and Los Angeles to promote his album. Several live recordings from these shows have been released as B-sides to singles from Memory Almost Full. In New York, the crowd included only a few hundred contest winners and celebrities such as Whoopi Goldberg, Elijah Wood, Kate Moss, Aidan Quinn, and Steve Buscemi.[151]
McCartney’s BBC Electric Proms performance in Camden, London.
McCartney’s BBC Electric Proms performance in Camden, London.

McCartney played at the BBC Electric Proms on October 25, 2007, at The Roundhouse in Camden, which is run by a music festival run by the British Broadcasting Corporation. On 13 November 2007, The McCartney Years, a 3-DVD set was released. It contains a commentary, behind the scenes footage, over 40 music videos, Wings’ live performances, interviews with Melvyn Bragg and Michael Parkinson, LIVE AID, the Super Bowl XXXIX Halftime Show and the 2005 documentary Creating Chaos at Abbey Road.[152]

In February 2008, McCartney was awarded a BRIT award for outstanding contribution, the same as a Lifetime Achievement Award.[153] The minor planet 4148, discovered in 1983 was named ‘McCartney’ in his honour.[154] Yale University conferred an honorary Doctor of Music degree on Paul McCartney on 26 May 2008.[155] On 1 June 2008 McCartney celebrated Liverpool’s year as European capital of culture by playing a concert there. It featured special guest Dave Grohl of the Foo Fighters. Grohl played guitar and sang backing vocals on “Band on the Run” and played drums on Back in the U.S.S.R. and I Saw Her Standing There.

In April 2008 it has been revealed that McCartney was invited by Ukrainian tycoon Victor Pinchuk to play a free concert in the Ukrainian capital Kyiv on 14 June, 2008. He played in the city’s main square Maidan Nezalezhnosti at a show dubbed the Independence Concert.[156] Over 350,000 concert goers braved adverse weather conditions as Paul McCartney played the biggest concert in the Ukraine’s history. Furthermore, McCartney will open a personal exhibition of his artistic works at the PinchukArtCentre[157].

Creative outlets

During the ’60s, McCartney was often seen at major cultural events, such as the launch party for The International Times, and at The Roundhouse (28 January and 4 February 1967).[158] He also delved into the visual arts, becoming a close friend of leading art dealers and gallery owners, explored experimental film, and regularly attended movie, theatrical and classical music performances. His first contact with the London avant-garde scene was through John Dunbar, who introduced him to the art dealer Robert Fraser, who in turn introduced McCartney to an array of writers and artists. McCartney later became involved in the renovation and publicising of the Indica Gallery in Mason’s Yard, London—John Lennon first met Yoko Ono at the Indica.[159][160] The Indica Gallery brought McCartney into contact with Barry Miles, whose underground newspaper, The International Times, McCartney helped to start.[161] Miles would become de facto manager of the Apple’s short-lived Zapple Records label, and wrote McCartney’s official biography, Many Years From Now (1998).

While living at the Asher house, McCartney took piano lessons at the Guildhall School of Music and Drama, which The Beatles’ producer Martin had previously attended. McCartney studied composers like Karlheinz Stockhausen, and Luciano Berio.[162] McCartney later wrote and released several pieces of modern classical music and ambient electronica, besides writing poetry and painting. McCartney is lead patron of the Liverpool Institute for Performing Arts, an arts school in the building formerly occupied by the Liverpool Institute for Boys.[163] The 1837 building, which McCartney attended during his schooldays, had become derelict by the mid-1980s.[163] On 7 June 1996, Queen Elizabeth II officially opened the redeveloped building.[163]

Electronica

After the recording of “Yesterday” in 1965, McCartney contacted the BBC Radiophonic Workshop in Maida Vale, London, to see if they could record an electronic version of the song, but never followed it up. When visiting John Dunbar’s flat in London, McCartney would take along tapes he had compiled at Jane Asher’s house. The tapes were mixes of various songs, musical pieces and comments made by McCartney that he had Dick James make into a demo record for him.[166] He later made tape loops by recording voices, guitars and bongos on a Brenell tape machine, and splicing the various loops together. He reversed the tapes, sped them up, and slowed them down to create the effects he wanted (which were later used on Beatles’ recordings, such as “Tomorrow Never Knows”). McCartney referred to them as electronic symphonies and was heavily influenced by John Cage at the time.[167]

In the spring of 1966, while McCartney was part of a small group which included figureheads John Dunbar and (Barry) Miles, involved with giving birth to the Indica Gallery and the newspaper International Times, he rented a ground floor and basement flat from Ringo Starr at 34 Montagu Square, to be used as a small demo studio for spoken-word recordings by poets, writers (including William Burroughs) and avant-garde musicians.[168] The Beatles’ Apple Records then launched a sub-label, Zapple with (Barry) Miles as its manager, ostensibly to release recordings of a similar aesthetic, (although few releases would ultimately result as Apple and The Beatles slid into subsequent business and personal difficulties.)[168]

In 1995, McCartney recorded a radio series called “Oobu Joobu” for the American network Westwood One, which McCartney described as being “wide-screen radio”

During the 1990s, McCartney collaborated with Youth of Killing Joke under the name of the Fireman, and have released two ambient albums; Strawberries Oceans Ships Forest (in 1993) and Rushes, in 1998. In 2000, he released an album, Liverpool Sound Collage, with Super Furry Animals and Youth, utilising collage and musique concrete techniques which fascinated him in the mid-1960s. Most recently, in 2005, he worked on a project with bootleg producer and remixer Freelance Hellraiser, consisting of remixed versions of songs from throughout his solo career and released under the name Twin Freaks.

Film

McCartney was interested in animated films as a child, and later had the financial resources to ask Geoff Dunbar to direct a short animated film called the Rupert and the Frog Song in 1981. McCartney wrote the music and the script, was the producer, and added some of the characters voices.Dunbar worked again with McCartney on an animated film about the work of French artist Honore Daumier, in 1992, which won both of them a Bafta award. They also worked on Tropic Island Hum, in 1997.In 1995, McCartney directed a short documentary about The Grateful Dead.[

Painting

In 1966, McCartney met art gallery-owner Robert Fraser, whose flat was visited by many well-known artists.[181] McCartney met Andy Warhol, Claes Oldenburg, Peter Blake, and Richard Hamilton there, and learned about art appreciation.[181] McCartney later started buying paintings by Magritte, and used Magritte’s painting of an apple for the Apple Records logo.[182] He now owns Magritte’s easel and spectacles.[183]

McCartney’s love of painting surfaced after watching artist Willem de Kooning paint, in Kooning’s Long Island barn.[184] McCartney took up painting in 1983.[185] In 1999, he exhibited his paintings (featuring McCartney’s portraits of John Lennon, Andy Warhol, and David Bowie) for the first time in Siegen, Germany, and included photographs by Linda. He chose the gallery because Wolfgang Suttner (local events organiser) was genuinely interested in his art, and the positive reaction led to McCartney showing his work in UK galleries.[186] The first UK exhibition of McCartney’s work was opened in Bristol, England with more than 500 paintings on display. McCartney had previously believed that “only people that had been to art school were allowed to paint” – as Lennon had.[186]

In October 2000, Yoko Ono and McCartney presented art exhibitions in New York and London. McCartney said,
“ I’ve been offered an exhibition of my paintings at the Walker Art Gallery in Liverpool where John and I used to spend many a pleasant afternoon. So I’m really excited about it. I didn’t tell anybody I painted for 15 years but now I’m out of the closet.[187][188] ”

Writing and poetry
McCartney’s English teacher, Alan Durband, in 1946.
McCartney’s English teacher, Alan Durband, in 1946.

When McCartney was young, his mother read him poems and encouraged him to read books. McCartney’s father was interested in crosswords and invited the two young McCartneys (Paul and his brother Michael) to solve them with him, so as to increase their “word power”.[189] McCartney was later inspired – in his school years – by Alan Durband, who was McCartney’s English literature teacher at the Liverpool Institute.[190] Durband was a co-founder and fund-raiser at the Everyman Theatre in Liverpool, where Willy Russell also worked, and introduced McCartney to Geoffrey Chaucer’s works.[191] McCartney later took his A-level exams, but passed only one subject – Art.[192][193]

In 2001 McCartney published ‘Blackbird Singing’, a volume of poems, some of which were lyrics to his songs, and gave readings in Liverpool and New York.[194] Some of them were serious: “Here Today” (about Lennon) and some humorous (“Maxwell’s Silver Hammer”).[195] In the foreword of the book, McCartney explained that when he was a teenager, he had “an overwhelming desire” to have a poem of his published in the school magazine. He wrote something “deep and meaningful”, but it was rejected, and he feels that he has been trying to get some kind of revenge ever since. His first “real poem” was about the death of his childhood friend, Ivan Vaughan.[196]

In October 2005, McCartney released a children’s book called High In The Clouds: An Urban Furry Tail. In a press release publicizing the book, McCartney said, “I have loved reading for as long as I can remember,” singling out Treasure Island as a childhood favourite.[197] McCartney collaborated with author Philip Ardagh and animator Geoff Dunbar to write the book.[198]

Relationships and marriages

McCartney had a three-year relationship with Dot Rhone in Liverpool, and they were due to get married until Rhone lost the baby she was expecting. In London McCartney had a five-year relationship with actress Jane Asher. They were engaged to be married until they broke up in 1968. McCartney married American photographer Linda Eastman in 1969 (McCartney was the last Beatle to get married). They had four children (Linda’s daughter Heather who was adopted by Paul, followed by three more children) and remained married until Linda’s death from breast cancer in 1998. In 2002, McCartney married former model Heather Mills and they had a child in 2003. They separated in May 2006 and they were divorced in May 2008.[199]

Widespread animosity towards McCartney’s wives was reported in 2004. “They [the British public] didn’t like me giving up on Jane Asher,” McCartney said. “I married a New York divorcee with a child, and at the time they didn’t like that.”[200]

Relationship with Dot Rhone
McCartney and Dot Rhone on 17 March 1962, in Liverpool.
McCartney and Dot Rhone on 17 March 1962, in Liverpool.

One of McCartney’s first girlfriends was called Layla, whom McCartney remembered as having an unusual name in Liverpool at the time. Layla was slightly older than McCartney and used to ask him to baby-sit with her, which was a code word for sex. Julie Arthur, another girlfriend, was Ted Ray’s niece.[201]

McCartney’s first serious girlfriend in Liverpool was Dot Rhone, whom he met at the Casbah club in 1959.[202] McCartney picked out the clothes he wanted Rhone to wear and told her which make-up to use. He also paid for Rhone to have her blonde hair done in the style of Brigitte Bardot, whom Lennon and McCartney idolised.[203][204] When McCartney went to Hamburg with The Beatles he wrote regular letters to Rhone, and she accompanied Cynthia Lennon to Hamburg when The Beatles played there again in 1962.[205] According to Rhone, McCartney bought her a gold ring, took her sightseeing around Hamburg and was very attentive and caring.[206] Rhone later rented a room in the same house as Cynthia Lennon was living as McCartney helped with the rent.[207] McCartney admitted that he had other girlfriends in Hamburg during his time with Rhone, and that they were usually “strippers”, who knew a lot more about sex than Liverpool girls.[208]

Shortly after McCartney returned from Hamburg in May 1962, Rhone told him that she was pregnant. They told Jim McCartney—whom they expected to be shocked at the news—but found him delighted at the prospect of becoming a grandfather. McCartney took out a marriage licence and set the wedding date for November; shortly before the baby was due.[209] Rhone had a miscarriage in July 1962, and after a few weeks, McCartney’s feelings towards Rhone “cooled off” and he finished their relationship.[210]

Rhone later emigrated to Toronto, Canada, and McCartney met her again when The Beatles played there, and then again with Wings. Rhone said that “Love of the Loved” and “P.S. I Love You” were written about her. Years later, Cynthia Lennon gave back Rhone the gold ring that McCartney had bought in Hamburg, as Cynthia had once tried it on when Rhone was washing dishes, and had forgotten to take it off. Rhone is now a grandmother and lives in Mississauga, Ontario.[211]

Relationship with Jane Asher

Jane Asher

The Beatles were performing at the Royal Albert Hall, in London, when McCartney first met British actress Jane Asher on 18 April 1963, and a photographer asked them to pose with Asher.[212] The Beatles were interviewed by Asher for the BBC, and Asher was then photographed screaming at them like a fan. McCartney later persuaded her to become his girlfriend.[213]

McCartney soon met Jane’s family: Margaret, Jane’s mother, who combined her life as the mother of three children with a full-time career as a music teacher, and Jane’s father, Richard, who was a physician. Jane’s brother, Peter, was a member of Peter and Gordon, and Jane’s younger sister, Clare, was also an actress.[214] McCartney later gave “A World Without Love” to Peter and Gordon-as well as the song “Nobody I Know”. Both songs became hits for the group.[215] McCartney took up residence at the Ashers’ house at 57 Wimpole Street, London, and lived there for nearly three years.[216] During his time there McCartney met writers such as Bertrand Russell, Harold Pinter and Len Deighton.[217] He wrote several songs at the Ashers’, including “Yesterday”, and worked on songs with Lennon in the basement music room. Jane inspired many songs, such as “And I Love Her”, “You Won’t See Me”, and “I’m Looking Through You”.[218] On 13 April 1965, McCartney bought a £40,000 three-storey Regency house, at 7 Cavendish Avenue, London, and spent a further £20,000 renovating it. McCartney created a music room on the top floor of his house, where he worked with Lennon. He thanked the Ashers by paying for the decoration of the front of their house.[219]

On 15 May 1967, McCartney met American photographer Linda Eastman at a Georgie Fame concert at The Bag O’Nails club in London.[220] Eastman was in the UK on an assignment to take photographs of “Swinging sixties” musicians in London. McCartney and Linda later went to The Speakeasy club on Margaret Street.[221] They met again four days later at the launch party for the Sgt. Pepper album at Brian Epstein’s house in Belgravia, but when her assignment was completed, Linda flew back to New York City.[222]

On 25 December 1967, McCartney and Asher announced their engagement, and she accompanied McCartney to India in February and March of 1968. Asher broke off the engagement in early 1968, after coming back from Bristol to find McCartney in bed with another woman.[223] They attempted to mend the relationship, but finally broke it off in July 1968. Jane Asher has consistently refused to publicly discuss that part of her life.[224]

Marriage to Linda Eastman

Main articles: Linda McCartney, Heather McCartney, Mary McCartney, Stella McCartney, and James McCartney

In May 1968, McCartney met Eastman again in New York, when Lennon and McCartney were there to announce the formation of Apple Corps.[225] In September, McCartney phoned Eastman and asked her to fly over to London. Six months later, McCartney and Eastman were married at a small civil ceremony (when Linda was four months pregnant with McCartney’s child) at Marylebone Registry Office on 12 March 1969. He later said that Eastman was the woman who “gave me the strength and courage to work again” (after the break-up of The Beatles).[226] McCartney adopted Linda’s daughter from her first marriage, Heather Louise (now a potter), and the couple had three more children together: photographer Mary Anna, fashion designer Stella Nina,[227] and musician James Louis. McCartney has claimed that he and Linda spent less than a week apart during their entire marriage, interrupted only by Paul’s incarceration in Tokyo on drug charges in January 1980.

