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On This Day in Rock History: February 8

Jun 18

1942 – Paul McCartney is born in Liverpool, Englan…

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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]

2008 – Grammys still on…

Posted in 2000s, Agents & Lawyers, General, Grammy, Industry, Rock n Roll Hall of Fame (honoured diety), TV, Movies, Radio, Internet, & itunes | No Comments »

Grammy Awards

2008 – Grammys still on.

While the writers’ strike put a damper on the Golden Globes, the Writers Guild of America announced Tuesday (January 22) that the striking union will not protest the upcoming Grammy Awards, as had been expected.

The unresolved writers’ strike already resulted in a scaled-back Golden Globes and was looming over the Grammy telecast, which is scheduled to air live February 10 from Los Angeles.

Beyoncé and the Foo Fighters had been the only acts to commit to perform at the event so far. Barring any unforeseen circumstances, more artists should begin to announce their intentions to attend the Grammy Awards as well.

“We are pleased with the decision made by the WGA today,” said Neil Portnow, president of the National Academy of Recording Arts and Science, which organizes the Grammy telecast. “In light of this, we are gratified that the 50th Annual Grammy Awards will focus solely on the great music, artists and charitable work resulting from our show. We look forward to unveiling the exciting lineup of artists who will give our worldwide audience one of the most memorable Grammy shows ever.”

The production of the show, however, is still fraught with concerns — particularly over writers’ participation. The Recording Academy is still working on securing a deal with the WGA to permit its staff writers to contribute to the production of the show.

According to a spokesman for the WGA, a decision to grant an interim agreement has not been reached yet. Billboard is reporting that a meeting between the WGA board of directors and the Recording Academy is set for Tuesday night to discuss finer details of the proposal.

Last week Beyoncé’s father, Mathew Knowles, and Foo Fighters manager John Silva made statements that were optimistic that an agreement would be reached to ensure the telecast. Both men also expressed support for the writers.

“The work of the Recording Academy is vital to the music industry, and we have every intention of being with the entire music community to celebrate the Grammys,” Knowles said.

Silva echoed Knowles’ sentiments. “We are hopeful that we will see a resolution to the current situation affecting our entire industry,” he said. “[The] Foo Fighters have always had nothing short of amazing experiences with the writers, producers, fellow artists and audiences at the Grammys and every television show the band has ever played.”

As reported by MTV News

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Apr 28

2005 – E.Y. “Yip” Harburg _ writer of such well kn…

Posted in 2000s, Chart Toppers, Classic, Composers & Songwriters, General, Gold, TV, Movies, Radio, Internet, & itunes | No Comments »

2005 – E.Y. “Yip” Harburg _ writer of such well known songs as “Over the Rainbow” from “The Wizard of Oz” and (with Jay Gorney) “Brother, Can You Spare a Dime?” _ is immortalized on a U.S. postage stamp during a ceremony in New York.

Tags: ceremony, Rainbow, Song, songs, stamp, writers, York

Jul 27

2002 – The Who’s John Entwistle is found dead in h…

Posted in 2000s, Agents & Lawyers, Bands/Artists that Rock, Bassists, Billboard charts, Bio, Blues, Chart Toppers, Classic, Composers & Songwriters, Deaths, General, Gold, Platinum, Rock n Roll Hall of Fame (honoured diety), Singers | No Comments »

2002 – The Who’s John Entwistle is found dead in his hotel room in Las Vegas. He has cocaine in his system, and the Deaths is ruled accidental. He is 57.
John Alec Entwistle (October 9, 1944 – June 27, 2002) was an English bass guitarist, songwriter, singer, and horn player, who was best known as the bass guitarist for the rock band The Who. His aggressive lead sound influenced rock bass players[1][2] such as Steve Harris, Geddy Lee, Phil Lesh, Billy Sheehan and Chris Squire.

Entwistle’s lead instrument approach used pentatonic lead lines, and a then-unusual trebly sound created by roundwound RotoSound steel bass strings. He had a collection of over 200 instruments by the time of his death, reflecting the different brands he used over his career: Fender and Rickenbacker basses in the 1960s, Alembic’s basses in the 1970s, Warwick in the 1980s, and Status all-graphite basses in the 1990s.

Entwistle was on medication for a heart condition
Entwistle was on medication for a heart condition
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(CNN) — In “Rock Dreams,” writer Nik Cohn and artist Guy Peellaert’s slightly surreal history of rock ‘n’ roll, the early Who are summarized by means of a simple, fictional ledger.

On the credit side are the band’s gigs for the week, a couple hundred pounds for concerts at the Marquee Club and other venues in and around London. On the debit side are several hundred pounds of expenses for new guitars, microphones and drum kits, new clothes for guitarist Pete Townshend, repairs to vocalist Roger Daltrey’s car, and nightlife money for drummer Keith Moon.

And, at the bottom, is a debit for 1 pound, 17 shillings, 6 pence for bassist John Entwistle’s luncheon vouchers.

That was Entwistle: an oasis of personal, working-class quietude among the band’s chaotic sturm und drang.

Entwistle, 57, known as “Ox” or “Thunderfingers,” died at the Hard Rock Hotel and Casino in Las Vegas, Nevada, on Thursday, after suffering an apparent heart attack.

His death came just one day before the group was set to begin a North American tour. An autopsy is due to be held Friday to determine the cause of death.

CNN NewsPass VIDEO
CNN’s Tim Lister looks back on the career of bassist John Entwistle of The Who (June 28)

Play video
Fans at the Las Vegas Hard Rock Hotel Casino pay their respects (June 27)

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AUDIO
“My Generation”
153 / 14
WAV sound
“My Wife”
161 / 14
WAV sound
“Boris the Spider”
206 / 19
WAV sound

MORE STORIES
• Who’s Entwistle dies
• Obituary: The quiet artist
• Entwistle tributes pour in
• Novel to go unpublished

EXTRA INFORMATION
Gallery: Memories and tributes

RESOURCES
EW.com: All About The Who
In Memoriam: John Entwistle

The group now has just two of its four original members — Roger Daltrey and Pete Townshend. Moon died in 1978 of a drug overdose.

Townshend and Daltrey posted a tribute to Entwistle on Townshend’s Web site Friday.

“The Ox has left the building — we’ve lost another great friend,” it read. “Thanks for your support and love. Pete and Roger.”

Entwistle was on medication for a heart condition, according to Steve Luongo, a member of The John Entwistle Band.

The Who’s scheduled concert at the Hard Rock on Friday was canceled, but the rest of the tour will apparently continue. On Friday, Townshend posted a message on his Web site that read, “We are going on. First show Hollywood Bowl. Pray for us John, wherever you are.”

The tour takes in more than 20 venues in various American states including New York, California, Indiana, Illinois, Colorado and Texas before finishing up in Cleveland, Ohio, on September 27.
‘Unique and irreplaceable’

While the spotlight focused on Daltrey’s microphone spinning, Townshend’s guitar windmilling and Moon’s cataclysmic drumming, Entwistle stood off to the side, his stolid, nimble-fingered presence anchoring the group.

With Townshend’s power chords effectively providing rhythm for the group, Entwistle’s intricate bass lines essentially provided the group’s melodic lead. On songs ranging from “My Generation” to “The Real Me” to “You Better You Bet,” he moved up and down the fretboard, providing bottom and filling the gaps between Townshend’s bursts of guitar.

In an interview with The Associated Press, longtime Rolling Stones’ bassist Bill Wyman described Entwistle as “the quietest man in private but the loudest man on stage. He was unique and irreplaceable,” he said.

“He just was the most humble rock star I have ever met, besides having the best hands of any bass player in the history of rock and roll,” rocker Sammy Hagar told the AP.

John Alec Entwistle was born October 9, 1944 — exactly four years after John Lennon — in Chiswick, London, England. He played brass instruments in his early years, and was often known to lend a French horn to Who songs.

Entwistle and Townshend were schoolboy friends, but didn’t play in a rock band together until Entwistle suggested his old friend to Roger Daltrey, then in a band called the Detours, in 1962. Moon joined the group the next year, and the group renamed itself The Who in 1964.
Songwriting prowess

The group became a key band for Britain’s Mod movement, and had its first British hit in 1965 with “I Can’t Explain.” By the end of the year they’d become a force on the UK scene, with “My Generation” going to No. 2.
The Who
The Who: From left, Roger Daltrey, Pete Townshend, John Entwistle and Keith Moon, in the 1970s.

Entwistle’s bass solo on that song took several takes, in large part because he kept breaking bass strings. The trebly strings were difficult to replace, and the story goes that Entwistle had to keep going out to buy new basses because he wasn’t allowed to buy the strings separately.

The Who finally broke through in the United States with “Happy Jack,” which made the Top 30, and “I Can See for Miles,” which hit the Top 10, both in 1967.

The band cemented its U.S. success with 1969′s “Tommy” album, and played Woodstock in August of that year. (The group had also played 1967′s Monterey Pop Festival, and taped a memorable appearance on “The Smothers Brothers Comedy Hour.”)