Linda McCartney died of breast cancer in Tucson, Arizona, on 17 April 1998.[228] McCartney denied rumours that her death was an assisted suicide.[228][229]

McCartney now has five grandchildren: Mary’s two sons Arthur Alistair Donald (born 3 April 1999) and Elliot Donald (born 1 August 2002) and Stella’s children, Miller Alasdhair James Willis (born 25 February 2005),[230] daughter Bailey Linda Olwyn Willis (born 8 December 2006).[231], and Beckett Robert Lee (born 8 January 2008).

Marriage to Heather Mills

Main article: Heather Mills

After having sparked the interest of the tabloids about his appearances with Heather Mills at events, McCartney appeared publicly beside Mills at a party in January 2000, to celebrate her 32nd birthday.[232][233] On 11 June 2002, McCartney married Mills, a former model and anti-landmines campaigner, in an elaborate ceremony at Castle Leslie in Glaslough, County Monaghan, Ireland, where more than 300 guests were invited and the reception included a vegetarian banquet.[234] In October 2003, Mills gave birth to a daughter, Beatrice Milly McCartney.[235] The baby was reportedly named after Heather’s late mother Beatrice and Paul’s Aunt Milly.[236]

On 29 July 2006, British newspapers announced that McCartney had petitioned for divorce, which sparked a press furor.[237][238][239] A settlement was announced on 21 January 2007, but Mills’ lawyers denied this.[240] On March 17, 2008, the financial terms of the divorce were finalised[241] with a settlement awarding Heather Mills £24.3 million ($48.6 million).[242] The settlement will also see the former Beatle pay their four-year-old daughter Beatrice’s nanny and school fees and will pay Beatrice £35,000 ($70,000) a year until she is 18, or ends secondary education.[242][243][244][245] After the divorce ruling, Justice Bennett said that throughout the case Mills was “inconsistent, inaccurate and less than candid” while McCartney was “honest.”[246][247] On May 12, 2008, Justice Hugh Bennett issued only a preliminary divorce decree to be finalized in 6 months: “On the petition for divorce presented by Miss Heather Mills, I pronounce the decree nisi of divorce on the grounds of two years’ separation.”[248][249]

Lifestyle

McCartney’s lifestyle was greatly altered by his success and the income he earned. In the 1960s, the new availability of the first oral contraceptive and illegal drugs changed many people’s opinions—including McCartney’s—about life, marriage, and sexual relationships.[250]

Recreational drug use

McCartney’s introduction to drugs started in Hamburg, Germany.[251] The Beatles had to play for hours, and they were often given “Prellies” (Preludin) by German customers or by Astrid Kirchherr (whose mother bought them). McCartney would usually take one, but Lennon would often take four or five.[252]

After having been introduced to cannabis, by Bob Dylan in New York, in 1964, McCartney remembered getting “very high” and giggling.[253] McCartney’s use of cannabis became regular, and he was quoted in the Barry Miles book as saying that any future Beatles’ lyrics containing the words “high”, or “grass” were written specifically as a reference to cannabis—as was “Got to Get You into My Life”.[254] John Dunbar’s flat at 29 Lennox Gardens, in London, became a regular hang-out for McCartney, where he talked to musicians, writers and artists, and smoked cannabis.[166] In 1965, Miles introduced McCartney to hash brownies by using a recipe for hash fudge he found in the Alice B. Toklas Cookbook.[255] During the filming of Help!, he and the other Beatles occasionally smoked a spliff in the car on the way to the studio during filming, which often made them forget their lines.[256] Help! director Dick Lester said that he overheard “two beautiful women” trying to cajole McCartney into taking heroin, but he refused.[256]
McCartney called for the legalization of Cannabis in 1967.
McCartney called for the legalization of Cannabis in 1967.

McCartney’s attitude about cannabis was made public in the 1960s, when he added his name to an advertisement in The Times, on 24 July 1967, which asked for the legalisation of cannabis, the release of all prisoners imprisoned because of possession, and research into marijuana’s medical uses. The advertisement was sponsored by a group called Soma and was signed by 65 people, including The Beatles, Brian Epstein, Graham Greene, R.D. Laing, 15 doctors, and two MPs.[257]

McCartney was introduced to cocaine by Robert Fraser, and it was available during the recording of Sgt. Pepper’s Lonely Hearts Club Band.[258][259] McCartney admitted sniffing heroin with Fraser, but did not feel any effect, and never took it again.[260]

In 1967, on a sailing trip to Greece—with the idea of buying an island for the whole group—McCartney said everybody sat around and took LSD, although McCartney first took it with Tara Browne, in 1966.[261][262][263] He took his second “acid trip” with Lennon on 21 March 1967 after a studio session.[264] McCartney was the first British pop star openly to admit to using LSD, in an interview in the now-defunct “Queen” magazine.[265] His admission was followed by a TV interview in the UK on Independent Television News on 19 June 1967, when McCartney was asked about his admission of LSD use, he said:
“ I was asked a question by a newspaper, and the decision was whether to tell a lie or tell him the truth. I decided to tell him the truth … but I really didn’t want to say anything, you know, because if I had my way I wouldn’t have told anyone. I’m not trying to spread the word about this. But the man from the newspaper is the man from the mass medium. I’ll keep it a personal thing if he does too, you know … if he keeps it quiet. But he wanted to spread it so it’s his responsibility, you know, for spreading it, not mine. ”

In another quote (cited and endorsed by The Byrds’ David Crosby at the Monterey Pop Festival), McCartney said,
“ [LSD] opened my eyes. We only use one-tenth of our brain. Just think of what we could accomplish if we could only tap that hidden part! It would mean a whole new world if the politicians would take LSD. There wouldn’t be any more war or poverty or famine. ”

In spite of his statements then, and his admission (in 2004) that he had used cocaine, McCartney was not arrested by Norman Pilcher’s Drug Squad, as had been Lennon, Harrison, Donovan, and several members of the Rolling Stones.[266] In 1972, however, police found cannabis plants growing on his Scottish farm.[267]

On 16 January 1980, Wings went to Tokyo for 11 concerts in Japan. As McCartney was going through customs, officials found 7.7 ounces (218.3 g) of cannabis in his luggage. He was arrested and taken to a Tokyo prison while the Japanese government decided what to do. McCartney had been previously denied a visa to Japan (in 1975) because he had been convicted twice in Europe for possession of cannabis.[266] Public figures called for McCartney to be tried by a jury for drug-smuggling. Had he been tried and convicted, he would have faced up to seven years in prison. The members of Wings cancelled the tour and left Japan. After ten days in jail, McCartney was released and deported. He was told that he would not be welcome in Japan again, although a decade later he played a concert in Tokyo. In 1984, Paul and Linda McCartney were both arrested for possession of cannabis.[268][269]

Meditation

On 24 August 1967, McCartney met the Maharishi Mahesh Yogi at the London Hilton, and later went to Bangor, in North Wales, to attend a weekend ‘initiation’ conference.[270] McCartney said that although he does not meditate daily, he still uses the mantra that the Maharishi Mahesh Yogi gave him in Bangor.[271] The time McCartney later spent in India at the Maharishi’s ashram was highly productive, as practically all of the songs that would later be recorded for The White Album and Abbey Road were composed there by McCartney, Lennon, or both together.[272] Although McCartney was told that he was never to repeat the mantra to anyone else, he did tell Linda McCartney,[273] and said he meditated a lot while he was in jail in Japan.[271]

Activism
McCartney’s campaign against landmines
McCartney’s campaign against landmines

The McCartneys became outspoken vegetarians and animal-rights activists. They said that their vegetarianism was realised when they happened to see lambs in a field as they ate a meal of lamb.[274] McCartney has also credited the 1942 Disney film Bambi – in which the young deer’s mother is shot by a hunter – as the original inspiration for him to take an interest in animal rights.[275] In his first interview after Linda’s death, he promised to continue working for animal rights.[276][277]

In 1999, McCartney spent £3,000,000 to make sure Linda McCartney’s food range remains free of GM ingredients.[278] In 2002, McCartney gave his support to a campaign against a proposed ban on the sale of certain vitamins, herbs and mineral products in the European Union.[279] Following his marriage to Heather Mills, McCartney joined with her to campaign against landmines;[280][281] both McCartney and Mills are patrons of Adopt-A-Minefield.[282] In 2003, he played a personal concert for the wife of a wealthy banker and donated his one million dollars to the charity.[283] He also wore an anti-landmines t-shirt on the Back in the World tour.[282]

In 2006, the McCartneys travelled to Prince Edward Island to bring international attention to the seal hunt (their final public appearance together). Their arrival sparked attention in Newfoundland and Labrador where the hunt is of economic significance.[284] The couple also debated with Newfoundland’s Premier Danny Williams on the CNN show Larry King Live. They further stated that the fishermen should quit hunting seals and begin a seal watching business.[285] McCartney has also criticised China’s fur trade,[286][287] and supports the Make Poverty History campaign.[288]

McCartney has been involved with a number of charity recordings and performances. In 2004, he donated a song to an album to aid the “US Campaign for Burma”, in support of Burmese Nobel Prize winner Aung San Suu Kyi,[289] and he had previously been involved in the Concerts for the People of Kampuchea, Ferry Aid, Band Aid, Live Aid, and the recording of “Ferry Cross the Mersey” (released 8 May 1989) following the Hillsborough disaster.[290][291]

Football

The Beatles made few comments about the football clubs they supported, in case they alienated fans of the group,[292] although McCartney is a supporter of Everton Football Club[293] (his father and relatives used to take him to matches) but his allegiance later encompassed Liverpool F.C. (both clubs being from the same city; Liverpool).[294] Linda McCartney said: “We spent last night listening to Liverpool football team on the radio, wanting them to win so badly. Paul supports Liverpool. He was Everton for a while because of his family – but it’s all Liverpool now”.[295][296]

Both Lennon and McCartney watched the 1966 FA Cup Final between Everton and Sheffield Wednesday, and McCartney attended the 1968 FA Cup Final (18 May 1968) which was played between West Bromwich Albion and Everton.[297] After the final whistle, McCartney shared cigarettes and whisky with other fans.[296] Liverpool player, Albert Stubbins, was the only footballer shown on the Sgt. Pepper’s Lonely Hearts Club Band cover.[292] On 28 July 1968, The Beatles were photographed in a photographer’s studio at 192-212 Gray’s Inn Road, with McCartney wearing a Liverpool F.C. Rosette on two photos.[298]

McCartney tried to listen to the Liverpool v Manchester United 1977 FA Cup Final on a radio, while sailing in the Caribbean.[292] The video for McCartney’s Pipes of Peace (1983) recreated the football game played between German and British troops during WWI.[299][300] McCartney was seen at the 1986 FA Cup Final between Liverpool and Everton,[296] and in 1989, McCartney contributed to the “Ferry Cross the Mersey” charity single that was recorded to aid victims of the Hillsborough Disaster, which happened during a match between Liverpool and Nottingham Forest.[301]

Business

Main articles: Apple Corps, Northern Songs, and MPL Communications

McCartney is today one of Britain’s wealthiest men, with an estimated fortune of £824 million,[302] although Justice Bennett, in his judgment on McCartney’s divorce case found no evidence that McCartney was worth more than £400 million.[303] In addition to his interest in Apple Corps, McCartney’s MPL Communications owns a significant music publishing catalogue, with access to over 25,000 copyrights.[304][305] McCartney earned £40 million in 2003, making him Britain’s highest media earner.[306] This rose to £48.5 million by 2005.[307] In the same year he joined the top American talent agency Grabow Associates, who arrange private performances for their richest clients.[308] Northern Songs was established in 1963, by Dick James, to publish the songs of Lennon/McCartney.[309] The Beatles’ partnership was replaced in 1968 by a jointly-held company, Apple Corps, which continues to control Apple’s commercial interests. Northern Songs was purchased by Associated TeleVision (ATV) in 1969, and was sold in 1985 to Michael Jackson. For many years McCartney was unhappy about Jackson’s purchase and handling of Northern Songs.[310]

MPL Communications is an umbrella company for McCartney’s business interests, which owns a wide range of copyrights,[311] as well as the publishing rights to musicals,[312] and controls 25 subsidiary companies.[313] In 2006, the Trademarks Registry reported that MPL had started a process to secure the protections associated with registering the name “Paul McCartney” as a trademark.[314] The 2005 films, Brokeback Mountain[315] and Good Night and Good Luck, feature MPL copyrights.[316]

Critique and achievements

McCartney is listed in The Guinness Book Of Records as the most successful musician and composer in popular music history,[317][318] with sales of 100 million singles and 60 gold discs.[319][320] McCartney has achieved twenty-nine number-one singles in the U.S., twenty of them with The Beatles, the rest with Wings and as a solo artist.[317] McCartney has been involved in more number-one singles in the United Kingdom than any other artist under a variety of credits, although Elvis Presley has achieved more as a solo artist. McCartney has achieved 24 number-ones in the U.K.: solo (1), Wings (1), with Stevie Wonder (1), Ferry Aid (1), Band Aid (1), Band Aid 20 (1) and The Beatles (17).[321] McCartney is the only artist to reach the U.K. number one as a soloist (“Pipes of Peace”), duo (“Ebony and Ivory” with Stevie Wonder), trio (“Mull of Kintyre”, Wings), quartet (“She Loves You”, The Beatles), quintet (“Get Back”, The Beatles with Billy Preston) and sextet (“Let It Be” with Ferry Aid). McCartney’s song “Yesterday” is the most covered song in history with more than 3,500 recorded versions[322] and has been played more than 7,000,000 times on American TV and radio, for which McCartney was given an award.[323] After its 1977 release the Wings single “Mull of Kintyre” became the highest-selling record in British chart history, and remained so until 1984.

On 2 July 2005, he was involved with the fastest-released single in history. His performance of “Sgt. Pepper’s Lonely Hearts Club Band” with U2 at Live 8 was released only 45 minutes after it was performed, before the end of the concert.[324] The single reached number six on the Billboard charts, just hours after the single’s release, and hit number one on numerous online download charts across the world.[325] McCartney played for the largest stadium audience in history when 184,000 people paid to see him perform at Maracanã Stadium in Rio de Janeiro on 21 April, 1990,[326] and he played his 3,000th concert in front of 60,000 fans in St Petersburg, Russia, on 20 June 2004.[327] Over his career, McCartney has played 2,523 gigs with The Beatles, 140 with Wings, and 325 as a solo artist.[328]

In the concert programme for his 1989 world tour, McCartney wrote that Lennon received all the credit for being the avant-garde Beatle,[161] and McCartney was known as ‘baby-faced’, which he disagreed with.[329] People also assumed that Lennon was the ‘hard-edged one’, and McCartney was the ‘soft-edged’ Beatle, although McCartney admitted to ‘bossing Lennon around.’[330] Linda McCartney said that McCartney had a ‘hard-edge’—and not just on the surface—which she knew about after all the years she had spent living with him.[331] McCartney seemed to confirm this edge when he commented that he sometimes meditates, which he said is better than “sleeping, eating, or shouting at someone”.[273] In June 1983, McCartney released “We All Stand Together” from the animated film Rupert And The Frog Song, which was commercially successful, but was widely ridiculed as being “one of the worst songs in recent years”.[332]

Paul is dead rumours

Main article: Paul is dead

“Paul is Dead” is an urban legend alleging that McCartney died in 1966 and was replaced by a look-alike and sound-alike. The rumour is the subject of several books, including American journalist Andru J. Reeve’s 1994 book Turn Me On, Dead Man (ISBN 1-4184-8294-3) and English author Benjamin Fitzpatrick’s 1997 book, ‘Rumours from John, George, Ringo and Me’.”Paul is dead” analyst Joel Glazier hypothesized in a 1978 treatise that Lennon’s love of wordplay and studio editing may have been responsible for clues in later Beatles albums.[333]

2005 – Bob Moog, inventor of his namesake range of…

Posted in 2000s, Agents & Lawyers, Bio, Classic, Composers & Songwriters, Deaths, General, Gold, Industry, Keys, Platinum, Rock n Roll Hall of Fame (honoured diety) | No Comments »

2005 – Bob Moog, inventor of his namesake range of synthesizers and one of the most significant figures in the evolution of electronic music, dies at his home in Asheville, N.C. He is 71. A native of N.Y., Moog was diagnosed with brain cancer in late April and had since undergone radiation treatment and chemotherapy.

Dr. Robert Arthur Moog (pronounced /ˈmoʊɡ/ to rhyme with “rogue”) (May 23, 1934 – August 21, 2005) was an American pioneer of electronic music, best known as the inventor of the Moog synthesizer.

Life

A native of New York City, Robert Moog attended the Bronx High School of Science, graduating in 1952. Moog earned a bachelor’s degree in physics from Queens College, New York in 1957, another in electrical engineering from Columbia University, and a Ph.D. in engineering physics from Cornell University. Moog’s awards include honorary doctorates from Polytechnic University (New York City) and Lycoming College (Williamsport, Pennsylvania)

During his lifetime, Moog founded two companies for manufacturing electronic musical instruments. Moog also worked as a consultant and vice president for new product research at Kurzweil Music Systems from 1984 to 1988, helping to develop the Kurzweil K2000. He spent the early 1990s as a research professor of music at the University of North Carolina at Asheville.

Moog received a Grammy Trustees Award for lifetime achievement in 1970. In 2002, Moog was honored with a Grammy Tech Award, and an honorary doctorate degree from Berklee College of Music.

He gave an enthusiastically-received lecture at the 2004 New Interfaces for Musical Expression (NIME-04), held in Hamamatsu, Japan’s “City of Musical Instruments”, in June, 2004. Moog was the inspiration behind the 2004 film Moog.

Moog’s first wife was Shirleigh Moog (née Shirley May Leigh) a grammar school teacher whom he married in 1958. The couple had 3 daughters (Laura Moog Lanier, Michelle Moog-Koussa, Renee Moog) and one son (Matthew Moog) before their divorce. Moog was married to his second wife Ileana Grams, a philosophy professor, for nine years until his death. Moog’s stepdaughter, Miranda Richmond, is Grams’ daughter from a previous marriage. Moog also had five grandchildren.

Robert Moog was diagnosed with a glioblastoma multiforme brain tumor on April 28, 2005. Nearly four months later, Moog died at the age of 71 in Asheville, North Carolina on August 21, 2005. His end of life journey was captured using CaringBridge. The Bob Moog Foundation was created as a memorial, with the aim of continuing his life’s work of developing electronic music.

Development of the Moog synthesizer

Main article: Moog synthesizer

The Moog synthesizer was one of the first widely used electronic musical instruments. Early developmental work on the components of the synthesizer occurred at the Columbia-Princeton Electronic Music Center, now the Computer Music Center. While there, Moog developed the voltage controlled oscillators, ADSR envelope generators, and other synthesizer modules with composer Herbert Deutsch.

Moog created the first subtractive synthesizer to utilize a keyboard as a controller and demonstrated it at the AES convention in 1964. In 1966, Moog filed a patent application for his unique low-pass filter U.S. Patent 3,475,623 , which issued in October 1969. He holds several dozen patents.

Robert Moog employed his theremin company (R. A. Moog Co., which would later become Moog Music) to manufacture and market his synthesizers. Unlike the few other 1960s synthesizer manufacturers, Moog shipped a piano-style keyboard as the standard user interface to his synthesizers. Moog also established standards for analog synthesizer control interfacing, with a logarithmic one volt-per-octave pitch control and a separate pulse triggering signal.

The first Moog instruments were modular synthesizers. In 1971 Moog Music began production of the Minimoog Model D which was among the first widely available, portable and relatively affordable synthesizers.

One of Moog’s earliest musical customers was Wendy Carlos whom he credits with providing feedback that was valuable to the further development of Moog synthesizers. Through his involvement in electronic music, Moog developed close professional relationships with artists such as Don Buchla, Keith Emerson, Rick Wakeman, John Cage, Gershon Kingsley, Clara Rockmore, and Pamelia Kurstin. In a 2000 interview, Moog said “I’m an engineer. I see myself as a toolmaker and the musicians are my customers. They use my tools.”

R.A. Moog Co. and Moog Music
The Moog Music logo
The Moog Music logo

Main article: Moog Music

In 1953 at age 19, Robert Moog founded his first company, R.A. Moog Co., to manufacture theremin kits. During the 1960s, the company was employed to build modular synthesizers based on Moog’s designs.

In 1972 Moog changed the company’s name to Moog Music. Throughout the 1970s, Moog Music went through various changes of ownership, eventually being bought out by musical instrument manufacturer Norlin. Poor management and marketing led to Moog’s departure from his own company in 1977.

In 1978 after leaving his namesake firm, Moog started making electronic musical instruments again with a new company, Big Briar. Their first specialty was theremins, but by 1999 the company expanded to produce a line of analog effects pedals called moogerfoogers. In 1999, Moog partnered with Bomb Factory to co-develop the first digital effects based on Moog technology in the form of plugins for Pro Tools software.

Despite Moog Music’s closing in 1993, Robert Moog did not have the rights to market products using his own name throughout the 1990s. Big Briar acquired the rights to use the Moog Music name in 2002 after a legal battle with Don Martin who had previously bought the rights to the name Moog Music. At the same time, Moog designed a new version of the Minimoog called the Minimoog Voyager. The Voyager includes nearly all of the features of the original Model D in addition to numerous modern features.

Theremin

Robert Moog constructed his own theremin as early as 1949. Later he described a theremin in the hobbyist magazine Electronics World and offered a kit of parts for the construction of the Electronic World’s Theremin, which became very successful. In the late 1980s Moog repaired the original theremin of Clara Rockmore, an accomplishment which he considered a high point of his professional career. He also produced, in collaboration with first wife Shirleigh Moog, Mrs. Rockmore’s album, The Art of the Theremin. Dr. Moog was a principal interview subject in the award-winning documentary film, THEREMIN- An Electronic Odyssey, the success of which led to a revival of interest in the theremin. Moog Music went back to its roots and once again began manufacturing theremins. Thousands have been sold to date and are used by both professional and amateur musicians around the globe. In 1996 he published another do-it-yourself theremin guide. Today, Moog Music is the leading manufacturer of performance-quality theremins.

Pronunciation

The surname Moog is one of the most divergently pronounced names in popular culture. The following interview excerpt reveals Robert Moog’s preferred pronunciation:

— Reviewer: First off: Does your name rhyme with “vogue” or is like a cow’s “moo” plus a “G” at the end?
— Dr. Robert Moog: It rhymes with vogue. That is the usual German pronunciation. My father’s grandfather came from Marburg, Germany. I like the way that pronunciation sounds better than the way the cow’s “moo-g” sounds.

(Note that the English , which has a monophthong and devoiced final consonant.)

In a deleted scene from the DVD version of the documentary Moog, Moog describes the three pronunciations of the name Moog: the original, Dutch pronunciation . Moog reveals that some of his family members prefer the English pronunciation, while others, including himself (and his wife) prefer the Anglo-German pronunciation.

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May 06

2002 – R&B legend Ray Charles is presented with an…

Posted in 2000s, Alternative or something else, Anniversaries, tributes, & celebrations, Bands/Artists that Rock, Billboard charts, Blues, Chart Toppers, Classic, Composers & Songwriters, General, Gold, Industry, Keys, Off the Hook, Platinum, Rock n Roll Hall of Fame (honoured diety), Singers | No Comments »

2002 – R&B legend Ray Charles is presented with an honorary doctorate of philosophy degree during commencement at Albany State University in his hometown of Albany, Ga.

Tags: Albany, degree, legend, philosophy, Ray Charles, Universal

Aug 10

2000 – The recording industry asks Congress to repeal the “work for hire” amendment

Posted in 2000s, Agents & Lawyers, Bands/Artists that Rock, Billboard charts, Bio, Chart Toppers, Classic, Composers & Songwriters, Copyrights & Trademarks, General, Gold, Industry, Misc., Platinum, Record Labels, Rock n Roll Hall of Fame (honoured diety), Singers, TV, Movies, Radio, Internet, & itunes | No Comments »

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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Jan 05

2000 – Rapper Jamal “Shyne” Barrow is indicted f…

Posted in 2000s, Agents & Lawyers, General, I fought the law | No Comments »

2000 – Rapper Jamal “Shyne” Barrow is indicted for attempted murder in the second degree. The rapper is also charged with assault and attempted assault.

Tags: assault, Charged, degree, indictment, murder, Murdered

May 18

1964 – David Frost interviews Paul McCartney on the BBC show A Degree of Frost.

Posted in 1960s, Alternative or something else, Bands/Artists that Rock, Bassists, Billboard charts, Chart Toppers, Classic, Composers & Songwriters, General, Gold, Industry, Rock n Roll Hall of Fame (honoured diety), Singers, TV, Movies, Radio, Internet, & itunes | No Comments »

1964 – David Frost interviews Paul McCartney on the BBC show A Degree of Frost.

Paul McCartney sat down with David Frost for a brief interview that was telecast May 18th 1964 on the BBC television program ‘A Degree of Frost.’ The interview was conducted in front of a live studio audience.

David Frost: “Paul, it’s great to have you here, and one thing that I’ve been wondering is whether you ever expected things to be as good for you as they have been. When you started as a group, did you expect things to go like this?”
Paul: “No. We used to sort of think of things in stages… still do I think. When we first started off, playing in the Cavern, I thought first of all ‘Let’s get a record contract.’ We all did. When we got a record contract, we said ‘Let’s get a number one hit.’ …Got one of them.”

David Frost: (laughs) “So I hear… yeah.”

Paul: “So we do it in stages. So we never thought of it being this big.”

David Frost: “After you got a number one hit, you hoped for another number one. Then what?”

Paul: “Umm, something like the Royal Variety performance. Something sort of big. Then… what came after that…. America, I think.”

David Frost: “…which was marvelous.”

Paul: “and a film.”

David Frost: “It’s fairly close to the film being as big of a success as everything else, I should think. Now if it is, a bit later this year, a big success… What will be the next ambition then?”

Paul: “I don’t know. Another film probably.”

David Frost: “and what about after that.”

Paul: (jokingly) “Oh, don’t ask me… I’m only doing it.”

(laughter)

David Frost: “Have you got any ambitions in other spheres completely? I mean, do you want to be Prime Minister one day?”

Paul: (shakes head and laughs) “No! No, nothing like that. I’d like to… retire.”

(laughter)

David Frost: “and when do you think you’ll achieve that ambition?”

Paul: (jokingly) “The way things are going, about a couple of years or so.”

(laughter)

David Frost: “When people usually ask you, ‘What’s the best thing about being one of The Beatles at this stage, you usually reply ‘The money’ as the first quip. But what after that is one of the good things?”

Paul: “Being able to do things that you enjoy doing. You get a bit of power when you, sort of, reach a certain stage. and then you can suggest things that you want to do. I mean, we can turn to Brian (Epstein) and say, could we do such-and-such a thing… like a film. and he’ll say, ‘Well, I’ll try and fix it, boy.’ He’s good like that, you know.”

(laughter)

Paul: (laughs) “He’s great.”

David Frost: “So the power it gives you is the power to do what you want.”

Paul: “Yes. So, rather than sort of being struggling unknowns and trying to do things that we’d never be able to do, we can now do more things that we’d like to. I think that’s sort of a good part of it.”

David Frost: “and when you write music… which you do a great deal with John Lennon… you write it very much, and marvelously, in the current idiom. Do you feel that later on, when you move into another period… say in five years time… you’ll be writing in the same idiom? Or different? Will you change with the times?”

Paul “I think the point is, the tunes that we write…” (stumbles over his words) “…on, in, any iddum. Idiom.” (looks at the audience) “Idiot…”

(laughter)

Paul: (chuckles) “I think it’s just the arrangements. For instance, ‘From Me To You.’ It could be done as an old Ragtime tune… especially the middle-eight. and so, we’re not writing the tunes in any particular idiom. So, in five years time, we may arrange the tunes differently… but we’ll probably write the same old rubbish!!”

(laughter)

David Frost: “How do you judge a good song when you’ve written it?

Paul: “By us liking it. You know, John and I. If we like it, then we think it’s a ‘good’n’. It’s a combination of liking it… and what is commercial… what we think other people will like.”

David Frost: “Can it be a good song if you like it and nobody was to buy it? That hasn’t happened to you.”

Paul: “It always is for us: If we like it. and in fact we don’t like bad songs, that’s all there is to it…”

David Frost: “Of course, I imagine, everybody says to you that the Pop world is very short-lived… and ‘What will you do when the phase passes.’ Or ‘Do you think the phase will pass?’ Does it worry you?”

Paul: “No. I couldn’t care less, really, if we flopped tomorrow. It’d be sad, you know… but it wouldn’t really worry me.”

David Frost: “Could you go back to doing something else?”

Paul: “I’d miss doing this. But I think I’d think of something else to do.”

David Frost: “What would you like to do?”

Paul: “Write songs for other people.”

David Frost: “Completely different?”

Paul: “Completely different. Or… retire, you know.”

(laughter)

David Frost: “Well, it will be a great pleasure to watch Paul McCartney in retirement, but it will probably be in the year about 2010 I should

Tags: BBC, degree, interview, McCartney, Paul

Dec 06

1956 – Randy Rhoads, a guitar god of a different stripe with Ozzy Osbourne’s

Posted in 1950s, Agents & Lawyers, Albums/Singles that Rock, Bands/Artists that Rock, Billboard charts, Bio, Birthdays, Blues, Chart Toppers, Christmas, Classic, Composers & Songwriters, General, Gold, Guitarists, Industry, Other Awards/Honors, Platinum, Rock n Roll Hall of Fame (honoured diety), Singers, TV, Movies, Radio, Internet, & itunes | 1 Comment »

1956 – Randy Rhoads, a guitar god of a different stripe with Ozzy Osbourne’s band, is born in Santa Monica, Calif.

Randall William “Randy” Rhoads (December 6, 1956 – March 19, 1982) was an American heavy metal guitarist who played with Ozzy Osbourne and Quiet Riot. Despite his short career, he is cited as an influence by many contemporary heavy metal guitarists. A devoted student of classical guitar, Rhoads often combined his classical music influences with his own heavy metal style. While on tour with Ozzy Osbourne, he would often seek out classical guitar tutors for lessons.