A critic once wrote that Entwistle had the misfortune of being a good songwriter in a band with a great one — Townshend — and his contributions to Who albums were only occasional. But Entwistle-penned songs such as “Boris the Spider,” “Cousin Kevin,” and “My Wife” were standouts on Who albums as well as being concert favorites.

Entwistle released nine albums, solo and with his band Ox. He also formed The John Entwistle Band, while continuing to play with The Who.

The Who were inducted into the Rock and Roll Hall of Fame in 1990.
‘It’s just devastating’

Entwistle was also a talented artist. He created the cover for The Who’s 1975 “The Who By Numbers” album, and an art exhibition featuring his work at Grammy’s Art of Music Gallery was due to open in Las Vegas on Thursday.

The gallery’s assistant manager, Diana Tabor, said staff and fans were in a state of shock.

“I’m emotionally distraught just now, it’s just devastating. I just had to break the news to a client who broke down in tears,” she said.

“The entire Who family is terribly saddened by John’s passing. Our deepest sympathies go out to his family, friends and the millions of Who fans the world over,” said Bill Curbishley, The Who’s manager.

Entwistle was married twice and has one son from his first marriage, Christopher.

Outside The Joint in Las Vegas, where the concert was scheduled, fans like Lauren J. Hammer, 35, of Boulder, Colorado, gathered in front of a growing collection of flower bouquets and a large British flag, the AP reported. She held her Colorado license plate that read “WHO R U” and business cards that stated “Who Fan Extraordinaire.”

The casino played the band’s songs, and the hotel changed its marquee from a concert promotion to a memorial reading, “John Entwistle. 1944-2002. You will be missed by all.”

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May 09

2001 – James Myers, whose 2-minute, 8-second tune …

Posted in 2000s, Albums/Singles that Rock, Bands/Artists that Rock, Billboard charts, Chart Toppers, Classic, Composers & Songwriters, Deaths, General, Gold, Industry, Rock n Roll Hall of Fame (honoured diety), Singers | No Comments »

2001 – James Myers, whose 2-minute, 8-second tune “Rock Around the Clock” is considered the granddaddy of all rock’n'roll songs, dies of leukemia. He is 81. Myers wrote the song with Max Freedman in 1953.

1919-2001

JAMES E. MYERS
a.k.a. JIMMY DeKNIGHT
Posted May 11th – From the Associated Press:

Songwriter James Myers dies;
co-wrote ‘Rock Around the Clock’
TAMPA, Fla. (AP) — James Myers, whose two-minute, eight-second tune “Rock Around the Clock” is considered the granddaddy of all rock ‘n’ roll songs, has died of leukemia. He was 81.

Myers, who died Wednesday, wrote the song with Max Freedman in 1953. Bill Haley & His Comets recorded it in 1954, and it soared to the top of the charts in 1955 as the theme song of the teen rebel movie “The Blackboard Jungle.”

With its rockabilly sound, the song was considered a breakthrough for crossing racial barriers by borrowing from rhythm and blues.

Myers, who also wrote under the name Jimmy DeKnight, wrote more than 300 songs and had bit parts in movies and TV shows, but “Rock Around the Clock” remained his most famous work.

He said the melody evolved in his head over a few years before he finally wrote it down. While picking out the tune on a piano at his office one day, his friend Freedman joined him.

“When we finished it he said, `What are you going to call it?’ I said, ‘Rock Around The Clock,”‘ Myers said in an interview with the Rockabilly Hall of Fame in Burns, Tenn.

“And he said, `Why rock? What’s that mean? Why not “Dance Around The Clock?”‘ And I said, ‘I just have a gut feeling and since I’m half writer and whole publisher, I’m the boss! Right!’ So, we called it ‘Rock Around The Clock.”‘

The song was No. 1 for eight weeks and went on to sell 22 million copies worldwide. It has been recorded by more than 500 artists, from Mae West to the Sex Pistols, and has been used in more than 40 movies and on TV shows such as “Happy Days.”

“It sounded like nothing else,” said Howard Kramer, associate curator for the Rock and Roll Hall of Fame and Museum in Cleveland. “The drums and guitar on that song sound like nothing else. The snare drum on that was like a howitzer going off.”

Dick Clark called the song “the anthem of rock ‘n’ roll.” Disc jockey Alan Freed pronounced it “the daddy of rock ‘n’ roll” songs.

A Philadelphia native, Myers was a drummer in his own band before joining the Army during World War II. After serving in the South Pacific, he returned to his hometown to become a songwriter, country music promoter and music publisher.

Marshall Lytle, the bass player who played “Rock Around the Clock” with Bill Haley & His Comets, said he realized how big the song was as the band drove to Boston from New York in Haley’s new Cadillac and turned on the radio.

“It was one of those new car radios, where you pushed a button and it went to the next station,” he said. “I turned on the radio and hit the button and the station was playing ‘Rock Around the Clock.’ I hit the button again and the next station was playing ‘Rock Around the Clock,’ and the next station too.

“Within two minutes that morning, I heard `Rock Around the Clock’ playing on 12 different stations simultaneously.”

Myers estimated he made $10 million in royalties from the tune.

“He figured out that at any given moment, ‘Rock Around the Clock’ is playing somewhere in the world,” Lytle said.

Myers, who lived in Bonita Springs, Fla., for the last year, will be buried in Philadelphia on Wednesday.

Myers told the News-Press of Fort Myers last year that he didn’t set out to create a style of music; he just wanted to make people feel happy.

“And I think I succeeded,” he said.

05-11-01 / The Associated Press

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May 01

2000 – Former Village Voice writer Jimmy McDonough…

Posted in 2000s, Agents & Lawyers, Bands/Artists that Rock, Billboard charts, Chart Toppers, Classic, Composers & Songwriters, General, Gold, Off the Hook, Rock n Roll Hall of Fame (honoured diety), Singers | No Comments »

2000 – Former Village Voice writer Jimmy McDonough sues veteran rocker Neil Young for $1.8 million for fraud. The suit stems from the musicians alleged refusal to allow publication of a biography written by McDonough with Young’s permission and assistance.

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May 09

1983 Bob Neal (DJ and former Presley manager) dies…

Posted in 1980s, Agents & Lawyers, Bands/Artists that Rock, Billboard charts, Bio, Chart Toppers, Classic, Deaths, General, Gold, Industry, Misc., Platinum, Rock n Roll Hall of Fame (honoured diety), Singers, Something Missing, TV, Movies, Radio, Internet, & itunes | No Comments »

1983 Bob Neal (DJ and former Presley manager) dies this day in rock history!

We didn’t have a picture of Bob, so here is a pic of the King to pay tribute to his former manager! He’s singing, ” He did it his way!”

BOB NEAL – MANAGING THE HILLBILLY CAT

This interview took place in June 1973 in Nashville, Tennessee.

Rockville International interviewed Bob Neal, one of Elvis Presley’s first managers, in the offices of his Bob Neal Talent & Booking Agency in Music City USA. Welcomed at the reception by Bob’s lovely wife and after some small talk about Holland, wooden shoes and tulips she introduced us to her husband who, after a firm handshake, offered us a seat and invited us to get the questions rolling.

The interview was originally published in the December 1973 issue.

Looking at your office I see a strong African motive with spears, drums and hides on the wall, not at all what I expected to see in the office of a manager and booking agent.
Oh the reason for the decoration of our offices goes way, way back. I was born in the Congo of Africa on October 6th, 1917. My parents were missionaries and as a youngster I traveled back and forth between Africa and Europe and later America many times. One time I actually stayed in Brussels, Belgium for over two months.

How did you become interested in music ?
My mother liked classical music a lot but I did not have a great interest in music while growing up. Like many other kids I took piano-lessons and while in college I joined the chorus-club, but that was about it. Then after I finished college I went into radio. I was a deejay. In fact at that time, it was before they called them deejay, back in 1939 you were an announcer or a newscaster or whatever. I was in radio for a number of years settling in Memphis in 1942 and I stayed there until 1958 and most of that time was in radio. In the late forties I started doing an early morning program on WMPS Radio featuring country music.

What kind of music had you been playing before that time ?
When I first got into radio in 1939, basically the music that we used then was just general music; a bit of pop music, some classical music, a few country programs. When I started this specialized program in 1948, called “The Bob Neal Farm Program”, I played country music entirely. The program relied basically on the requests of listeners as to the guidance of the music to play. I did that program from 1948 until 1956. Consequently becoming more and more familiar with country music and more found of it all the time. The reaction to the program was very good and I started occasionally doing some little shows within a 100 or 150 miles range of Memphis. I would take some local people, and every now and then some Nashville musicians like Johnny and Jack, Kitty Wells or Bill Carlisle, and I set up arrangements for them to play at a Highschool auditorium, a Gymnasium or a Ballpark or something. I would plug the shows on my radio program and I’d go out and be the host and MC and so on.