Biography

Early life

Rhoads was born on December 6, 1956 at St. John’s Hospital in Santa Monica, California. He was the youngest of three children. His older brother, Doug, who goes by the name of Kelle Rhoads, is a drummer and vocalist who also arranges classical compositions. His sister’s name is Kathy.

When Randy was 17 months old, his father, William Arthur Rhoads, left his mother, but he stayed in touch with Randy even up until his son’s death. Delores Rhoads, and the three children. Mrs. Rhoads has owned and operated the Musonia School of Music in North Hollywood, California since 1949. Rhoads started playing guitar at age 7 on his grandfather’s old Gibson “Army-Navy” classical acoustic guitar. According to Rhoads’ mother, he learned to play folk guitar, which was a popular way to learn guitar at the time, although he did not take lessons for very long. Rhoads was always evolving toward a hard rock/metal lead guitar style, but he was heavily influenced by classical music as well. This can be heard on Ozzy Osbourne tracks like “Dee” (an instrumental he named for his mother Delores), “Mr. Crowley”, “Diary of a Madman”, “You Can’t Kill Rock And Roll”, “Crazy Train” and “Revelation (Mother Earth)”.

Quiet Riot

At the age of 14 Rhoads formed a cover band called Violet Fox (after his mother’s middle name, Violet), with his older brother Kelle on drums. Violet Fox staged several performances in the “Grand Salon” at Musonia, Delores Rhoads’ music school. Among their setlist was “Mississippi Queen” by Mountain, as well as songs from The Rolling Stones, Alice Cooper, and David Bowie. After the dissolution of Violet Fox, Rhoads taught his best friend Kelly Garni how to play bass, and together they formed a band called The Whore (rehearsing during the day at Rodney Bingenheimer’s English Disco, a famous ’70s Hollywood nightspot), spending several months playing at backyard parties around Los Angeles. Together the pair went on to form Quiet Riot when Rhoads was about 17 (according to Rhoads’ mother). Kevin DuBrow auditioned for vocalist in Rhoads’ kitchen after he convinced Rhoads and Garni to give him a chance. The drummer, Drew Forsyth, was already in the picture and had periodically played with Rhoads and Garni in the past.

Quiet Riot initially played in small bars in Hollywood and local parties in Burbank, eventually playing at the two main L.A. music clubs of the day — the Whisky a Go Go, and The Starwood. While the band had a strong following in the L.A. club scene, they were unable to secure a major recording contract in the United States. Eventually, however, the band was able to land a record deal with Japanese label CBS/Sony Records and Quiet Riot and Quiet Riot II were released in Japan.

Career with Ozzy Osbourne

In 1979, ex-Black Sabbath singer Ozzy Osbourne was forming a new band. Future Slaughter bassist Dana Strum recommended Rhoads to Osbourne. Rhoads got the call for the audition just before his final show with Quiet Riot. He walked in with his Les Paul guitar and a practice amp and started warming up; Osbourne immediately gave him the job. Rhoads recalled later, “I just tuned up and did some riffs, and he said, ‘You’ve got the gig.’ I had the weirdest feeling, because I thought, ‘You didn’t even hear me yet.’” Osbourne described Rhoads’ playing as “God entering my life.” Rhoads subsequently recommended his friend Greg Leon, who also taught guitar at Musonia for Rhoads’ mother, to replace him in Quiet Riot, and then departed for the UK to write and record with Osbourne in November 1979.

The band, then known as the Blizzard of Ozz, headed into the studio to record the band’s debut album, which would also be called Blizzard of Ozz. Rhoads’ guitar playing had changed due to the level of freedom allowed by Ozzy and Bob Daisley and he was encouraged to play what he wanted. His work with Quiet Riot has been criticized as being “dull” and did not rely on classical scales or arrangements. Propelled by Rhoads’ neo-classical guitar work, the album proved an instant hit with rock fans, particularly in the USA. They released two singles from the album: “Mr. Crowley” and the hit “Crazy Train”. The British tour of 1980-81 for Blizzard of Ozz was with Bob Daisley and Lee Kerslake. After the UK tour, the band wrote another LP before the US Blizzard of Ozz tour. But before the US Blizzard tour, both Lee Kerslake and Bob Daisley were fired by Sharon Osbourne. For the US Blizzard tour, Tommy Aldridge and Rudy Sarzo were hired. Diary of a Madman was released soon after Blizzard of Ozz in October 1981, and since Kerslake and Daisley were already out of the band, Aldridge and Sarzo’s photos appear on the album sleeve. This was the source of many future court battles.

Around this time Rhoads remarked to Osbourne, fellow Ozz bandmates Tommy Aldridge and Rudy Sarzo, and friend Kelly Garni that he was considering leaving rock for a few years to earn a degree in classical guitar. In the documentary Don’t Blame Me, Osbourne confirmed Randy’s desire to earn the degree and stated that had he lived, he didn’t believe Randy would have stayed in his band. Friend and ex-Quiet Riot bassist Kelly Garni has stated in interviews that if Randy had continued to play rock, he might have gone the route of more keyboard-driven rock, which had become very popular through the 1980s.

It was at this time that Rhoads was beginning to receive recognition for his playing. Just before his death Jackson Guitars created a signature model, the Jackson Randy Rhoads or Randy Rhoads Pro (though it was recommended to be called the Jackson Concorde). Randy received two prototypes — one in black and one in white — but died before the guitar went into production. Rhoads also received the Best New Talent award from Guitar Player.

Death
Rhoads’ tomb, San Bernardino, California

Randy Rhoads’ last show was played on Thursday March 18, 1982 at the Knoxville Civic Coliseum in Knoxville, Tennessee. On March 19, 1982, the band was headed to a festival in Orlando, Florida. After driving much of the night, they stopped at the house of Jerry Calhoun, the bus company’s owner, in Leesburg, Florida. The driver, Andrew Aycock, took Rhoads and hairdresser Rachel Youngblood on a flight in a Beechcraft Bonanza he had taken without permission. Apparently, during the flight, a few attempts were made to “buzz” the tour bus where the other band members were sleeping.

Randy’s funeral was held at the First Lutheran Church in Burbank, CA. He is interred at Mountain View Cemetery in San Bernardino, California where his grandparents are also buried.

Equipment

Guitars

* 1975 Cream Gibson Les Paul Custom
* Black Gibson Les Paul Custom
* Karl Sandoval Polka Dot Flying V
* White Jackson Randy Rhoads w. black pinstripes
* Black Jackson Randy Rhoads
* Guild 12 string acoustic
* Early 60s Fender Stratocaster
* Gibson Firebird 12 string electric guitar
* Martin 6&12 string acoustics

Effects

* VOX 847 Wah Wah pedal
* MXR Distortion plus
* MXR 10 band equalizer
* MXR Stereo flanger
* MXR Stereo chorus
* Maestro Phase Shifter
* Maestro Echoplex
* Roland FV-300H Volume Pedal

Amplifiers

* Marshall vintage Super Lead Plexi 100w amp heads (2)
* Marshall 4×12 White cabinets with Altec Lansing speakers (2)
* Marshall 4×12 Black cabinets with Altec Lansing speakers (2)
* Marshall Plexi MKII Super Lead 100 watt amp (modded with cascade mod)
* Ampeg 4×12 cabinet with Altec Lansing speakers
* Peavey standard 130 watt amp
* Fender Harvard 1×12 amp

Posthumous achievements

In 1987, five years after Rhoads’ death, Osbourne released Tribute, the only official album featuring Osbourne and Rhoads playing together in concert. Most of the album is a live performance from Cleveland, Ohio, recorded on May 11, 1981. Also used in the recording was Rhoads’ guitar solo from a show in Montreal, Canada, recorded on July 28, 1981. That whole show had been broadcast on WMMS, and the King Biscuit Flower Hour, from which it became an extremely popular and fast selling bootleg. The songs “Goodbye to Romance” and “No Bone Movies” from the Tribute album were recorded on the UK Blizzard of Ozz tour at Southampton, on the same date as the Mr. Crowley EP.

Randy was inducted into the Guitar Center Rock Walk (on Sunset Blvd in Hollywood, CA), on March 18, 2004. Guests included Delores Rhoads, Kelle Rhoads, Rudy Sarzo, Ozzy and Sharon Osbourne, Zakk Wylde and Yngwie Malmsteen. In a 2006 Guitar World article, it was mentioned that Rhoads’ last name was mistakenly spelled “Rhodes” on his plaque, and by the time it was discovered, there was not enough time to correct the mistake. It has since been fixed.

As a tribute to Rhoads, Marshall Amplification released the 1959RR at NAMM 2008. The amp is a limited-edition all-white Marshall Super Lead 100 watt head modeled after Randy’s own Super Lead amp. Marshall engineers looked extensively at Rhoads’ actual amplifier and made the 1959RR to those exact specifications, right down to the special high-gain modification Randy specifically requested when he visited the Marshall factory in 1980.

Honors

* Voted “Best New Talent” by the readers of Guitar Player magazine in December 1981
* Voted “Best Heavy Metal Guitarist” by the readers of UK-based Sounds magazine in December 1981
* Placed 85th on Rolling Stone Magazine’s 100 Greatest Guitarists.
* Placed 4th on Guitar World Magazine’s 100 Greatest Heavy Metal Guitarists.
* Crazy Train and Mr. Crowley placed 9th and 28th respectivley on Guitar World’s 100 Greatest Guitar Solos readers poll.
* Named one of the fastest guitar players in Guitar World’s 50 Fastest Guitarists list.
* “Crazy Train” placed 51 in Rolling Stone’s “100 Greatest Guitar Songs of All Time” list.

Influence
This section needs additional citations for verification.
Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (November 2007)

Despite his youth and relatively limited recorded work, Rhoads has influenced many notable guitar players including: Zakk Wylde,

Discography

With Quiet Riot

* Quiet Riot (1977)
* Quiet Riot II (1978)

With Ozzy Osbourne

* Blizzard of Ozz (1980)
* Diary of a Madman (1981)
* Tribute (1987)

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Aug 25

1955 – Elvis Costello (Declan McManus) is born in …

Posted in 1950s, Agents & Lawyers, Albums/Singles that Rock, Anniversaries, tributes, & celebrations, Bands/Artists that Rock, Billboard charts, Bio, Birthdays, Blues, Chart Toppers, Classic, Composers & Songwriters, General, Gold, Platinum, Rock n Roll Hall of Fame (honoured diety), Singers, TV, Movies, Radio, Internet, & itunes | No Comments »

1955 – Elvis Costello (Declan McManus) is born in London. His biggest hit is the top 20 song “Veronica” in 1989, which he writes with Paul McCartney.

Elvis Costello (born Declan Patrick MacManus 25 August 1954) is an English musician and singer-songwriter, with Irish ancestry. Costello came to prominence as an early participant in London’s pub rock scene in the mid-1970s, and later became associated with the punk rock and New Wave musical genres, before establishing his own unique voice in the 1980s. Steeped in wordplay, the vocabulary of Costello’s lyrics is broader than that of most popular songs, and his music has drawn on dozens of genres. Critic Stephen Thomas Erlewine wrote, “Costello, the pop encyclopedia, can reinvent the past in his own image”.

Costello and Canadian jazz singer and pianist Diana Krall were married on December 6, 2003 at Elton John’s estate outside London. Their first children together, twin sons Dexter Henry Lorcan and Frank Harlan James, were born December 6, 2006 in New York City.
Biography

Early life

Costello was born Declan Patrick MacManus[3] in St Mary’s Hospital, Paddington in London, the son of Mary (née Costello) and Ross MacManus, a musician and bandleader.[4] Costello lived in Twickenham, attending what is now St Mark’s Catholic Secondary School in neighbouring Hounslow.[5] With a musically inclined father (his father sang with The Joe Loss Orchestra), Costello’s first broadcast recording was alongside his dad in a television commercial for R. White’s Lemonade (“I’m a Secret Lemonade Drinker”). His father wrote and sang the song; Costello provided backing vocals. The ad won a silver award at the 1974 International Advertising Festival.

Costello moved with his Liverpool-born mother to Birkenhead in 1971. It was there that he formed his first band, a folk duo called Rusty. After completing secondary school at St. Francis Xavier’s College Liverpool, he moved back to London where he next formed a band called Flip City,[6] which had a style very much in the pub rock vein. They were active from 1974 through early 1976. Around this time, Costello adopted the stage name D.P. Costello.

To support himself, he worked a number of office jobs, most famously at the Elizabeth Arden cosmetics firm — immortalised in the lyrics of “I’m Not Angry” as the “vanity factory” — where he worked as a data entry clerk. He worked for a short period as a computer operator at the Midland Bank computer centre in Bootle, Liverpool. He continued to write songs, and began actively looking for a solo recording contract. On the basis of a demo tape, he was signed to noted independent label Stiff Records. His manager at Stiff, Jake Riviera, suggested a name change, using Elvis Presley’s first name despite Costello having a small antipathy towards Presley, and Costello comes from his great grandmother’s name[7] to form Elvis Costello.

1970s

The first Costello single for Stiff was “Less Than Zero” b/w “Radio Sweetheart (single mix),” released on March 25, 1977. Two months later, Costello’s first album, My Aim Is True (1977), was a moderate commercial success (No. 14 in the UK and Top 40 in the US) with Costello appearing on the cover in his trademark oversize glasses, bearing a striking resemblance to a menacing Buddy Holly. A highlight of the album was the country-influenced ballad “Alison” with a typically biting Costello lyric. Costello’s backing on this first album was provided by American West Coast band Clover, a roots/country outfit living in England (contrary to rumor, Clover did not exactly become Huey Lewis and the News – Huey Lewis did play with Clover shortly before the recording of My Aim Is True, but he and Sean Hopper, who appears on Costello’s record, struck out on their own later). Costello was originally marketed as a punk artist. Later on, as the term New Wave was applied to the first post-punk bands, Costello was classified as new wave for a time.

The same year, Costello recruited via auditions his own permanent band, The Attractions, consisting of Steve Nieve (born Steve Nason; piano), Bruce Thomas (bass guitar), and Pete Thomas (drums; unrelated to Bruce Thomas). He released his first major hit single, “Watching the Detectives,” which was recorded with Nieve and the pair of Steve Goulding (drums) and Andrew Bodnar (bass), both members of Graham Parker & The Rumour (whom he had used to audition for The Attractions).

Stiff’s records were initially distributed only in the UK, which meant that Costello’s first album and singles were initially available in the US as imports only. In an attempt to change this, Costello was arrested for busking outside of a London convention of CBS (Columbia Records) executives, “protesting” that no US record company had yet seen fit to release Elvis Costello records in the United States. Costello signed to CBS in the US a few months later.
Elvis Costello, Cardiff, 1979
Elvis Costello, Cardiff, 1979

In December 1977, Costello and The Attractions appeared on Saturday Night Live as a last minute fill-in for the Sex Pistols, but Costello ended up causing some controversy himself, and was banned from the program for over a decade. Following a whirlwind tour with other Stiff artists (captured on the Live Stiffs album, notable for Costello’s recording of the Burt Bacharach/Hal David standard “I Just Don’t Know What to Do With Myself”) the band recorded the frenetic, raucous This Year’s Model (1978). Some of the more popular tracks include the British hit “(I Don’t Want To Go To) Chelsea” and the subversively anthemic “Pump It Up”. His U.S. record company saw Costello as such a priority that his last name replaced the word “Columbia” on the label of the disc’s original pressing. A tour of the US and Canada also saw the release of the much bootlegged promo-only “Live at the El Mocambo,” which finally saw an official release as part of the “2½ Years” box set in 1993. It was during the ensuing United States tour that Elvis met and developed a relationship with former Playboy model, Bebe Buell (mother of Liv Tyler). Their on-again-off-again courtship would last until 1984 and would allegedly become a deep well of inspiration for some of Costello’s most lovelorn songs. 1979 would arguably see the peak of Costello’s commercial success with the release of Armed Forces (originally to have been titled Emotional Fascism, a phrase that appeared on the LP’s inner sleeve). Both the album and the single Oliver’s Army went to #2 in the UK. Costello also found time in 1979 to produce the debut album for 2 Tone ska revival band, The Specials.

1980s
Live at Metropol-Theatre, Berlin, May 1980

The soul-infused Get Happy!! would be the first, and—along with King of America—possibly most successful, of Costello’s many experiments with genres beyond those he is normally associated with. The single, “I Can’t Stand Up For Falling Down” was an old Sam and Dave song (though Costello increased the tempo considerably). The brevity of the songs (20 tracks in under 50 minutes) suited the band’s new style (the Thomas’ typically melodic rhythm section and Nieve’s reasonable impersonation of Booker T. Jones) as well as the frantic and stressful conditions under which it was written and recorded, live at a rock concert and fuelled by excessive drinking. Lyrically, the songs are full of Costello’s signature wordplay, to the point that he later felt he’d become something of a self-parody and toned it down on later releases. He has mockingly described himself in interviews as “rock and roll’s Scrabble champion.” The only 1980 appearance in North America was at the Heatwave festival in August near Toronto.

1981′s Trust, despite its eclecticism (“Different Finger” had a distinct country feel) had a more pop sound than Get Happy!! Still, overall the album was clearly affected by the growing tensions within the band, particularly between Bruce and Pete Thomas. In the US, the single “Watch Your Step” was released and played live on Tom Snyder’s “Tomorrow” show, and received airplay on FM rock radio. In the UK, the single “Clubland” scraped the lower reaches of the charts; follow-up single “From A Whisper To A Scream” (a duet with Glenn Tilbrook of Squeeze) became the first Costello single in over 4 years to completely miss the charts.

Following Trust, Costello released Almost Blue, an album of country music cover songs written by the likes of Hank Williams (“Why Don’t You Love Me (Like You Used To Do?)”), Merle Haggard (“Tonight The Bottle Let Me Down”) and Gram Parsons (“How Much I Lied”). The album was a tribute to the country music he had grown up listening to, especially, George Jones. Some avid fans dismissed the album because it was inconsistent with earlier recordings. It was not a country-rock album (a la The Byrds or Eagles), which might have been more palatable to his established audience and to reviewers, but rather an undiluted country album. It received mixed reviews, some of which accused Costello of growing soft. Perhaps in anticipation of the inevitable accusations of apostasy, the first pressings of the record in the UK bore a sticker with the message: “WARNING: This album contains country & western music and may cause offence to narrow minded listeners”. Almost Blue did spawn a surprise UK hit single in a version of George Jones’s “Good Year For The Roses” (written by Jerry Chesnut), which reached #6.

Imperial Bedroom (1982) marked a much darker, almost baroque sound for Costello, due in part to the production of Geoff Emerick, famed for engineering several Beatles records. Imperial Bedroom remains one of his most critically acclaimed records, but again failed to produce any hit singles. Costello has said he disliked the marketing pitch for the album, weak ads consisting only of the phrase “Masterpiece?”. Imperial Bedroom also featured Costello’s song “Almost Blue”; jazz singer and trumpeter Chet Baker would later perform and record a version of this song.

1983 saw another sidetrack with the pop-soul of Punch the Clock, featuring female backing vocals (Afrodiziak) and a four piece horn section (The TKO Horns), alongside The Attractions. Clive Langer (who co-produced with Alan Winstanley), provided Costello with a melody which eventually became “Shipbuilding”, an oblique look at the political contradictions of the Falklands War: the controversial military build-up provided jobs for Britain’s struggling shipyards. The song featured a trumpet solo by Chet Baker. Prior to the release of Costello’s own version, a version of the song was a minor UK hit for former Soft Machine drummer and political activist Robert Wyatt.

Equally political was “Pills And Soap”—a UK hit for Costello himself under the pseudonym of “The Imposter”—an attack on the changes in British society brought on by Thatcherism, released to coincide with the run-up to the 1983 UK general election. (The electorate was seemingly unswayed.) Punch the Clock also generated an international hit in the single “Everyday I Write the Book”, aided by a prophetic music video featuring lookalikes of the Prince and Princess of Wales undergoing domestic strife in a suburban home. The song became Costello’s first top forty hit single in the US. Also in the same year, Elvis provided vocals on a version of the Madness song “Tomorrow’s Just Another Day” released as a B-side on the single of the same name. Tensions within the band were beginning to tell, and Costello announced his retirement and the disbandment of the group shortly before they were to record Goodbye Cruel World (1984). Costello would later say of this record that they had “got it as wrong as you can in terms of the execution”. The record was poorly received upon its initial release, and even many ardent Costello fans see Goodbye as his weakest album (the liner notes to the 1995 Rykodisc re-release, penned by Costello, begin with the words “Congratulations!, you’ve just purchased our worst album”). Costello’s retirement, although short-lived, was accompanied by two compilations, Elvis Costello: The Man in the UK, Europe and Australia, and The Very Best of Elvis Costello & the Attractions in the U.S.

In 1985, he appeared in the “Live Aid” benefit concert in England, singing The Beatles’ “All You Need is Love” as a solo artist. (The event was overrunning and Costello was asked to “ditch the band”). Costello introduced the song as an old northern folk song, and the audience was invited to sing the chorus, which they did.

In the same year Costello teamed up with good friend T-Bone Burnett for a single called “The People’s Limousine” under the moniker of The Coward Brothers. That year, Costello also produced Rum, Sodomy, and the Lash for the punk/folk band The Pogues. It was then that he met his second wife, Pogues bassist Cait O’Riordan.

By 1986, Costello was preparing to make a comeback. Working in the US with Burnett, a band containing a number of Elvis Presley’s sidemen (including James Burton and Jerry Scheff), and minor input from the Attractions, he produced King of America an acoustic-guitar-driven album with a country sound. Around this time he legally changed his name back to Declan MacManus, adding Aloysius as an extra middle name. The Attractions felt understandably insecure about the ease with which they could be dropped considering their boss had cut a new album largely without them, and was planning to undertake a major tour showcasing the King of America material with his new musical partners. To allay their fears, Costello retooled his upcoming tour to allow for multiple nights in each city; playing one night with The Confederates (James Burton et al.), one night with The Attractions, and one night solo acoustic.

In May 1986, Costello performed at Self Aid, a benefit concert held in Dublin that focused on the problem of chronic unemployment which was widespread in Ireland at that time. Later that year, he returned to the studio with the Attractions and recorded Blood and Chocolate, which was lauded for a post-punk fervour not heard since 1978′s This Year’s Model. It also marked the return of producer Nick Lowe, who had produced Costello’s first five albums. While Blood and Chocolate failed to chart a hit single of any significance, it did produce what has since become one of Costello’s signature concert songs — “I Want You”. It is on this album that Costello adopted the alias “Napoleon Dynamite”, the name he later attributed to the character of the obnoxious emcee that he played during the vaudeville-style tour to support Blood and Chocolate. (The pseudonym had previously been used in 1982, when the B-side single “Imperial Bedroom” was credited to Napoleon Dynamite & The Royal Guard, and was later appropriated by the 2004 film Napoleon Dynamite, which does not have anything to do with Costello.) In 1989, Costello, with a new contract with Warner Bros., released Spike, which spawned his biggest single in America, the Top Twenty hit “Veronica”, one of several songs Costello co-wrote with Paul McCartney in that timeframe (see “Collaborations” section below).

1990s

In 1991, infamously having grown a long beard, Costello released Mighty Like a Rose, which featured the single “The Other Side of Summer”. He also found time to co-compose and co-produce, with Richard Harvey, the title and incidental music for the acclaimed mini-series G.B.H. by Alan Bleasdale. This entirely instrumental, and largely orchestral soundtrack garnered a BAFTA, for “Best Music for a TV Series” for the pair.

In 1993, Costello tested the classical music waters with a critically acclaimed collaboration with the Brodsky Quartet on The Juliet Letters. Costello returned to rock and roll the following year with a project that reunited him with The Attractions, Brutal Youth. In 1995, Costello released Kojak Variety, an album of cover songs recorded 5 years earlier, and followed in 1996 with an album of songs originally written for other artists, All This Useless Beauty. This was the final album of original material that he issued under his Warner Bros. contract. In the spring of 1996, Costello played a series of intimate club dates, backed only by Nieve on the piano, in support of All This Useless Beauty. An ensuing summer and fall tour with the Attractions proved to be the death knell for the band. With relations between Elvis and bassist Bruce Thomas at a breaking point, Costello announced that the current tour would be the Attractions’ last. The quartet performed their final U.S. show in Seattle, Washington on September 1, 1996, before wrapping up their tour in Japan. To fulfill his contractual obligations to Warner Bros., Costello released a greatest hits album titled Extreme Honey (1997). It contained an original track titled “The Bridge I Burned”, featuring Elvis’ son, Matt, on bass. In the intervening period, Costello also served as artistic chair for the 1995 Meltdown Festival, which gave him the opportunity to leverage his increasingly eclectic musical interests. His involvement in the festival yielded a one-off live EP with jazz guitarist Bill Frisell, which featured both cover material and a few of his own songs. In 1998, Costello signed a unique multi-label contract with Polygram Records, sold by its parent company the same year to become part of the Universal Music Group. Costello released his new work on what he deemed the suitable imprimatur within the family of labels. His first new release as part of this contract involved a collaboration with famed sixties pop songwriter Burt Bacharach. Their work had commenced earlier, in 1996, on a song called “God Give Me Strength” for the movie Grace of My Heart. This led the pair to write and record Painted From Memory, released under his new contract in 1998, on the Mercury Records label. They also recorded an updated version of Bacharach’s song “I’ll Never Fall in Love Again” for the soundtrack to Austin Powers: The Spy Who Shagged Me, with both appearing in the film to perform the song. He also wrote “I Throw My Toys Around” for The Rugrats Movie and performed it with No Doubt.

In 1999, Costello contributed a version of the classic “She”, most famously released in 1974 by Charles Aznavour and Herbert Kretzmer, for the soundtrack of the film Notting Hill, with Trevor Jones producing. For the 25th anniversary of Saturday Night Live, Costello was invited to the program, where he re-enacted his abrupt song-switch: This time, however, he interrupted the Beastie Boys’ “Sabotage”, and they acted as his backing group for “Radio Radio.”

2000 to present
Costello performing with The Imposters in 2005.
Costello performing with The Imposters in 2005.

In 2000 Costello appeared at the Town Hall Theatre NYC, in Steve Nieve’s opera Welcome to the Voice, alongside Ron Sexsmith and John Flansburgh of “They Might Be Giants”.

In 2001, Costello was announced as the featured “artist in residence” at UCLA (although he ended up making fewer appearances than expected) and wrote the music for a new ballet. He produced and appeared on an album of pop songs for opera singer Anne Sofie von Otter.

In 2002 he released a new album, When I Was Cruel, this time on Island Records, and toured with a new band, the Imposters (essentially the Attractions but with a different bass player, Davey Faragher, formerly of Cracker). On February 23rd, 2003, Costello, along with Bruce Springsteen, Steve Van Zandt, and Dave Grohl performed a version of The Clash’s “London Calling” at the 45th Grammy Awards ceremony, in honor of legendary Clash frontman Joe Strummer, who had died in December of the previous year. In March 2003, Elvis Costello & The Attractions were inducted into the Rock and Roll Hall of Fame. In May, his engagement to Canadian jazz singer and pianist Diana Krall was announced. September saw the release of North, an album of piano-based ballads concerning the breakdown of his former marriage, and his falling in love with singer Diana Krall.

In 2004, the song “Scarlet Tide” (co-written by Costello and T-Bone Burnett and used in the film Cold Mountain) was nominated for an Academy Award; he performed it at the awards ceremony with Alison Krauss, who also sang the song on the official soundtrack. Costello co-wrote many songs on wife Diana Krall’s 2004 CD, The Girl in the Other Room, the first of hers to feature several original compositions. In July 2004 Costello’s first full-scale orchestral work, Il Sogno, was performed in New York. The work, a ballet after Shakespeare’s A Midsummer Night’s Dream, was commissioned by Italian dance troupe Aterballeto, and received critical acclaim from the classical music critics, while being scorned by the popular music press.
Costello’s hand prints on the European Walk of Fame, Rotterdam
Costello’s hand prints on the European Walk of Fame, Rotterdam

While composing it, Costello deliberately avoided listening to the previous interpretations by Mendelssohn and Britten in order to ensure his own originality. A range of musical moods and styles are used to represent the different elements of the cast—satirical pomp for the courtiers, jazz for the faeries, and for Bottom a deliberately intrusive “brass band” motif. Performed by the London Symphony Orchestra, conducted by Michael Tilson Thomas, the recording was released on CD in September by Deutsche Grammophon. Costello released another album that same month: The Delivery Man, recorded in Oxford, Mississippi, and released on Lost Highway Records. Mainly blues, country, and folk, The Delivery Man received early acclaim as one of Costello’s best albums, and continues Costello’s personal quest to release an album on each of Universal’s record labels.

In July 2005, a CD recording of a collaboration with Marian McPartland on her show Piano Jazz was released. It featured Costello singing six jazz standards and two of his own songs, accompanied by Marian McPartland on piano. In November 2005 Costello started recording a new album with Allen Toussaint and producer Joe Henry. The River in Reverse was released in the UK on the Verve label on 29 May 2006.

In 2006 the studio recording of Nieve’s opera “Welcome to the Voice”, for Deutsche Grammophon, Costello interpreted the character of Chief of Police, with Barbara Bonney, Robert Wyatt, Sting and Amanda Roocroft.

Also released in 2006 was a live recording of a concert with the Metropole Orkest at the North Sea Jazz Festival, entitled My Flame Burns Blue.

In 2007 Nieve’s opera “Welcome to the Voice was released on CD by Deutsche Grammophon, reaching #2 in the Billboard classical charts.

Costello has been commissioned to write a chamber opera by the Danish Royal Opera, Copenhagen, on the subject of Hans Christian Andersen’s infatuation with Swedish soprano Jenny Lind, called The Secret Songs. Some of the songs were previewed on the Opera’s main stage in October 2005. However, since Costello has repeatedly missed deadlines, plans have been changed: extracts from the projected opera will be interspersed with songs from The Juliet Letters for performance in the Opera’s studio theatre (Takelloftet) in March 2007. It will be directed by Kasper Bech Holten and will feature Danish soprano Sine Bundgaard as Lind.