I understand everything was rather small until you decided to take a chance and organized a country show in Memphis at the Auditorium. The first show did quite well and more shows followed but your biggest success came after a phone call from Sam Phillips, right ?
Yes, Sam phoned me and said he had this new boy who just had a record out and would I put him on a show. I agreed with Sam and so I got Elvis on a show on August 10th, 1954. He got a tremendous reaction, which really amazed me, because he had just started. Then a couple of months after that I was thinking one day and asked Elvis had he got a manager. He said “No” and well I said I’ve never been a manager but let’s try it. So I was his manager for about a year and a half.

While managing Elvis you got a good look at the Sun Record Company and you worked with Sam Phillips before in radio. How do you recall the SUN days ?
Sam Phillips is credited with discovering a different sound but he had been a radio engineer prior to that time and I know we had done some things on radio programs in Memphis on commercials where we used the electronic-slap-back-type-sound and everything. Sam more or less was the first one that really capitalized on that sound on his recordings. He was also fortunate enough to see people like Elvis and Johnny Cash, Roy Orbison and Carl Perkins knocking at his door. It was like everything fitted together and clicked at the same time. Ofcourse a lot of people have criticized Sam about the way he drove the company business wise. He was not quite as good a merchandiser or salesman as he could have been, because with the material he had at that time, if he had had the imagination and sales concepts that some other record people have, Sun Records might have become a big record company instead of reaching a peak and sort of staying there and dropping off.

What are your views on the fall of SUN in 1963 ?
Well Sam seemed to loose interest. In the later Johnny Cash and Jerry Lee days, as I recall, he seemed to loose interest to a great extend in the recordings. He had Jack Clement working with him and Jack carried the ball a lot of times. Sam was involved in various other projects and investments and he just didn’t seem to have a great deal of interest in the record business anymore. For what ever reason I don’t know but it just looked like it had fascinated him for a while and then it just seemed that he got interested in other things.

Do you think that he one man type record company, where he was in control of the recordings, the pressing, the administration etc., contributed to his success ?
Yes it contributed to his success but then like I said a moment ago I think it also kept his company from becoming a huge strong company. Sam is the type, and always was, that believed in doing everything himself or supervising everything. He never thought in concepts of becoming like an RCA or Columbia or Mercury or anybody else, where you have a large number of people that have delegated authority and run the shop themselves. I think Sam always wanted to be the whole ball of wax, which possibly was the reason that Sun Records did not expand, and later on folded.

You worked with Elvis as his manager for about a year and a half when a certain Tom Parker came into the picture. When Parker took over the management of Elvis there actually still was a contract between you and Presley was there not?
Yes I had a contract with Elvis and when, through part of my efforts, Parker got interested we had a partnership agreement. You see I was doing quite well with my radio program in Memphis. We had a record store, a large family and I didn’t really … well I felt that Elvis was going to be very big, and I didn’t want to get into the picture of being gone from town all the time. So I preferred to stay there and more or less then turned everything over to the Colonel with no…. I mean it was a friendly relationship all the way.

Are you still following Presley’s career ?
Yes and I think the Colonel has done a tremendous job with Elvis. I possibly would differ a little bit with the ways he’s gone down the line as far as concerts go. Elvis always is very found of performing for a live audience and I think possibly instead of keeping him away from an audience for so long I might have felt that it would have been better to be back with a live audience every now and then. However who is to argue with success, because apparently it’s worked tremendously well and since he has come out to do live shows again everything is a sell-out …. so like I said who is to argue with success.

The unreleased Presley Sun tracks is a subject which always jumps up when rock & roll collectors talk about Elvis and Sun Records. What can you tell us about any recordings Elvis made for SUN ?
I was involved in working on that because the interest in Elvis was growing rapidly. At first when people talked to Sam it was a fairly moderate amount of money. I recall one time being on tour with Elvis out in Texas, when Mitch Miller, who was in with CBS, called, and asked about what the price was. And I told him since I had nothing to do with the record company I would simply find out and call him back. I think Sam at that time said he wanted $ 18.000 and I called Mitch and he laughed and laughed, because back at that time in the early fifties they were not making fantastic record deals and putting out a lot of money. Then later Colonel Parker worked on it with RCA and finally got the deal okay and they paid $ 35.000 for the complete masters, tapes and everything plus a $ 5.000 bonus that went to Elvis for signing. So back at that time in late 1955 that was considered a real big deal. Sam was happy with it because he had never had a lot of money or capital and that gave him some capital to operate with and to build and to make some investments and so fort for the future.

Do you know any reason why RCA is still denying that they have the Presley tapes ?
Well no, because that was part of the deal, of the contract. They bought everything… all the tapes… the masters… demos..it was all to be delivered to RCA.

After Elvis went with Parker you went back to radio but eventually you started organizing country shows and ended up in the managing end of the business and became involved with Roy Orbison, Johnny Cash, Jerry Lee Lewis and also Carl Perkins. He is one of you favorites I understand.
Carl is a wonderful person. I met him about the same time I met Johnny Cash back in Memphis and that was about the time he came out with “Blue Suede Shoes”. He was always a very pleasant person, a fine showman and a very likable person. I’ve always had a high admiration for him. I think he is one of the most underrated performers and writers in country, country-rock, rockabilly or whatever you might call it. Down through the years I think he has had more recognition overseas then he has here at home, which is … you know, it’s great that he’s received recognition but he’s not been nearly as popular here at home as I think he could have been, and I don’t know the reasons. Basically I think it’s just that when he came into the rock area, back there with “Blue Suede Shoes”, the only thing that I’ve ever thought was possibly a reason is that Carl didn’t go the route of being the pretty boy rock type thing that so many of the performers came along to at that time. Like Frankie Avalon and others that really didn’t have the talent and everything but they got TV-exposure and the image type thing that Carl just never fitted into … he was just Carl Perkins !

Wouldn’t it have helped him if he had not been the friendly type of person he is. I mean from the first minute you meet him he is your friend, and in the record business you just cannot be friends with everybody….
That’s true, if Carl would have been like other people I know, more demanding and pushing harder and so fort, it’s possible that could have made a difference. Ofcourse he had a tremendous bad break too at that time as far as exposure is concerned when he had the huge record of “Blue Suede Shoes” going and went to New York to do the Perry Como Show and he had the car accident. When we went back and did the Perry Como Show it was good but this was several months later when the record had died off you know. There is so much involved in music whether it’s pop, country or rock where the element of timing gets into it you see and if Carl had been able to get the exposure at that time I think it would have been tremendously strong. In the meantime Presley had recorded the song and as a matter of fact on many jukeboxes around the country (because Presley had the image of having the screaming kids after him) Carl’s record would be on the juke-box but the juke-box operators labeled it Elvis Presley. Simply because they thought they would get more plays that way. So possibly the wreck may have been something, being more demanding might have been another and you know it’s just unfortunate because Carl is such a wonderful person and such a fine person… it’s just a shame that he hasn’t received the recognition that I think he deserves.

What do you specifically like about the music business ?
I don’t know, I guess I just like the business as a whole. I’ve always found it very interesting, it’s always exciting to find a new artist that has promise and that you can push. It was exciting to work with Presley in the old days and it still is to work with a professional artist like Sonny James. It was exciting to work with an artist who is a little bit different like Johnny Cash and it still is today with Tom T. Hall. It was exciting to work with a talented guy like Carl Perkins and it still is with Johnny Rodriquez. It’s rewarding and interesting and I’ve always enjoyed being involved in the business.

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Jan 19

1980 – Pink Floyd’s ‘The Wall’, started a 15-week run at No.1 on the

Posted in 1980s, Agents & Lawyers, Albums/Singles that Rock, Bands/Artists that Rock, Billboard charts, Bio, Chart Toppers, Classic, Composers & Songwriters, General, Gold, Grammy, Guitarists, Platinum, Rock n Roll Hall of Fame (honoured diety), Singers | No Comments »

Pink Floyd's 'The Wall'

1980 – Pink Floyd’s ‘The Wall’, started a 15-week run at No.1 on the US album chart. The groups third US No.1, it went on to sell over 8 million copies.

The Wall is a rock opera presented as a double album by the English progressive rock band Pink Floyd, released in late 1979. It was subsequently performed live, with elaborate theatrical effects, and made into a film.

Following in the footsteps of their previous albums, The Wall is a concept album — specifically, it deals largely with the theme of isolation from one’s peers. The concept was largely inspired by the band’s 1977 tour promoting the album Animals, with regards to an incident where Roger Waters’ frustration with the audience reached a point where Waters spat in the face of a fan who was attempting to climb on stage; this, in turn, led him to lament that such a wall exists. With its significantly darker theme, The Wall featured a notably harsher and more theatrical sound than their previous releases.

The Wall is a rock opera that centres on the character “Pink”. Largely based on Waters’ personal life, Pink struggles in life from an early age, having lost his father in war (“Another Brick in the Wall (Part 1)”), abused by teachers (“The Happiest Days of Our Lives”), nurtured by an overprotective mother (“Mother”), and deserted by his wife later on (“Don’t Leave Me Now”) — all of which factored into Pink’s mental isolation from society, figuratively referred to as “The Wall”.

In 2003, Rolling Stone magazine listed The Wall as #87 in Rolling Stone’s 500 Greatest Albums of All Time.

Recording history

In 1977, Pink Floyd were promoting Animals with their In The Flesh tour. On the final night of the tour in Montreal, Canada, Waters spat in the face of a fan who was trying to climb over the netting between the audience and the stage, and get up with the band. The incident later helped inspire Waters to develop the idea of The Wall. However, he returned for their live performances as a paid musician.

For “Another Brick in the Wall (Part II)”, Pink Floyd needed to record a school choir, so they approached music teacher Alun Renshaw of Islington Green School, around the corner from their Britannia Row Studios. The chorus was overdubbed twelve times to give the impression that the choir was larger. The choir were not allowed to hear the rest of the song after singing the chorus. Though the school received a lump sum payment of £1000, there was no contractual arrangement for royalties. Under 1996 UK copyright law, they became eligible, and after choir members were tracked down by royalties agent Peter Rowan of RBL Music, through the website Friends Reunited, they claimed the money.

Originally released on Columbia Records in the U.S. and Harvest Records in the UK, The Wall was then re-released as a digitally remastered CD in 1994 in the UK on EMI. In 1997, Columbia Records issued an updated remaster in the United States, Canada, Australia, South America and Japan. For The Wall’s 20th Anniversary in April 2000, Capitol Records in the U.S. and EMI in Canada, Australia, South America and Japan re-released the 1997 remaster with the artwork from the EMI Europe remaster. The Wall was the first Pink Floyd album since 1967′s The Piper at the Gates of Dawn whose cover was not done by Storm Thorgerson and Hipgnosis. Instead, Gerald Scarfe designed the cover and gatefold sleeve. David Gilmour recalls Storm Thorgerson falling out with Roger Waters over issues such as the credit for the Animals sleeve design.

Concept and storyline

“Isn’t this where…we came in?”
Play sound
The last second of Outside the Wall and the first second of In the Flesh?
Problems listening to this file? See media help.

The album’s overriding themes are the causes and implications of self-imposed isolation, symbolized by the metaphorical wall of the title. The album’s songs create a very loose storyline sketching events in the life of the protagonist, Pink. Pink loses his father as a child (Waters’s own father was killed in Anzio during World War II), is smothered by his overprotective mother, and is oppressed at school by tyrannical, abusive teachers, each of these traumas becoming “another brick in the wall”. As an adult Pink becomes a rock star, but his relationships are marred by infidelity and outbursts of violence. As his marriage crumbles, Pink finishes building the wall and completes his isolation from human contact.

Pink’s mindset deteriorates behind his freshly completed wall, with his personal crisis culminating during an onstage performance. Hallucinating, Pink believes that he is a fascist dictator, and his concerts are like Neo-Nazi rallies where he sets his men on fans he considers unworthy, only to have his conscience rebel at this and put himself on trial, his inner judge ordering him to “tear down the wall” in order to open himself to the outside world, and apologizing to his closest friends who are hurt most by his self-isolation. At this point the album’s end runs into its beginning with the closing words “Isn’t this where…”; the first song on the album, “In the Flesh?”, begins with the words “…we came in?” – with a continuation of the melody of the last song, “Outside the Wall” – hinting at the cyclical nature of Waters’s theme.

The LP’s sleeve art and custom picture labels by Gerald Scarfe tied in with the album’s concept. Side one had a quarter of the wall erected and a sketch of the teacher. Side two saw half of the wall erected and a sketch of the wife. Side three had three-quarters of the wall erected and a sketch of the character of Pink, while side four had the wall completely erected and a sketch of the prosecutor. Bob Ezrin played a major part in taking Waters’s demo material and clarifying the storyline by writing a script, which even called for additional songs to complete the plot.

Film version

Pink Floyd The Wall (film)

A film version of The Wall was released in 1982 entitled Pink Floyd The Wall, directed by Alan Parker and starring Bob Geldof. The screenplay was written by Roger Waters. The film features music from the original album, much of which was re-recorded by the band with additional orchestration, some with minor lyrical and musical changes.

Originally the film was intended to be intercut with concert footage and a few of the live shows were actually filmed, but subsequently not used in the film at all. Footage from these concerts has appeared on different websites from time to time and on YouTube. However, an official release of this footage by Pink Floyd has not been authorized other than what was used in the documentary Behind the Wall.

Reception

Immensely successful upon release, The Wall quickly jumped to #1 on the Billboard 200 in the U.S in its fourth week (it debuted at #53) and #3 in the U.K.. Its worldwide sales are estimated at 15 million copies (30 million units), and in the U.S. it has achieved 23 times platinum (for sales of 11.5 million double-disc sets; statistics mistakenly identifying The Wall as the best selling multiple-disc album of all-time in the U.S. and third best-selling album by any artist in the U.S. do not take into account that double albums count as two platinum sales), and is their second best-selling album in the U.S. after The Dark Side of the Moon. It was among the most popular albums of the early 1980s, to the extent that film director Alan Parker created a film based on it. The album had a string of hit singles, with “Another Brick in the Wall Part 2″ being their only song to hit #1 on the Billboard.

In addition to its commercial success, critical reception of The Wall was, and remains, mostly positive. Carlo Twist of Blender gave it 5 stars out of a possible 5, stating that, “For all its pomp and lofty ambition, there’s a streak of almost punk-rock venom within, not to mention some of the band’s best humping, thumping heavy rock.” The Wall would also be included in the book 1001 Albums You Must Hear Before You Die.

Post-split

After Waters left Pink Floyd in 1985, a legal battle ensued over the rights to the name “Pink Floyd” and its material. In the end, Waters retained the right to use The Wall and its material, as his name has been most closely associated with the album. This meant the sole ownership of all The Wall tracks except for the three Gilmour co-wrote the music for (“Young Lust”, “Comfortably Numb” and “Run Like Hell”) and images relating to The Wall on the later 1987–1990 and 1994 tours by the three-man Pink Floyd required payments to Waters.

Waters staged a concert performance of The Wall at Potsdamer Platz in Berlin on 21 July 1990 both to commemorate the fall of the Berlin Wall and as a fundraising effort for the World War Memorial Fund for Disaster Relief. This performance featured guest artists including Bryan Adams, Cyndi Lauper and Van Morrison. This performance also differed from previous shows in that some songs from the original album and Pink Floyd concert version were omitted, others were slightly modified, and one Waters solo song, “The Tide Is Turning” was substituted for “Outside The Wall” as the concluding song.

Track listing

All songs by Roger Waters except as noted.
Side one
#     Title     Writer(s)     Length
1.     “In the Flesh?”           3:19
2.     “The Thin Ice”           2:27
3.     “Another Brick in the Wall (Part 1)”           3:21
4.     “The Happiest Days of Our Lives”           1:46
5.     “Another Brick in the Wall (Part 2)”           4:00
6.     “Mother”           5:36
Side two
#     Title     Writer(s)     Length
1.     “Goodbye Blue Sky”           2:45
2.     “Empty Spaces”           2:10
3.     “Young Lust”       Waters / David Gilmour     3:25
4.     “One of My Turns”           3:35
5.     “Don’t Leave Me Now”           4:16
6.     “Another Brick in the Wall (Part 3)”           1:14
7.     “Goodbye Cruel World”           1:13
Side three
#     Title     Writer(s)     Length
1.     “Hey You”           4:40
2.     “Is There Anybody Out There?”           2:44
3.     “Nobody Home”           3:26
4.     “Vera”           1:35
5.     “Bring the Boys Back Home”           1:21
6.     “Comfortably Numb”       Gilmour / Waters     6:24
Side four
#     Title     Writer(s)     Length
1.     “The Show Must Go On”           1:36
2.     “In the Flesh”           4:13
3.     “Run Like Hell”       Gilmour / Waters     4:19
4.     “Waiting for the Worms”           4:04
5.     “Stop”           0:30
6.     “The Trial”       Waters / Bob Ezrin     5:13
7.     “Outside the Wall”           1:41

Singles

* “Another Brick in the Wall (Part 2)”/”One of My Turns” – Harvest HAR 5194; released 16 November 1979 (UK, U.S., France and Italy )
* “Run Like Hell”/”Don’t Leave Me Now” – Columbia 1-11265; released April, 1980 (Holland, Sweden and US)
* “Comfortably Numb”/”Hey You” – Columbia 1-11311; released June, 1980 (US and Japan)