On May 6th, 2008, Fender Musical Instruments releases the Elvis Costello Jazzmaster, an exact representation of his late-1960′s heavily modified Fender Jazzmaster guitar he had used to record his first 1977 album, “My Aim Is True”, honoring one of the most recognized Jazzmaster players in music history. Uniquely Costello-inspired features include a post-’68 neck design, a walnut stain finish and a tremolo with easier and greater travel, essential for that “Watching the Detectives” tone, or what Costello calls that “spy movie” sound. This signature release comes during the 50th anniversary of Fender’s introduction of the Jazzmaster guitar, which first appeared in 1958.

On April 22nd, a new Elvis Costello and the Imposters album, “Momofuku”, will be released on Lost Highway Records, the same imprint that released his last major studio album, “The Delivery Man”. The new album will, at least initially, be released exclusively on vinyl (with a code to download a digital copy of the album). This summer, in support of the album, Costello will tour with The Police on the final leg of their 2007/2008 Reunion Tour.

On 5th February 2008 it was announced Elvis would play a homecoming gig at the Liverpool Philharmonic Hall on June 25th.[8]

On 28th June 2008, Costello gave his first performance in Poland, appearing with the Imposters for the closing gig of the Malta theatre festival in Poznań.

In July 2008, Costello (as Declan McManus) was awarded an honorary degree of Doctor of Music from the University of Liverpool.

In November 2008, Costello will interpret the role of Chief of Police in “Welcome to the Voice” on the stage of the Théâtre du Châtelet in Paris, with Sting, Joe Sumner of Fiction Plane, and Sylvia Schwartz.

Controversies

Costello’s success in the U.S. was bruised for a time in the late 1970s when, during a drunken argument with Stephen Stills and Bonnie Bramlett in a Columbus, Ohio, Holiday Inn hotel bar, Costello allegedly referred to James Brown as a “jive-ass nigger,” then upped the ante by pronouncing Ray Charles a “blind, ignorant nigger.”[9]

A contrite Costello apologised at a New York City press conference a few days later, claiming that he had been drunk and had been attempting to be obnoxious in order to bring the conversation to a swift conclusion, not anticipating that Bramlett would bring his comments to the press. According to Costello, “it became necessary for me to outrage these people with about the most obnoxious and offensive remarks that I could muster.” In his liner notes for the expanded version of Get Happy!!, Costello writes that some time after the incident he had declined an offer to meet Charles out of guilt and embarrassment, though Charles himself had forgiven Costello (“Drunken talk isn’t meant to be printed in the paper”). In a Rolling Stone interview with Greil Marcus, he recounts an incident when Bruce Thomas was introduced to Michael Jackson as Costello’s bass player and Jackson said, “I don’t dig that guy…”.[9]

Costello worked extensively in Britain’s Rock Against Racism campaign both before and after this and also produced the debut album of the Specials whose multi-racial line-up was a very public statement about integration. This incident inspired his Get Happy!! song “Riot Act”.[10]

Personal life

Costello has been married three times. In 1974, MacManus married Mary Burgoyne. The couple had a son, Matthew, and divorced in 1984. In 1986, Costello married Cait O’Riordan, then bassist for the band The Pogues. The couple split at the end of 2002. Costello became engaged to singer Diana Krall in May 2003. In December, Costello and Krall married at the London estate of Sir Elton John. Their twin sons Dexter Henry Lorcan and Frank Harlan James were born December 6, 2006 in New York City.
Wikinews has related news:
Canadian jazz star Diana Krall gives birth to twin boys

Collaborations

In addition to his major recorded collaborations with Bacharach, the Brodsky Quartet, and von Otter, Costello has frequently been involved in other collaborations.

In 1987, Costello began a long-running songwriting collaboration with Paul McCartney. They wrote a number of songs together, including:

* “Back On My Feet”, the B-side of McCartney’s 1987 single “Once Upon A Long Ago”, later added as a bonus track on the 1993 re-issue of McCartney’s Flowers in the Dirt
* Costello’s “Veronica” and “Pads, Paws and Claws” from Spike (1989)
* “So Like Candy” and “Playboy to a Man” from Mighty Like a Rose (1991)
* McCartney’s “My Brave Face”, “Don’t Be Careless Love”, “That Day Is Done” and “You Want Her Too” from Flowers in the Dirt (1989)
* “The Lovers That Never Were” and “Mistress and Maid” from Off the Ground (1993).
* “Shallow grave” from “All This Useless Beauty” (1996).
* “I don’t want to confess”, “Tommy’s coming home”, “Twenty-five fingers” and “Indigo moon” (Officially unreleased).

Costello talked about their collaboration:

When we sat down together he wouldn’t have any sloppy bits in there (meaning the songs). That was interesting. The ironic part is, if it sounds like he wrote it, I probably did and vice versa. He wanted to do all the ones with lots of words and all on one note, and I’m the one trying to work in the “Please Please Me” harmony all over the place.[citation needed]

* In 1987, he appeared on the HBO special Roy Orbison and Friends, A Black and White Night, which featured his long-time idol Roy Orbison, and was invited back to Saturday Night Live for the first time since 1977.

Artistic significance

Costello has worked with Tony Bennett, Lucinda Williams, Lee Konitz, Brian Eno, and Rubén Blades, just a few of the artists not mentioned above. Costello has inadvertently made himself capable of challenging Kevin Bacon’s role in a musical version of the Six Degrees of Kevin Bacon game, as his associations span the gamut in the music industry.

Costello is also a big music fan, and often champions the works of others in print. He has written several pieces for the magazine Vanity Fair, including the summary of what a perfect weekend of music would be. His collaboration with Bacharach honoured Bacharach’s place in pop music history. Costello also appeared in documentaries about singers Dusty Springfield and Wanda Jackson. He has also interviewed one of his own influences, Joni Mitchell.

In 2004, Rolling Stone Magazine ranked him #80 on their list of the 100 Greatest Artists of All Time.[11]

Discography

Main article: Elvis Costello discography

Rykodisc/Demon reissues

From 1993 to 1995, Rykodisc Records (U.S.) and Demon Records (UK) reissued Costello’s pre-Warner Bros. catalogue with bonus tracks for each album as well as a greatest hits compilation and the live album Live at the El Mocambo. In addition, Rykodisc were the U.S. distributor for The Juliet Letters. This licensing deal ended in 2000.

Rhino reissues

Starting in 2001, Rhino Records began an eighteen double-disc reissue program for Costello’s back catalogue prior to his Polygram/Universal contract. Except for the compilation, each of the reissues presented the remastered original album on one disc, and a separate bonus disc of B-sides, outtakes, live tracks, alternate versions and/or demos of songs.

The project featured the direct participation and guidance of Elvis Costello himself, who wrote new liner notes for each album consisting of his thoughts on the music as well as anecdotes and reminiscences from the time. They were released in batches of three, with the exception of King of America, The Juliet Letters, and The Very Best of Elvis Costello, the last being an unaltered re-release of the Polygram compilation of 1999, which arrived in the stores singularly. The reissue dates are as follows:

1. April 17, 2001: The Very Best of Elvis Costello
2. August 11, 2001: My Aim Is True, Spike, All This Useless Beauty
3. February 19, 2002: This Year’s Model, Blood and Chocolate, Brutal Youth
4. November 19, 2002: Armed Forces, Imperial Bedroom, Mighty Like a Rose
5. September 9, 2003: Get Happy!!, Trust, Punch the Clock
6. August 3, 2004: Almost Blue, Goodbye Cruel World, Kojak Variety
7. April 26, 2005: King of America
8. March 21, 2006: The Juliet Letters

The Almost Blue and Kojak Variety bonus discs were particularly notable as each contained, essentially, an entire new album’s worth of material also performed but either not issued, or released as B-sides on singles originally. The Kojak bonus disc also included ten songs of the ‘George Jones’ tape, cover songs Costello intended to induce the famed country singer to perform on a subsequent album. The Get Happy bonus disc was also of note, with 30 additional tracks, bringing the total for the two disc set to 50 songs.

Costello’s early single on Stiff can be found on the Ultimate Stiff Records Discography site: http://www.buythehour.se/stiff/

Universal reissues

In August 2006, three months after the conclusion of Rhino’s reissue series (My Aim Is True through The Juliet Letters), Universal Music Enterprises announced their purchase of the early Elvis Costello catalogue. This licensing acquisition covers from My Aim Is True through King of America, excluding the Warner Bros. albums (Spike through All This Useless Beauty). These albums had all been re-released on Rhino, a Warner Music Group subsidiary. The press release says, “[l]eading the industry in online marketing with a dedicated department that manages its digital and mobile business, UMe also expects to mine Costello’s catalog for ringtones, digital box sets, and more.”[12] UMe announced that they would be reissuing the albums on their Hip-O Select label. Costello is quoted in the press release as saying, “[I]t’s great to be able to do this through a company that has not only enjoyed major success with reissues but has done them with a genuine emphasis on quality.”[13] This reissue series will mark the fourth release of his Stiff/Radar/Demon catalogue (released by Columbia Records in the US) on compact disc.

Tribute albums

1. 1998: Bespoke Songs, Lost Dogs, Detours & Rendezvous – (various artists)
2. 2002: Almost You: The Songs of Elvis Costello – (various artists)
3. 2003: The Elvis Costello Songbook – Bonnie Brett
4. 2004: A Tribute to Elvis Costello – Patrik Tanner
5. 2004: Davis Does Elvis – Stuart Davis

Filmography

* 1979 film debut as “Earl Manchester” in Americathon
* 1984 as “Henry Scully” in UK TV series Scully
* 1984 as “Stone Deaf A&R Man” in UK TV series “The Comic Strip Presents”, episode “The Bullshitters” (directed by Stephen Frears)
* 1985 as inept magician “Rosco de Ville” in the Alan Bleasdale film No Surrender
* 1987 as “Hives the Butler” in the Alex Cox film Straight to Hell, starring Joe Strummer and Courtney Love
* 1994, 1996 as himself in The Larry Sanders Show
* 1997 as himself in Spiceworld
* 1999 as himself in Austin Powers: The Spy Who Shagged Me, performing the song “I’ll Never Fall In Love Again” with Burt Bacharach
* 1999 as himself in 200 Cigarettes
* 2000 as himself in Sans plomb
* 2001 as a public defender and a teacher in Prison Song,
* 2001 as himself in the final episode of 3rd Rock from the Sun,
* 2002 as himself (voice) in “How I Spent My Strummer Vacation”, an episode of The Simpsons
* 2003 Academy Award nomination for best original song “The Scarlet Tide” in Cold Mountain.
* 2003 as “Ben” in the Frasier episode “Farewell, Nervosa”
* 2003 as guest host on Late Show with David Letterman
* 2003 as himself in I Love Your Work
* 2004 performing the Cole Porter song “Let’s Misbehave” in De-Lovely
* 2004 as himself on Two and a Half Men
* 2005 as himself in the American situation comedy Two and a Half Men
* 2006 as himself in Putting the River in Reverse
* 2006 as himself in Talladega Nights: The Ballad of Ricky Bobby
* 2006 as himself in Delirious

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Jan 13

1954 – Yes guitarist Trevor Rabin is born in Johannesburg, South Africa.

Posted in 1950s, Bands/Artists that Rock, Billboard charts, Bio, Birthdays, Chart Toppers, Classic, Composers & Songwriters, General, Gold, Grammy, Guitarists, Industry, Platinum, Rock n Roll Hall of Fame (honoured diety), Singers, TV, Movies, Radio, Internet, & itunes | No Comments »

1954 – Yes guitarist Trevor Rabin is born in Johannesburg, South Africa.

Trevor Rabin (born January 13, 1954) is a South African-American musician, best known as a guitarist and songwriter for the British progressive rock band Yes from 1983–1994, and since then, as a film composer.
Biography

Early years

Rabin was born Trevor Charles Rabinowitz and comes from a family of classical musicians in Johannesburg, South Africa, where his father Godfrey was lead violinist for the Johannesburg Philharmonic Orchestra. Educated at a public school in Johannesburg, he took formal piano training before discovering the guitar at age 12. His parents encouraged his talents toward rock music, although Rabin would maintain his interest in Classical music throughout his career. Rabin also briefly studied orchestration at the University of Johannesburg, and later arranged and conducted for many artists in South Africa.

Rabin’s early influences included Arnold Schoenberg, Tchaikovsky, Cliff Richard and the Shadows, The Beatles and Jimi Hendrix. He also dabbled with progressive and heavy rock with his first bands, The Conglomeration and Freedom’s Children. The latter group were older musicians whose songs questioned the South African government, especially its racial policy of apartheid. During this same period, Rabin became a highly sought after session guitarist and bassist, playing with many jazz bands in South Africa. When Rabin fulfilled his obligation to the South African Army at age 19, he served with the entertainment division.

In 1974, Trevor Rabin formed his first major recording group, Rabbitt along with Neil Cloud (drums), Ronnie Robot (bass guitar) and Duncan Faure (keyboards, guitar, vocals). Rabbitt actually began just prior to Rabin’s year of military conscription in 1974, but it really took off in 1975 after their onstage popularity at Johannesburg’s “Take It Easy” club spread by word of mouth. Their first single, released in 1975, was a cover of Jethro Tull’s “Locomotive Breath”. It later appeared on their debut album, Boys Will Be Boys, which otherwise featured original songs penned by Trevor Rabin.

Rabbitt’s second album, A Croak and a Grunt in the Night, was released in 1977. Trevor Rabin would go on to win a South African Sarie music award (that country’s answer to the Grammy Awards) for his co-production on the album. Momentum gained with a short-term record distribution deal with Capricorn in the United States, but Rabbitt were unable to tour abroad because of continuing international disapproval of South Africa’s apartheid policies. As a result, Trevor Rabin decided to leave South Africa. After recording one album without Trevor Rabin, Rabbitt disbanded that same year.

After moving to London in 1978, Trevor Rabin recorded his first solo album, Beginnings. It was released in England and the US simply as Trevor Rabin, with a slightly different track listing. While some songs were reminiscent of Rabbitt, Rabin’s guitar playing was more prominent as it would continue to be on his successive solo albums. He also established Blue Chip Music and struck an international deal with Chrysalis.

In transition: the UK and Los Angeles

Along with a budding solo career, Rabin began working as a producer and session player. Some of his prominent work included South African vocalist Margaret Singana (“Where Is The Love?”) and fellow South African expatriate, Manfred Mann and his Earth Band. Rabin still found time to record his second album Face to Face, touring the United Kingdom in support of Steve Hillage in early 1980.

Face to Face had the melodic guitar style of his first solo album, but also took a more hard-edged approach on such songs as “The Ripper” and “Now.” Rolling Stone’s first edition of their Record Guide criticized Rabin’s music for its hook-ridden ballads but still gave his first two albums moderate ratings for their overall technical qualities.

Neither of Rabin’s first two solo albums found any commercial success. With the growth of the Punk scene in the late ’70s, power-pop and hard rock music had fallen out of fashion in England. Trevor Rabin began looking for more fertile ground for what would be characterised in the U.S. as album-oriented rock (AOR).