Personnel

* Roger Waters — vocals, bass guitar, co-producer, synthesiser, electric guitar, acoustic guitar, sleeve design
* David Gilmour — guitars, vocals, co-producer, bass guitar, sequencer, synthesiser, clavinet, percussion
* Richard Wright — piano, organ, synthesiser, clavinet, bass pedals
* Nick Mason — drums, percussion

with

* Jeff Porcaro — drums on “Mother”
* Lee Ritenour — Rhythm Guitar on “One of My Turns” and Acoustic Guitar on “Comfortably Numb”
* Joe Porcaro — Marching Snare drum on “Bring the Boys Back Home”
* Bleu Ocean — Marching Snare drum on “Bring the Boys Back Home”
* Freddie Mandel — Hammond Organ on “In The Flesh?” and “In the Flesh”
* Bobbye Hall — Percussion
* Ron di Blasi — Classical guitar on “Is There Anybody Out There?”
* Larry Williams — Clarinet on “Outside the Wall”
* Trevor Veitch — Mandolin
* Frank Marrocco — Concertina
* Bruce Johnston — Backing Vocals
* Toni Tennille — Backing Vocals
* Joe Chemay — Backing Vocals
* Jon Joyce — Backing Vocals
* Stan Farber — Backing Vocals
* Jim Haas — Backing Vocals
* Fourth Form Music Class, Islington Green School, London — Backing Vocals
* Bob Ezrin — co-producer; Orchestra Arrangement; Keyboards
* Michael Kamen — Orchestra Arrangement
* James Guthrie — Co-Producer; Engineer; Percussion; Synthesiser on “Empty Spaces” (in collaboration with David Gilmour), Sequencer; Drums on “The Happiest Days of Our Lives” (in collaboration with Nick Mason), remastering producer
* Nick Griffiths — Engineer
* Patrice Queff — Engineer
* Justin Dimma — Engineer
* Darren McIntomney — Engineer
* Rick Hart — Engineer
* Robert Hrycyna — Engineer
* Gerald Scarfe — Sleeve Design
* Doug Sax — Mastering and Remastering

CHARTS

Year	Chart	Peak
1979	UK album chart	3
	Norwegian Album Chart	1
	Spanish Album Chart	9
	Swedish Album Chart	1
	Swiss Album Chart	29
	German Album Chart	1
	Danish Album Chart	19
	New Zealand Album Chart	24
	Italian Album Chart	13
	Finnish Album Chart	21
1980	The Billboard 200	1

Singles

Year	Single	Chart	Position
1979	“Another Brick in the Wall (Part 2)”	UK Top 40	1
1980	“Another Brick in the Wall (Part 2)”	US Billboard Pop Singles	1
1980	“Run Like Hell”	US Billboard Pop Singles	53
1980	“Another Brick in the Wall (Part 2)”	Norway’s single chart	1

Awards

Grammy Awards

Year	Winner	Category
1980	The Wall	Best Engineered Album, Non-Classical

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Jan 14

1978 – Player started a three week run at No.1 on the US singles chart

Posted in 1970s, Agents & Lawyers, Albums/Singles that Rock, Bands/Artists that Rock, Billboard charts, Bio, Chart Toppers, Classic, Composers & Songwriters, General, Gold, Platinum, Rock n Roll Hall of Fame (honoured diety), Singers | No Comments »

1978 – Player started a three week run at No.1 on the US singles chart with ‘Baby Come Back’, a No.32 hit in the UK, the groups only UK hit.

Peter Beckett grew up in Liverpool, England, where he spent four years playing in a band called Palladin. He quit to come to America and join another group, Friends, which recorded for MGM. After a short time, they evolved into Skyband, which released one album on the RCA label. Skyband lasted long enough to play one concert in L.A. and tour abroad before breaking up.

In 1976, Peter slipped on his jeans and attended a classy Hollywood party. To his surprise, everyone there was wearing white except for one other guest, who had also come in Levi’s. Peter figured the other guy had to be a musician, so they sat down together and began to talk. As it turned out, he was John Charles Crowley, a singer/songwriter from Galveston Bay, Texas. The two hit it off, and made a date to listen to each other’s material.

THE TOP FIVE
Week of January 14, 1978

1. Baby Come Back
Player

2. How Deep is Your Love
Bee Gees

3. Here You Come Again
Dolly Parton

4. You’re in my Heart
Rod Stewart

5. Back in Love Again
LTD

A few days later, Peter and J.C. held a jam session, and afterward decided to form a band. They added Ron Moss, a bass player from L.A., and veteran of two bands: Punk Rock and Count Zeppelin and his Fabled Airship. Ron brought along a high school friend, John Friesden, who, at one time, had toured the world as the assistant producer and drummer with the Ice Follies. Keyboard man Wayne Cook came abroad just a little too late; he missed being included in the photo used on their first album cover.

The boys were spotted by the production team of Dennis Lambert and Brian Potter, and signed to their company, Haven. Lambert and Potter then negotiated a deal with RSO. A debut album was planned, which one critic was to call “a ten-song exercise in straightforward, romantic pop.” One of those tunes was “Baby Come Back.”

We wrote that pretty quickly,” recalled Peter. “It took about three hours one night, and then we spent about an hour the next night polishing it up. J.C. and I had just broken up with our girlfriends, and we were still feeling the sting. When we sat down to write, our moods just blended, and it came out as ‘Baby Come Back.’

“I remember rehearsing the song in J.C.’s garage studio. It was the middle of summer, hotter than hell, and there we sat with our acoustic guitars, working it up amid the spiders and cockroaches. We knew it sounded like a hit, though. There was so much personal feeling in the song that we knew we had something special.”

“Baby Come Back” broke on the radio in October 1977 and reached number one early in January. It spent three weeks at the top — more than seven months on the charts. During that time, over two million copies were sold.

This infuriated some critics, who felt that the boys’ style was a “blatant carbon” of several other groups. However, reviewers couldn’t seem to agree as to the source of their familiar sound. Various writers claimed that “Baby Come Back” was an imitation of Hall and Oates’ “She’s Gone,” while others insisted the band copied Foreigner, the Bee Gees, Steely Dan, the Eagles, Journey, and even Andy Gibb.

“Just call it rock ‘n’ soul,” said Ron Moss. “We pull from the best of both worlds.”

Player didn’t perform live until November 1977, when they appeared as the opening act for Gino Vanelli. Later, they toured with Heart, Boz Scaggs, Kenny Loggins, and Eric Clapton. Their second single, “This Time I’m in it for Love,” was a Top 10 hit in the spring of 1978. “Prisoner Of Your Love” was a Top 40 hit in November of that year. Their last charting singles were for Casablanca in 1980 and RCA in 1982.

And their name? “We saw the word on television when the players from the show were listed,” Peter explained. “We knocked off the ‘s’ and went with it. I think the word holds a certain ambiguity.”

“And also, people can hold up our album, point to it, and say, ‘That’s a great record, Player’.”

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Oct 09

1975 – Sean Lennon is born this day in rock history!

Posted in 1970s, Bands/Artists that Rock, Billboard charts, Birthdays, Chart Toppers, Classic, Composers & Songwriters, General, Gold, Platinum, Rock n Roll Hall of Fame (honoured diety), Singers | No Comments »

1975 – Sean Lennon is born this day in rock history!

Sean Taro Ono Lennon (aka Sean Ono Lennon, born 9 October 1975) is an American singer, songwriter, musician and actor. He is the son of musicians and peace activists John Lennon and Yoko Ono.

Biography

Early life and education

Sean Lennon was born in New York City on 9 October 1975 (his father’s 35th birthday). Kyoko Chan Cox and Julian Lennon are his half-siblings. After Sean’s birth, John became a house husband, doting on his young son until his murder in 1980. Sean was educated at the exclusive private boarding school Institut Le Rosey in Rolle, Switzerland and earlier at New York’s private Ethical Culture Fieldston School and Dalton. He later attended Columbia University, though only for three semesters before dropping out to focus on his music career.

His debut into the music world came at the age of six, reciting a story on his mother’s 1981 album Season of Glass. From childhood into his teen years Sean continued to collaborate with his mother, contributing vocals and receiving production credit on her solo albums It’s Alright (I See Rainbows), Starpeace and Onobox. At sixteen Sean co-wrote the song “All I Ever Wanted” with Lenny Kravitz for his 1991 album Mama Said. By 1995 Sean had formed the band IMA (with Sam Koppelman and Timo Ellis) to play alongside his mother on her album Rising. Sean also made appearances in film, featured in the cast of Michael Jackson’s 1988 Moonwalker and portraying a teenager experiencing visions of various MC Escher paintings in Sony’s 1990 promotional short-film Infinite Escher.

Cibo Matto and Into The Sun

In 1996 Miho Hatori and Yuka Honda of Cibo Matto were invited by Ono to remix the song “Talking To The Universe” for a Rising remix EP Rising Mixes. They met Sean and invited him to join them on tour as a bass player. This eventually led to Sean contributing to their side-project Butter 08 and to his becoming a member of the group. He continued to play with them on tour, joining them on television and providing bass guitar and vocals on their EP, Super Relax. Through his association with Cibo Matto, Lennon was approached by Adam Yauch (of the Beastie Boys), who expressed an interest in his music and persuaded him to sign a record contract with Grand Royal Records. Regarding Grand Royal, Lennon has said, “I think I found the only label on the planet who doesn’t care who my parents are and what my name is. It’s a good feeling to know that I wouldn’t have gotten the offer if they wouldn’t have liked my songs. That’s pretty rare in the music business!”.

Lennon’s solo début Into the Sun, was released in 1998. A music video for “Home”, a single from the album, was directed by Spike Jonze and enjoyed extended airplay on MTV. The album was produced by fellow Cibo Matto member Yuka Honda, who Lennon claimed was his inspiration for the album. They struck up a personal relationship as well as a creative one.

He would go on to tour (often backed by Cibo Matto) supporting Into The Sun. During this period he would appear on radio programs such as The Howard Stern Show and KCRW’s Morning Becomes Eclectic. He would later recall promoting the album as a bitter experience due to the media focus on his family rather than his own music. In 1999, Sean’s EP Half Horse, Half Musician was released featuring new tracks such as “Heart & Lung” and “Happiness” as well as remixes of songs from Into The Sun. Along with Half Horse Half Musician 1999 saw the release of Cibo Matto’s second album Stereo Type A. Sean stepped out of his traditional role as the group’s bass player, this time playing a much wider range of instruments (such as drums, guitars and synthesizers). Despite being well received Stereo Type A was to be the final Cibo Matto album and the group disbanded.

In 2000 Lennon briefly entered the world of hip hop, contributing vocals to Del tha Funkee Homosapien, Handsome Boy Modeling School and Jurassic 5. In 2001 on national television, Sean performed Beatles classics “This Boy”, “Across The Universe” and “Julia” alongside Robert Schwartzman, Rufus Wainwright and Moby for Come Together: A Night for John Lennon’s Words and Music. In the following years Sean faded out of the spotlight. However he collaborated with various bands and artists as a session musician and producer.

Return and Friendly Fire

After the demise of Grand Royal Records in 2001, Sean signed with Capitol Records (whose parent company EMI has released the vast majority of his father’s musical output, group and solo), yet no solo material surfaced until February 2006, when “Dead Meat” was released as the first single from his new album, Friendly Fire. A promotional trailer for the CD/DVD package of Friendly Fire was leaked online in early 2006. The trailer featured scenes from the film version of the album, a DVD of music videos comprised into a film. The videos were actually screen tests for Coin Locker Babies, another project on which Lennon is working which became a cinematic counterpart to his new album and was featured as a bonus track on the French release of Friendly Fire.

Although again establishing himself as a solo artist, Lennon has continued his work as a session musician and producer, lending his talent to the likes of Dopo Yume, Albert Hammond, Jr. (of The Strokes) and model/singer Irina Lazareanu. With the release of new material and subsequent touring Sean launched a website featuring music, videos and a forum for his fans. Various members of the forum have even crated a fan-made cover album entitled Truth Mask Replica. In a You Tube video released for his website (January, 2008) Lennon has stated that he is working on a new solo album as well.

Musical influence
This section does not cite any references or sources.
Please help improve this section by adding citations to reliable sources. Unverifiable material may be challenged and removed. (August 2008)

Lennon has said that Brian Wilson and the Beach Boys are major influences in his music and he interviewed Wilson on a limited edition CD entitled Words and Music. During the release of Into The Sun, Sean often talked about his admiration for the Brazilian band Os Mutantes. While in Brazil, Sean performed live with Arnaldo Baptista (bass guitar player and vocalist of Os Mutantes) and later designed the artwork for the Os Mutantes album, Tecnicolor (2000). Lennon has stated that The Beastie Boys album Check Your Head was a source of inspiration, with its varied music styles contained in one album.

Discography

Solo

* Into the Sun (1998)
* Half Horse, Half Musician (1999)
* Friendly Fire (2006)

With Cibo Matto

* Super Relax (1997)
* Stereo Type A (1999)

Film Scores

* Smile for the Camera (2005)
* Friendly Fire (2006)
* The Stranger (2008)
* Rosencrantz and Guildenstern are Undead (2008)
* Tea Fight (2008)

Producer

* Sean Lennon – Half Horse Half Musician (1999)
* Soulfly – Primitive (2000)
* Valentine Original Soundtrack (2001)
* Esthero – Wikked Lil’ Grrrls (2005)
* Sean Lennon – Friendly Fire (2006)
* Irina Lazareanu – Some Place Along the Way (2007)

Filmography

* Moonwalker (1988) – Actor
* Buffy the Vampire Slayer – Season 2, Episode 1 – “When She Was Bad” (1997) – musician, Cibo Matto
* Smile for the Camera (2005) – Original Score, Writer
* Friendly Fire (2006) – Actor, Original Score, Writer
* The Stranger (2008) – Original Score
* Rosencrantz and Guildenstern are Undead (2008) – Original Score
* Tea Fight (2008) – Original Score
* Coin Locker Babies (2008 in production) – Actor, Writer

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Jun 19

1973 – The Rocky Horror Show, starring Tim Curry, opens at a…

Posted in 1970s, Agents & Lawyers, Albums/Singles that Rock, Bands/Artists that Rock, Billboard charts, Bio, Chart Toppers, Classic, Composers & Songwriters, General, Gold, Industry, Misc., Off the Hook, Platinum, Rock n Roll Hall of Fame (honoured diety), Singers, TV, Movies, Radio, Internet, & itunes | No Comments »

Tim Curry in “The Rocky Horror Picture Show”

1973 – The Rocky Horror Picture Show, starring Tim Curry, opens at a London theater,. Also, making his first time ever appearance is Meatloaf.

The Rocky Horror Picture Show is a 1975 musical comedy film that parodies science fiction and horror films. With a screenplay written by Richard O’Brien and Jim Sharman, the film features Tim Curry, Susan Sarandon and Barry Bostwick. The film is based on the British musical stage production The Rocky Horror Show.

The film is considered a cult classic and a midnight movie, although it is widely known by mainstream audiences and has a large international following. RHPS was the first movie from a major film studio — 20th Century Fox — in the midnight-movie market. The movie is one of the most well known and financially successful midnight movies. It is the longest running theatrical release in film history. More than 30 years later it is still in limited release in cinemas around the world. In 2005, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”.

The story, narrated by a criminologist (Charles Gray), is that of a newly engaged young couple, Brad Majors (Barry Bostwick) and Janet Weiss (Susan Sarandon), who find themselves lost on a cold and rainy late November evening. Seeking a phone from which to call for help, the two find shelter at a nearby castle inhabited by strange and outlandish characters who are holding an Annual Transylvanian Convention. They watch, still wet from the rain, as the Transylvanians dance the Time Warp, the film’s signature song.

They are soon swept into the world of Dr. Frank-N-Furter (Tim Curry), a self-proclaimed “sweet transvestite from Transsexual, Transylvania” and his servants, siblings Riff Raff (Richard O’Brien) and Magenta (Patricia Quinn), as well as groupie Columbia (Nell Campbell) and an ensemble of convention attendees. It is Furter’s intention to unveil the “secret to life itself”. In a scene inspired by Frankenstein movies, “Rocky Horror” (Peter Hinwood) is brought to life. After the disoriented Rocky is chased down by Frank, the party is interrupted by Eddie (Meat Loaf), an ex-delivery boy, who rides out of a deep freeze on a motorcycle. The scene ends with his bloody death at the hands of Furter.

Brad and Janet are shown to separate rooms where their host has his way with both. Janet, overcome with emotion, wanders off looking for Brad. She discovers a cowering Rocky, hiding in his birth tank from Riff Raff, who torments the creature much as Igor tormented Frankenstein’s monster. Janet, having discovered Brad’s infidelity, chooses to take advantage of the situation with Rocky. After discovering the “Creature” is missing, Frank, Brad, and Riff Raff return to the lab where they learn that an intruder has entered the building. Dr. Everett Scott (Jonathan Adams), Brad and Janet’s old high school science teacher, has come looking for Eddie, who is his nephew. It is at this point that Rocky and Janet are discovered hiding together. In a scene added specifically for the film version, the new guests are prepared a dinner consisting of Eddie’s remains. After they see what they have consumed, horror and disgust lead to a chase after Janet who runs screaming from the room. Frank captures all, temporarily turning them into statues and commanding them to participate in a cabaret-style floor show. The performance is disrupted by Riff Raff and Magenta, who kill Columbia, Frank, and Rocky. They release the earthlings—Brad, Janet, and Dr. Scott—as the castle takes off into space to return to the planet of Transsexual, in the galaxy of Transylvania.