In 1981, he released the album Wolf, co-produced with Ray Davies of The Kinks. Manfred Mann’s Earth Band members Chris Thompson and Manfred Mann made vocal and musical contributions to the album. Wolf marks Rabin’s first collaboration with former Cream bassist Jack Bruce and session drummer Simon Phillips. Following the release of the album, Rabin severed ties with Chrysalis Records as he felt they did little to promote the album.

In 1981, Rabin moved to Los Angeles and signed with David Geffen’s label. Rabin briefly recorded new material with a rhythm section consisting of future Quiet Riot drummer Frankie Banali and bassist Mark Andes, who would later join Heart. Some of these demo recordings developed into the Yes songs “Hold On” and “Make It Easy”.

Although Geffen Records dropped his contract in 1982, Trevor Rabin kept composing material for his projected fourth solo album in Los Angeles. As a keyboardist, he also considered touring as a session player for Foreigner. During this time, Rabin auditioned with the prog-rock supergroup Asia, featuring former Yes members Steve Howe and Geoff Downes. He also was in his agent’s film Finding Kraftland.

Yes
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Rabin’s career was in a downturn after Wolf, as American recording companies were not interested in his style of music. While in Los Angeles, he met bassist Chris Squire and drummer Alan White, longtime members of Yes, who had experienced their own difficulties following the apparent demise of that band in 1981. Liking one another’s ideas, Rabin, Squire and White began collaborating under the name Cinema in early 1982. Later on they enlisted original Yes keyboardist Tony Kaye to complement their live performances.

Produced by former Yes member Trevor Horn, what was to become the 90125 album came together over eight months in 1982. During his time in Los Angeles, Rabin had written several songs that formed the project’s nucleus. “Owner of a Lonely Heart” evolved into a catchy riff-oriented song that Horn seized upon as a potential single. Atco Records liked the group’s demo, but raised the question of whether they needed a separate vocalist. Horn was invited to join Cinema for this reason, but the producer refused Squire’s offer, possibly recalling the extreme negative fan reaction toward his replacement of Jon Anderson in 1980. (Rabin would endure similar comparisons to Steve Howe throughout his tenure with Yes, though not to nearly as great a degree as Horn.)

With the question of a vocalist still up in the air, Squire encountered Anderson at a Los Angeles party and Anderson expressed interest in hearing what Cinema were working on. Squire acquiesced, and Anderson was so impressed by the songs he heard, especially “Leave It”, that he joined the group, adding vocal tracks to the mostly already-written songs, very late in the recording of 90125. Because the band now featured four former members of Yes, including Anderson, who was especially strongly identified with Yes in the public eye, the band (over Rabin’s objections) chose to revive the Yes name rather than call itself Cinema, a name which in any case was already in use. The new Yes would meet with critical and commercial success, though not without some harsh criticism from fans of earlier incarnations of the band.

Both “Owner of a Lonely Heart” and “Leave It” became major hits, with “Owner” being the band’s only #1 single in most major markets including the US; along with heavy airplay of several other tracks, this helped propel 90125 to six million sales between 1983 and 1985, making it the most commercially successful of all Yes albums. Yes also received a Grammy award in 1984 for the instrumental “Cinema”. The band toured behind the album, in a series of well-received concerts across Europe and the Americas. In England and North America many younger fans were introduced to the earlier Yes catalogue because of the success of the 90125 album and its popular singles.

Trevor Rabin almost did not make the 90125 tour, because of a swimming accident in Florida just before the 1984 tour kicked off. According to interviews from the period, Rabin was injured severely when a large woman hit his midsection while jumping into a hotel swimming pool. He endured an emergency splenectomy and returned to Yes in time to begin the tour.

9012Live debuted as a live album and video package, taken from the group’s 1984 shows in Edmonton, Canada and Dortmund, Germany. On the former recording, Trevor Rabin contributed his acoustic guitar solo, “Solly’s Beard”.

In early 1986, Yes began recording its next album with Trevor Horn, but the production became bogged down due largely to personal differences among Anderson, Squire and Horn. Eventually, Rabin assumed control of the project, with Horn being fired as producer well before recording was complete. Rough tape demos have emerged with Trevor Rabin singing lead vocals on “Final Eyes” and “Rhythm of Love.”

Big Generator emerged in late 1987, with singles “Love Will Find a Way” and “Rhythm of Love.” Both were modest chart hits compared to the singles from 90125, though the album sold very well. The song “Shoot High, Aim Low” featured a dual lead vocal between Rabin and Jon Anderson. The 1988 Big Generator tour of the U.S. missed several dates after Rabin collapsed from influenza.

After the tour, Anderson left Yes for the second time, though his departure would prove short-lived. Trevor Rabin expressed a guarded neutrality over the split between Jon Anderson and Chris Squire, who briefly led rival groups consisting of Yes members. Squire held the Yes name, which now encompassed himself, Rabin, White and nominally Kaye, though the latter’s involvement was minimal; Anderson formed Anderson Bruford Wakeman Howe — a line-up he felt better represented Yes. A lawsuit between Arista and Atlantic Records ensued.

While Yes members, old and new, quarrelled over rights to the Yes trademark, Rabin completed his fourth and final-to-date solo album, Can’t Look Away, released in 1989. The album’s lead single, “Something to Hold On To”, earned a Grammy for Best Music Video and topped the AOR charts for two weeks. But despite some positive reviews, and extensive marketing from Elektra Records neither “Something to Hold on To,” nor Rabin’s anti-apartheid ballad “Sorrow (Your Heart)” managed to crack the American Top-40 charts. Trevor Rabin toured between 1989 and 1990 with drummer Lou Molino III (one of Rabin’s best friends and a featured player on his soundtracks), fretless bassist Jim Simmons and keyboardist-composer Mark Mancina.

Trevor Rabin’s nationwide Can’t Look Away tour attracted a modest number of Yes fans, and has since been documented with 2003′s Live in L.A., featuring interpretations of ’80s Yes material, as well as highlights from his Wolf album. Rabin’s solo band also performed an instrumental version of a 90125 outtake, “You Know Something I Don’t Know.” On this tour, Rabin also unveiled part of “Lift Me Up,” which would become the lead single for Union. It has also been speculated that Trevor Rabin’s solo band may have recorded demos for “Miracle of Life,” which also surfaced on Union. However, any plans for Rabin’s fifth solo album were interrupted once more by the machinery of Yes.

Unexpectedly, Yes would reform in 1991 with a short-lived, eight-man lineup for the Union tour. Unlike the dramatic reunion of 90125, the story behind Union comes across as strictly a corporate decision. In late 1990, Chris Squire’s Yes line-up (still including Rabin) had been jettisoned by Atlantic Records after creative differences. During a recent interview with Mike Tiano in 2003, Trevor Rabin expressed considerable disdain for Atlantic Records executive Derek Shulman (one-time frontman of progressive rock band Gentle Giant) who damned Rabin with faint praise as “the one who writes the hits.”

Unfortunately, Rabin would find himself in precisely that position when he received a call from Jon Anderson in 1991. After a gold album and lucrative tour, Anderson Bruford Wakeman Howe’s second album for Arista had encountered a creative block. Anderson asked Rabin for creative input, but after Can’t Look Away, Rabin did not have much new material on-hand. Even so, he submitted a demo of three songs, thinking the record company would select one. Instead, all three were accepted: “Lift Me Up”, “Saving My Heart” and “Miracle of Life”.

Arista subsequently made what Rabin later described as a “42nd floor boardroom decision,” and brought both Yes line-ups together — although at no point did the recording of Union feature all eight members of the touring group, and its sessions were augmented by a small army of session musicians. Rabin only appeared on one-third of the album, although two of his songs were released as singles — “Lift Me Up” and “Saving My Heart” — which were also performed live on the tour, on alternating dates. Trevor Rabin expressed dislike of the Union project, but still took part in the supporting tour, where he developed a lasting friendship with Rick Wakeman, often accompanying his keyboard performances onstage.

To no-one’s great surprise, the eight-person lineup didn’t survive the end of the tour. Howe and Bruford were the first to leave, the former at least partly due to unwillingness to share the spotlight with Rabin; and while Wakeman was very interested in working with the band and especially Rabin, he couldn’t commit to dates. This effectively left Yes with the same lineup that had recorded “90125″ and “Big Generator”. 1992 and 1993 featured a series of negotiations between the short-lived Victory Music (not to be confused with a Chicago-based indie alt-rock outfit called Victory Records) and this so-called Yes West line-up. Phil Carson, responsible for Emerson, Lake & Palmer’s comeback in 1992, invited the Yes 90125 lineup to record a third album. Rabin had also hoped the next Yes project would have involved Wakeman, but owing to managerial problems, the plan fell through in 1993. (Rabin later contributed lead vocals and guitar solos to “Never is a Long, Long Time,” from Rick Wakeman’s Return to the Centre of the Earth in 1999.)

As Victory Records’ budget could not include an outside producer, Trevor Rabin undertook the mission. During sessions, he used a then-innovative digital hard-disk recording method now in common use in many studios. Although some Yes fans, and even Rabin himself, have criticized the limitations of digital sound, Talk made music recording history with its technical achievements.

Talk featured the final collaboration between Rabin and Jon Anderson, who had hitherto completed the last few albums after the principal writing. Despite a couple of filler tracks, the album represents a fusion between old and new Yes. Fans across the board have listed “Endless Dream” as one of group’s best songs. During 1994 the group performed nearly all the album, plus their earlier hits, to a quickly vanishing fanbase. While some venues were full, others were less than half capacity — fuelling ill-founded rumours that Yes fans had boycotted the shows. Yet, many fans who attended felt that the Rabin lineup’s performance, especially on classic Yes material, had never been better.

Numerous bootleg recordings exist, because the Talk concerts were simultaneously broadcast on FM radio frequency — allowing Yes fans to make high-quality tapes. Trevor Rabin went on record as being supportive of this particular form of music-sharing.

While some fans — and Steve Howe — did employ the press and Internet to blame Trevor Rabin’s influence, certain tour dates were simply given low promotion by radio stations. After an initial rush of fans took the album to #33, Talk failed to sell as expected, because the previously monolithic AOR radio format had become moribund in the wake of mid-90′s telecommunication deregulation. Despite live exposure on the David Letterman Show, both “The Calling” and “Walls” failed to catch as singles during the height of the popularity of alternative music. Moreover, Victory Records did not allot budgets for video promotion. Ultimately, the Talk tour ended on October 11, 1994 amid recriminations. By the end of the following year, Rabin had left Yes and, except for a small number of special events such as a tribute to Horn, has not played with the band since.

In 2008, Trevor was contacted by Yes members and their new management inviting him to tour with the band in the later part of the year. “I appreciate the invite and miss the excitement of playing live. Unfortunately, my schedule just does not allow for it this year,” Trevor acknowledged.

Post-Yes

Following the 1994 tour, Trevor Rabin resigned from Yes to become a soundtrack composer.

Trevor Rabin has been a naturalized U.S. citizen since 1991. In 1996, he visited his native South Africa and performed Yes and Rabbitt songs during the Prince’s Trust Concert. Trevor Rabin released demo versions of pre-90125 Yes compositions and solo work, entitled 90124, as well as Live in LA, recorded at the Roxy in Los Angeles in late 1989. Most recently, aside from his film work, Trevor Rabin performed in aid of the Prince’s Trust with Yes at the Wembley Arena in London, where he served as lead guitarist and lead singer.

Trevor Rabin has scored over two dozen films which include: Bad Company, Con Air, Homegrown, Armageddon, Jack Frost, Deep Blue Sea, Gone in Sixty Seconds, Remember the Titans, The 6th Day, The Banger Sisters, Kangaroo Jack, Bad Boys 2, The Great Raid, Exorcist: The Beginning, National Treasure, Coach Carter and most recently Glory Road, Snakes on a Plane, The Glimmer Man, Flyboys, Gridiron Gang, Hot Rod, The Guardian, National Treasure: Book of Secrets, and Get Smart.

Along with several Grammy nominations and one Grammy win, Trevor Rabin also has received eight BMI film score awards, and has received a lifetime achievement award from the Temecula Film Festival. His composition ‘Titans Spirit’ from Remember the Titans was played following United States President-Elect Barack Obama’s speech upon winning the 2008 U.S. Presidential Election, and served as the backdrop for the ensuing celebration. He has been married for two decades to Shelley Rabin. They have one son, Ryan Rabin, who recently began his own career as a rock drummer in the band The Outline, signed to Fearless Records in Los Angeles.

Solo discography

Solo albums

* Trevor Rabin (1978) also known as Beginnings (2003)
* Face to Face (1979)
* Wolf (1981)
* Can’t Look Away (1989)
* Live in LA (2003)
* 90124 (2003)

Film scores

Only including CDs available where all tracks are credited to Rabin

All the scores listed are available on full orchestra sheet music except National Treasure, Recorded by Hollywood Symphony Orchestra on Walt Disney Records, whose music was never released.

* Con Air (1997) (With Mark Mancina)
* Armageddon (1998) (With Harry Gregson-Williams)
* Enemy of the State (1999) (With Harry Gregson-Williams)
* Deep Blue Sea (1999)
* Gone in 60 Seconds (2000)
* The 6th Day (2000)
* Remember the Titans (2000)
* American Outlaws (2001)
* The One (2001)
* Rock Star (2001)
* National Treasure (2004)
* Exorcist: The Beginning (2004)
* The Great Raid (2005)
* Coach Carter (2005) (With Ashanti)
* Flyboys (2006)
* The Guardian (2006)
* Snakes on a Plane (2006)
* Hot Rod (2007)
* National Treasure: Book of Secrets (2007)
* Get Smart (2008)
* G-Force (2009)
* Race to Witch Mountain (2009)

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Sep 12

1952 – Rush drummer Neal Peart is born this day

Posted in 1950s, Bands/Artists that Rock, Billboard charts, Bio, Birthdays, Chart Toppers, Classic, Composers & Songwriters, Concerts, Gigs & Tours, Copyrights & Trademarks, Drummers, General, Gold, Platinum, Rock n Roll Hall of Fame (honoured diety) | No Comments »

1952 – Rush drummer Neal Peart is born this day in rock Awesome history!

Neil Peart (pronounced /?p??rt/) OC, (born Neil Ellwood Peart, September 12, 1952, Hamilton, Ontario) is a Canadian musician and author. He is best-known as the drummer and lyricist for the rock band Rush.

Peart grew up in Port Dalhousie, Ontario, Canada (now part of St. Catharines) working the occasional odd job. However, his true ambition was to become a professional musician. During adolescence, he floated from regional band to regional band and dropped out of high school to pursue a career as a full-time drummer. After a discouraging stint in England to concentrate on his music, Peart returned home, where he joined local Toronto band Rush in the summer of 1974.

Early in his career, Peart’s performance style was deeply rooted in hard rock. He drew most of his inspiration from drummers such as Keith Moon and John Bonham, players who were at the forefront of the British hard rock scene.

In addition to being a musician, Peart is also a prolific writer, having published several memoirs about his travels. Peart is also Rush’s primary lyricist. In writing lyrics for Rush, Peart addressed universal themes and diverse subject matter including science fiction, fantasy, and philosophy, as well as secular, humanitarian and libertarian themes. In contrast, his books have been focused on his personal experiences.