Production

Based on the London stage production The Rocky Horror Show, by Richard O’Brien, The Rocky Horror Picture Show is slightly different from its original theatrical conception. In the production of the film, many of the original aspects from the Kings Road stage production changed, as did characters and dialogue, although many cast- and crew-members from its original production returned to work on the film. Director Jim Sharman, production designer Brian Thomson, and costume designer Sue Blane collaborated on the original London production with many of the cast that made it into the film version. Tim Curry reprised his role from the London and Los Angeles stage productions. After the film, Curry also did a short run on Broadway as Dr. Frank-N-Furter. Creator Richard O’Brien also returned for the film from the British stage team, as did Little Nell (Columbia) and Patricia Quinn (Magenta). Jonathan Adams, the narrator from the original cast, also returned for the film, instead playing Dr. Scott. The film was shot at Bray Studios and Oakley Court, a country house in Berkshire, England, UK from October 21, 1974 to December 19, 1974. Filming of Rocky’s birth occurred on October 30, 1974, the 81st anniversary of the birth of Charles Atlas.

Several ideas from the original conception of the film were dropped before production. During the opening theme, the film was supposed to include clips from all the movies mentioned in the song “Science Fiction Double Feature”. Producers discovered quickly that obtaining the rights to all the various film clips would be very costly, and cut the idea. Another idea was to parallel The Wizard of Oz (1939) by having the first 20 minutes of the film in black-and-white and Academy ratio until the doors burst open showing the Transylvanians in widescreen and then to full color at Frank’s entrance. This effect would have been prohibitively expensive, so the idea was discarded. The film was, however, shot in the narrower 1.66:1 aspect ratio.

Locations, sets, and props
Oakley Court refurbished and now a luxury hotel.

The film’s plot, setting, and style echoes that of the Hammer Horror films. Much like Universal Studios’ Horror films had their own style, Hammer productions did as well. Reuse of sets and props through many of their films, was money and time saving. Production designer Brian Thomson and director Jim Sharman chose locations, sets, and even props that were, in many cases, used in various old Hammer productions. The castle is known as the Hammer House for the number of films that it appeared in. A great deal of location shooting took place here. At the time, the manor was in very dilapidated condition. Filming took place during the fall, which made conditions harsh.

Today, the castle, Oakley Court, has been completely refurbished and is now a luxury hotel. It recently hosted a Rocky Horror picnic on its grounds. The classic “Creation” scene in Rocky Horror, so reminiscent of “Frankenstein” movies, has a good reason for that feel. The scene re-uses the tank and dummy from a Hammer production of “The Revenge of Frankenstein” starring Peter Cushing.[9] Other props and set pieces were used as well from stock that may be seen in many old British television shows and feature films.

Costumes

Perhaps the most unusual parts of this film are the costumes worn by the cast. Costume designer Sue Blane based all her designs on what little she knew of 1950′s America as well as a previous stage production she designed called “The Maids”. It is from this production that Tim Curry’s Victorian corset is borrowed.[10] Blane compared the relatively small ($400) costume budget of the stage show to the $1600 costume budget in 1974 for the film.

Nearly all the costume designs from the original stage production were transferred directly to the film, with a few exceptions. Some new designs appeared as well as a few that were discarded. In the London stage production, Tim Curry began the role of Frank-N-Furter as a blond, although it was short lived, the original design sketches by Blane do reflect that. Magenta gained a new maid costume to give the character more purpose and Columbia gained a sequined tuxedo and tails.

The introduction of new characters such as the Transylvanians presented Sue Blane with a challenge to costume a number of extras who reappear throughout the film. The outcome of their costuming did not satisfy Blane who stated that she wished she had more time for those particular costumes.

In the stage productions, actors generally did their own make-up, but for this film producers chose famed artist Pierre La Roche to redesign the make-up for each character. La Roche is also famous for designing make-up for David Bowie.[12] Production stills were taken by an artist famous for his 1970′s rock photographs, Mick Rock. The photographer has published many calendars and photo books from his Rocky Horror work.

Casting
The majority of the cast from The Rocky Horror Picture Show posing for the wedding photo at Ralph and Betty’s wedding in the movie’s opening scene.
The majority of the cast from The Rocky Horror Picture Show posing for the wedding photo at Ralph and Betty’s wedding in the movie’s opening scene.

* Tim Curry as Dr. Frank-N-Furter, a Scientist. Auditioning for the part for the original stage production Tim Curry sang the song “Tutti Frutti”. He originated the role and recreated it in all productions except the Australian production up to filming. Frank is a flamboyant, well-meaning, often devious and sometimes evil transvestite, bisexual scientist.

* Susan Sarandon as Janet Weiss, a Heroine. Sarandon was not the first choice for the Production but Twentieth Century Fox insisted on American casting for the part of both Brad and Janet. Janet Weiss is the well-meaning, sweet and somewhat naive woman who was recently engaged to Brad, who gets tempted into bad ways.

* Barry Bostwick as Brad Majors, a Hero. Bostwick had previously had training in singing, juggling, trapeze, clown techniques, fencing, mime and ballet before his role in the film. Brad Majors is the clean-cut fiancé of Janet Weiss, to whom he recently proposed at a friend’s wedding.

* Richard O’Brien as Riff Raff, a Handyman. The author and song writer, Richard O’Brien had originally seen himself as Eddie. It was director Jim Sharman who cast him as Riff Raff.

* Patricia Quinn as Magenta, a Domestic. Quinn reprises her role from the original stage production, however she was not in any of the other productions. She almost did not return for the filming, as the part was drastically reduced from the stage play. Magenta is the sister of Riff Raff, and works as Frank’s domestic worker. Patricia Quinn’s lips are also used for the iconic opening number and movie poster.

Dr. Frank-N-Furter (Tim Curry) in his most iconic role, as self proclaimed “Sweet Transvestite from Transexual, Transylvania.”
Dr. Frank-N-Furter (Tim Curry) in his most iconic role, as self proclaimed “Sweet Transvestite from Transexual, Transylvania.”

* Nell Campbell as Columbia, a Groupie. Laura “Little Nell” Campbell recreates her character from the original stage production. Columbia is the groupie and friend of Frank, but also Eddie’s alleged lover.

* Jonathan Adams as Dr. Everett Von Scott, a Rival Scientist. He was Brad and Janet’s science teacher. He has come to the castle in search of his nephew Eddie, who has been murdered by Frank. Adams originally played the role of the Narrator in the London production.

* Peter Hinwood as Rocky Horror, a Creation. Muscle bound creation of Frank’s, with blond hair and a tan. Peter Hinwood has his own solo in “Sword of Damocles”, but does not speak throughout the show. This was changed from the stage show. Rocky’s songs are performed by Trevor White.

* Charles Gray as The Criminologist, an Expert. Narrator of the film. Gray accepted the role by saying, “Why not?” The character becomes a criminologist in the film, another change from the stage production.

* Meat Loaf as Eddie, an ex-delivery boy. Columbia’s boyfriend. Dr. Frank-N-Furter murders Eddie in the film version. In the stage version, Eddie merely pops out of a Coke machine and then jumps back in at the end of the scene.

Release

The film has found a major longevity in many venues throughout the years in the United States, as well as internationally. The movie is considered to be the longest running release in film history.[13] It has never been pulled by Twentieth Century Fox from its original 1975 release, and continues to play in cinemas more than thirty years later. Some cinemas showing the movie have run it for decades at a time.

The film was released on VHS during the home video boom of the 1980s, except for in the U.S., which had to wait for the 15th anniversary in 1990. The limited VHS edition release had a suggested retail price of $100. In 1993, a LaserDisc edition was released, and in 1995 a Special Edition LaserDisc was released. On the 25th anniversary in 2000, the DVD with all the special features from the LaserDisc, as well as new features and DVD-Rom games was released. Before the mainstream use of home video a Super 8 version of selected scenes of the film was available.

There are two versions of The Rocky Horror Picture Show, the US and British releases. The British version contains the original ending which includes the full version of the musical number “Super Heroes”. The US version edits out the number, which was thought to be too depressing by the studio. Both versions are on the 25th Anniversary DVD.

Reception

Main article: The Rocky Horror Picture Show cult following

The film opened in the U.S. at the UA Theatre in Westwood, California on September 26, 1975. It did well at that location but not elsewhere.[16] The cult following did not begin until the movie began its midnight run at the Waverly Theatre in New York on April 1, 1976.[17] The film is still shown with audience members acting out the entire movie in front of the screen. The Clinton Street Theater in Portland, Oregon has also shown the movie weekly since its debut there in April, 1978.

Overall, critics were negative with their reviews of the movie. The overly sexual nature of this British rock comedy was not well received by the mainstream media of 1975, although there were positive reviews. The music was praised, as was Tim Curry’s performance. However, before the success of the midnight screenings, the film was withdrawn from its eight opening cities due to very small audiences, and its planned New York opening (on Halloween night) was cancelled.[18] Fox re-released it around college campuses on a double-bill with another rock music film parody, Paul Williams’ Phantom of the Paradise, but again it drew small audiences.[18] With Pink Flamingos (1972) and Reefer Madness (1936) making money in midnight showings nationwide, RHPS was eventually screened at midnight, starting in New York City on April Fools’ Day of 1976.[19] By that Halloween, people were attending in costume and talking back to the screen. By mid-1978, RHPS was playing in over fifty locations on Fridays and Saturdays at midnight, newsletters were published by local performance groups, and fans gathered for Rocky Horror conventions.[20] By the end of 1979, there were twice-weekly showings at over 230 theaters.