Life and career

Early life

Neil Peart was born on his family’s farm in Hagersville,

His first exposure to musical training came in the form of piano lessons, which he later said in his instructional video A Work in Progress did not have much impact on him. He had a penchant for drumming on various objects around the house with a pair of chopsticks, so for his 13th birthday, his parents bought him a pair of drum sticks, a practice pad and some lessons, with the promise that if he stuck with it for a year, they would buy him a kit.

His parents bought him a drum kit for his 14th birthday and he began taking lessons from Don George at the Peninsula Conservatory of Music.

Peart got a job in Lakeside Park, a fairground on the shores of Lake Ontario, which later inspired a song of the same name on the Rush album Caress of Steel.

Career prior to joining Rush

At eighteen years of age, after struggling to achieve success as a drummer in Canada, Peart traveled to London hoping to further his career as a professional musician.

While in London he came across the writings of novelist and objectivist Ayn Rand. Rand’s writings became a significant philosophical influence on Peart, as he found many of her treatises to individualism and Objectivism inspiring. References to Rand’s philosophy can be found in his lyrics, most notably “Anthem” from 1975′s Fly By Night and “2112″ from the 1976 Rush album, 2112.

After eighteen months of dead-end musical gigs, and disillusioned by his lack of progress in the music business, Peart placed his aspiration of becoming a professional musician on hold and returned to Canada. Upon returning to St. Catharines, he worked for his father selling tractor parts at Dalziel Equipment.

Joining Rush

After returning to Canada, Peart was recruited to play drums for the St. Catharines band Hush, who played on the South Ontario bar circuit.

Peart officially joined the band on July 29, 1974, two weeks before the group’s first US tour. Peart procured a silver Slingerland kit which he played at his first gig with the band, opening for Uriah Heep and Manfred Mann in front of over 11,000 people at the Civic Arena, Pittsburgh, Pennsylvania on August 14, 1974.

Early career with Rush

Peart soon settled into his new position, also becoming the band’s primary lyricist. Before joining Rush, he had written few songs, but, with the other members largely uninterested in writing lyrics, Peart’s previously underutilized writing became as noticed as his musicianship. The band was still finding its feet as a recording act, and Peart, along with the rest of the band, now had to learn to live from a suitcase.

His first recording with the band, 1975′s Fly by Night, was fairly successful, winning the Juno Award for most promising new act,

Peart returned to England for Rush’s Northern European Tour and the band stayed in the United Kingdom to record the next album, 1977′s A Farewell to Kings in Rockfield Studios in Wales. They returned to Rockfield to record the follow up, Hemispheres in 1978, which they wrote entirely in the studio. The recording of five studio albums in four years, coupled with as many as 300 gigs a year, convinced the band to take a different approach thereafter. Peart has described his time in the band up to this point as “a dark tunnel.”

From this point on, Peart’s career was near exclusively with Rush:

Family tragedy & continuing on

Soon after the culmination of Rush’s Test For Echo Tour on July 4, 1997, Peart’s daughter and only child, 19-year-old Selena Taylor, was killed in a single-car accident on Highway 401 near the town of Brighton, Ontario on August 10. His common-law wife of 22 years, Jacqueline Taylor, succumbed to cancer only 10 months later on June 20, 1998. Peart, however, maintains that her death was the result of a “broken heart” and called it “a slow suicide by apathy. She just didn’t care.”

In his book Ghost Rider: Travels on the Healing Road, Peart writes of how he had told his bandmates at Selena’s funeral, “consider me retired.” Peart took a hiatus to mourn and reflect, during which time he traveled extensively throughout North America on his BMW motorcycle, covering 88,000 km (55,000 miles). After his journey ended, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey.

While Peart was visiting long-time Rush photographer Andrew MacNaughtan in Los Angeles, MacNaughtan introduced Peart to his future wife, photographer Carrie Nuttall. They married on September 9, 2000.

In early 2001, Peart announced to his bandmates that he was ready to return to recording and performing. The product of the band’s return was the 2002 album Vapor Trails. At the start of the ensuing tour in support of the album, it was decided amongst the band members that Peart would not take part in the daily grind of press interviews and “Meet and Greet” sessions upon their arrival in a new city that typically monopolise a touring band’s daily schedule. While Peart has always shied away from these types of in-person encounters, it was decided that having to needlessly expose him to an endless stream of questions about the tragic events of his life was quite unnecessary.

Since the release of Vapor Trails and reuniting with his fellow band mates, Peart has returned to work as a full-time musician. Rush has since released a cover EP, Feedback in June 2004 and their 18th studio album Snakes & Arrows in May 2007, which were supported by three additional tours in 2004, 2007, and 2008 respectively.

Musicianship

Style and influences
Peart (right) performing with Rush.

Peart is consistently ranked as one of the greatest rock drummers of all time by fans, fellow musicians, and magazines.

Peart had long played just matched grip, however, he decided to shift to traditional as part of his style reinvention in the mid-1990s under the tutelage of jazz coach Freddie Gruber. Shortly after the filming of his first instructional DVD A Work in Progress, Peart went back to using primarily matched, though he does switch back to traditional when playing songs from Test for Echo and during moments when he feels traditional grip is more appropriate, such as the rudimentary snare drum section of his drum solo, “The Floating Snare”. He discusses the details of these switches in the DVD Anatomy of a Drum Solo.

Equipment
Neil Peart and his 360 degree drumkit

With Rush, Peart has played Slingerland, Tama, Ludwig, and Drum Workshop (DW) drums, in that order. In concert, Peart uses an elaborate 360-degree drum kit, with a large acoustic set in front and electronic drums to the rear.
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984′s Grace Under Pressure
Neil Peart began incorporating Simmons Electronic Drums beginning with 1984′s Grace Under Pressure

During the late 1970s, Peart augmented his acoustic setup with diverse percussion instruments including orchestra bells, tubular bells, wind chimes, crotales, timbales, timpani, gong, temple blocks, bell tree, triangle, and melodic cowbells. Peart has performed several songs primarily using the electronic portion of his drum kit. (e.g. “Red Sector A”, “Closer to the Heart” on A Show of Hands (video) and “Mystic Rhythms” on R30.) Peart’s drum solos also feature sections performed primarily on the electronic portion of his kit.

Shortly after making the choice to include electronic drums and triggers, Peart added what has become another trademark of his kit: his rotating drum riser. During live Rush shows, the automated rotating riser allows Peart to swap dynamically the prominent portions of the kit (“front”, traditional kit; and “back” electronic kit). A staple of Peart’s live drum solos has been the in-performance rotation-and-swap of the front and back kits as part of the solo itself. This special effect simultaneously provides a symbolic transition of drum styles within the solo, as well as providing a visual treat for the audience.

In the early 2000s, Peart began taking full advantage of the advances in electronic drum technology; primarily incorporating Roland V-Drums and continued use of samplers with his existing set of acoustic percussion. Peart’s digitally sampled library of both traditional and exotic sounds has grown over the years with his music.

In April 2006, Neil took delivery of his third DW set, configured similarly to the R30 set, in a Tobacco Sunburst finish over curly maple exterior ply, with chrome hardware. He refers to this set as the “West Coast kit”, as he uses it when he is in Los Angeles. Besides using it on recent recordings with Vertical Horizon, he played it while composing parts for Rush’s latest studio album, Snakes & Arrows. It features a custom 23″ bass drum, otherwise all sizes remain the same as the R30 kit.

On March 20, 2007 Peart revealed that Drum Workshop prepared a new set of red-painted DW maple shells with black hardware and gold “Snakes & Arrows” logos for Neil to play on the Snakes & Arrows Tour.

Solos

Peart is often regarded as one of the finest practitioners of the in-concert drum solo. These solos have been featured on every live album released by the band. On the early live albums (All the World’s a Stage & Exit…Stage Left), the drum solo was included as part of a song. On all subsequent live albums, the drum solo has been included on a separate track. His most recent instructional DVD, Anatomy of a Drum Solo, is an in-depth examination of how he constructs a solo. He uses his solo from the 2004 R30 30th anniversary tour as the basis for examination, along with other lectures and demonstrations on how to construct a drum solo that is musical instead of indulgent.

Lyrics

Peart is also the main lyricist for Rush. Literature has always heavily influenced his writings (“By-Tor and the Snow Dog”, “Cygnus X-1 Book I: The Voyage”, “The Necromancer”, “Xanadu”), mythology (“The Fountain of Lamneth”, “Cygnus X-1 Book II: Hemispheres”) and philosophy (“Anthem”, “2112″, “Something for Nothing”); however, nearly as much would deal with real world or personal issues such as life on the road (“Fly by Night”, “Making Memories”), and lost innocence (“Lakeside Park”).

The song “2112″ focuses on the struggle of an individual against the collectivist forces of a totalitarian state. This became the band’s breakthrough release, but also brought unexpected criticism, mainly due to the credit of inspiration Peart gave to Ayn Rand in the liner notes. “There was a remarkable backlash, especially from the English press, this being the late seventies, when collectivism was still in style, especially among journalists,” Peart said. “They were calling us ‘Junior fascists’ and ‘Hitler lovers.’ It was a total shock to me”.

Weary of accusations of fascism or ideological fealty to Rand’s philosophy of Objectivism, Peart has sought to remind listeners of his eclecticism and independence in interviews. He did not, however, try to argue in defense of Rand’s views:
“ For a start, the extent of my influence by the writings of Ayn Rand should not be overstated. I am no one’s disciple. ”

The 1980 album Permanent Waves saw Peart cease to use fantasy literature or ancient mythology in his writing. 1981′s Moving Pictures showed that Peart was still interested in heroic, mythological figures, but would now place them firmly in a modern and reality based context. The song “Limelight” from the same album is an autobiographical account of Peart’s reservations regarding his own popularity and the pressures with fame. From Permanent Waves onward, most of Peart’s lyrics began to revolve around social, emotional, and humanitarian issues, usually from an objective standpoint and employing the use of metaphors and symbolic representation.

Opinions of Peart’s lyrics have always been divided. While fans have lauded them as thoughtful and intelligent, some critics have called them over-wrought and bombastic. For example, in 2007, he was voted #2 on Blender magazine’s list of “worst lyricists in rock”.

Books

Peart is the author of four non-fiction books, the latest released in September of 2006. His growth as an author predates the published work by several years (not including his work as Rush’s primary lyricist), through private letters and short travelogues sent out to a small circle of friends and family. Peart’s first book, titled The Masked Rider: Cycling in West Africa, was written in 1996 about a month-long bicycling tour through Cameroon in November 1988. The book details Peart’s travels through towns and villages with four fellow riders. The original had a limited print run, but after the critical and commercial success of Neil’s second book, Masked Rider was re-issued and remains in print as of 2006.

After losing his wife and only daughter, Peart penned Ghost Rider: Travels on the Healing Road. Peart and the rest of the band were always able to keep his private life at a distance from his public image in Rush. However, Ghost Rider is a first-person narrative of Peart on the road, on motorcycle, in an effort to put his life back together as he embarked on an extensive journey across North America.

Deciding to take a road trip, this time by car, Peart reflects on his life, his career, his family and the thing that ties them all together: Music. This is covered in Peart’s third book Traveling Music: The Soundtrack Of My Life And Times. It follows Peart still carrying emotional scars, but building a new life. As with his previous two books, it is a first person narrative.

Thirty years after Peart joined Rush, the band found itself on its 30th anniversary tour. Released in September 2006, Roadshow: Landscape With Drums, A Concert Tour By Motorcycle details the tour both from behind Neil’s drumkit and on his BMW R1150GS and BMW R1200GS motorcycles.

DVDs

Apart from Rush’s video releases as a band, Peart has released two instructional DVDs

* A Work in Progress. Miami, Florida: Warner Bros. Publications. 2002. ISBN 0757990290 Originally released on VHS in 1996 and re-released on DVD in 2002.
* Anatomy of A Drum Solo S.l.: Hudson Music: Distributed by Hal Leonard. 2005. ISBN 1423407008

Awards and honours

Peart has received the following awards in the Modern Drummer magazine reader’s poll:

* Hall of Fame: 1983
* Best Rock Drummer: 1980, 1981, 1982, 1983, 1984, 1985, 1986, 2006, 2008 (won vote count, but ineligible*)
* Best Multi-Percussionist: 1983, 1984, 1985, 1986
* Best Percussion Instrumentalist: 1982
* Most Promising New Drummer: 1980
* Best All Around: 1986
* 1986 Honor Roll: Rock Drummer, Multi-Percussion

(* – As a member of the Honor Roll in these categories, he is no longer eligible for votes in the above categories.)

* Best Instructional Video: 2006, for Anatomy of A Drum Solo
* Best Drum Recording of the 1980s, 2007, for “YYZ” from Exit…Stage Left

* Best Recorded Performance:
o 1980: Permanent Waves
o 1981: Moving Pictures
o 1982: Exit…Stage Left
o 1983: Signals
o 1985: Grace Under Pressure
o 1986: Power Windows
o 1988: Hold Your Fire
o 1989: A Show of Hands
o 1990: Presto
o 1992: Roll the Bones
o 1993: Counterparts
o 1997: Test for Echo
o 1999: Different Stages
o 2002: Vapor Trails
o 2004: R30
o 2007: Snakes & Arrows

Peart has received the following awards from DRUM! magazine for 2007:

* Drummer of the Year
* Best Progressive Rock Drummer
* Best Live Performer
* Best DVD (Anatomy Of A Drum Solo)
* Best Drumming Album (Snakes & Arrows)

Peart received the following awards from DRUM! magazine for 2008:

* Drummer of the Year
* Best Progressive Rock Drummer (Runner-Up)
* Best Mainstream Pop Drummer (Runner-Up)
* Best Live Drumming Performer

Along with his bandmates Lee and Lifeson, Peart was made an Officer of the Order of Canada on May 9, 1996. The trio was the first rock band to be so honoured, as a group.

Movies

He portrayed himself in the 2007 film Aqua Teen Hunger Force Colon Movie Film for Theatres, and performed the “Drum Solo of Life” in order to resurrect the character Meatwad after having his head blown apart by Master Shake. He hung around with a nefarious character known as Walter Mellon.

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Jul 12

1952 – Bassist Phil Kramer of Iron Butterfly (“In-A-Gadda-Da-Vida…

Posted in 1950s, Agents & Lawyers, Bands/Artists that Rock, Bassists, Billboard charts, Chart Toppers, Classic, Composers & Songwriters, General, Gold, Platinum, Rock n Roll Hall of Fame (honoured diety), Singers | No Comments »

1952 – Bassist Phil Kramer of Iron Butterfly (“In-A-Gadda-Da-Vida”) is born in Youngstown, Ohio.

Philip Taylor Kramer (July 12, 1952 – February 12, 1995) was a bass guitar player for the rock group Iron Butterfly during the 1970s. After this he obtained a night school degree in aerospace engineering, worked on the MX missile guidance system for a contractor of the US Department of Defense and later in the computer industry on fractal compression, facial recognition systems, and advanced communications. His disappearance on February 12, 1995 caused a mystery lasting four years.

Tags: advance, bass, Bassist, born, community, Defense, degree, guitar, Industry, Last, nights, Ohio, Rock, Year

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1952 – Bassist Phil Kramer of Iron Butterfly (“In-A-Gadda-Da-Vida…

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