The Rocky Horror Picture Show has taken in $139,876,417 (USA) (sub-total) in box office receipts since its release. The length of its run in cinemas (weekly for over 30 years), combined with its considerable total box office gross, is unparalleled by any other film. The original budget for the movie was $1,200,000 (estimated). The audience participation made the film become a worldwide phenomenon. As the cult-audience grew, Rocky Horror fandom became the subject of news stories. Dori Hartley, a fan from the original New York shadow cast, went on to appear in “Paradise Garage”, a Tim Curry music video.

After the release, the original advertising campaign for screen and television was pulled by Twentieth Century Fox executives in the very early stage. The studio objected to the use of the red lipsticked lips uttering the words Twentieth Century Fox. The American television network Fox Broadcasting aired the film’s much-publicized world television premiere on October 25, 1993. The film’s popularity breathed new life to the stage production, which had had a 45-performance run on Broadway early in 1975 at the Belasco Theatre.[27] Rocky Horror sequels and other media have found their way into production, including merchandise ranging from prefabricated costumes, games, and soundtrack releases.

Soundtrack

Songlist in Film
Song Lead Singer(s) Other Singers Scene
Science Fiction/Double Feature Richard O’Brien (Patricia Quinn as lips) N/A Opening credits
Dammit Janet Brad, Janet Riff Raff, Magenta, Columbia Hapschatt wedding
Over at the Frankenstein Place Brad, Janet Riff Raff, Chorus A rainy night on the way to Dr. Scott’s
The Time Warp Riff Raff, Magenta, Columbia Criminologist, Transylvanians Ballroom of the castle
Sweet Transvestite Frank-N-Furter Riff Raff, Magenta, Columbia, Transylvanians Ballroom of the castle immediately after Time Warp
The Sword of Damocles Rocky Riff Raff, Magenta, Columbia, Transylvanians The “Lab”
I Can Make You a Man Frank-N-Furter Transylvanians The “Lab”
Hot Patootie – Bless My Soul Eddie Transylvanians The “Lab”
I Can Make You a Man (Reprise) Frank-N-Furter Janet, Transylvanians The “Lab”
Once in a While (deleted scene/song) Brad N/A Brad’s Bedroom (intercut with scenes of him and Janet from the first half of the movie)
Touch-a, Touch-a, Touch-a Touch Me Janet Rocky, Brad, Frank, Magenta, Riff Raff, Columbia Rocky’s birth tank in the lab
Eddie Dr. Scott, Columbia Full cast The dining room in the castle, Columbia’s bedroom
You’d Better Wise Up Frank-N-Furter Riff-Raff, Magenta, Brad, Janet, Dr. Scott Stairway and corridors of the castle then back to the lab
Rose Tint My World Columbia, Rocky, Brad, Janet N/A Floor show stage
Don’t Dream It, Be It Frank-N-Furter Brad, Janet, Columbia, Rocky, Dr. Scott Floor show pool
Wild And Untamed Thing Frank-N-Furter, Columbia, Rocky, Brad, Janet Riff Raff Floor show stage
I’m Going Home Frank-N-Furter Columbia, Rocky, Brad, Janet Floor show theater stage and aisle
Superheroes (deleted scene/song in US release) Brad, Janet Criminologist Exterior of the castle and the criminologist’s office
Science Fiction/Double Feature (Reprise) Richard O’Brien (no character) N/A Ending credits

The Rocky Horror Picture Show: Original Soundtrack (1989)

Track listing

* 1. Science Fiction/Double Feature
* 2. Dammit Janet
* 3. There’s a Light
* 4. Time Warp
* 5. Sweet Transvestite
* 6. I Can Make You A Man
* 7. Hot Patootie – Bless My Soul
* 8. I Can Make You A Man (reprise)
* 9. Touch-A, Touch-A, Touch Me
* 10. Eddie
* 11. Floor Show: Rose Tint My World/Fanfare/Don’t Dream It, Be It/Wild and Untamed Thing
* 12. I’m Going Home
* 13. Super Heroes
* 14. Science Fiction/Double Feature (reprise)
* 15. Time Warp (1989 remix – extended version)
* 16. Time Warp (music – 1 = background track = u mix)

The Rocky Horror Picture Show: 25 Years of Absolute Pleasure! (2000)

Track listing
# Title Lead Performer(s) Length Other Performer(s)
1 “Science Fiction/Double Feature” Richard O’Brien 4:27 -
2 “Dammit, Janet” Barry Bostwick (Brad), Susan Sarandon (Janet) 3:22 Richard O’brien, Patricia Quinn, Nell Campbell
3 “Over at the Frankenstein Place” Susan Sarandon, Barry Bostwick, Richard O’Brien (Riff Raff) 3:59 Charles Gray (Criminologist), Chorous
4 “Time Warp” Richard O’Brien, Patricia Quinn (Magenta), Nell Campbell (Columbia) 4:29 Charles Gray, Transylvanians
5 “Sweet Transvestite” Tim Curry (Frank-N-Furter) 4:06 Barry Bostwick, Susan Sarandon, Richard O’Brien, Patricia Quinn, Nell Campbell, Transylvanians
6 “The Sword of Damocles” Trevor White (Rocky Horror: Voice) 3:38 Tim Curry, Transylvanians
7 “I Can Make You a Man” Tim Curry 3:15 Transylvanians
8 “Hot Patootie” Meat Loaf (Eddie) 3:21 Transylvanians
9 “I Can Make You a Man (Reprise)” Tim Curry 1:59 Susan Sarandon, Transylvanians
10 “Once in a While” Barry Bostwick 3:45 Charles Gray
11 “Toucha-Toucha-Touch Me” Susan Sarandon 2:59 Nell Campbell, Patricia Quinn, Barry Bostwick, Tim Curry, Richard O’Brien, Trevor White, Charles Gray
12 “Eddie” Jonathon Adams (Dr. Scott), Nell Campbell, Meat Loaf 2:47 Full Cast
13 “Planet, Schmanet, Janet” Tim Curry 2:36 Richard O’Brien, Patricia Quinn, Susan Sarandon, Barry Bostwick, Jonathon Adams
14 “Rose Tint My World” Nell Campbell, Trevor White, Barry Bostwick, Susan Sarandon 4:03 Charles Gray
15 “Don’t Dream It, Be It” Tim Curry 3:36 Barry Bostwick, Susan Sarandon, Nell Campbell, Trevor White, Jonathon Adams
16 “Wild and Untamed Thing” Nell Campbell, Trevor White, Barry Bostwick, Susan Sarandon 1:51 Richard O’Brien
17 “I’m Going Home” Tim Curry 2:57 -
18 “Super Heroes” Barry Bostwick, Susan Sarandon, Charles Gray 5:27 Patricia Quinn, Richard O’Brien, Jonathon Adams, Nell Campbell
19 “Science Fiction/Double Feature (Reprise)” Richard O’Brien 1:30 -
20 “Time Warp (1989 Remix – Extended Version”♦ Full Cast 5:36 -
21 “Rocky Horror Picture Show (Movie Trailer)”♦ – 2:58 -

From Wikipedia

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Aug 25

1970 – Emerson, Lake & Palmer give their debut per…

Posted in 1970s, Agents & Lawyers, Albums/Singles that Rock, Bands/Artists that Rock, Bassists, Billboard charts, Bio, Chart Toppers, Classic, Composers & Songwriters, Concerts, Gigs & Tours, Drummers, General, Gold, Industry, Keys, Platinum, Rock n Roll Hall of Fame (honoured diety), Singers | No Comments »

1970 – Emerson, Lake & Palmer give their debut performance in Plymouth, England.

Progressive rock can be a very disreputable subject. No other musical style has been so vilified by the critics and became a synonym for ‘pompous’ and ‘bombastic.’ Almost every music critic in the early ’70′s had something unflattering to write about it. None of them seem to have noticed that the genre combined the old with the new and brought things to popular music that simply wasn’t there before. Prog rock flourished during the early ’70′s but was wiped out almost completely by 1976- each of the bands who played it had to undergo changes in order to ensure their survival or else evaporate during the late ’70′s and the ’80′s.

It’s hard to decide which band best represents the genre. King Crimson’s debut In The Court Of The Crimson King (1969) might be considered one of the first pure prog rock album while Genesis’s Selling England By The Pound was the best prog album to my mind and Yes and Pink Floyd made a huge splashes on both sides of the Atlantic, but none of these bands was never really identified with the genre as closely as Emerson, Lake and Palmer (Johnny Rotten’s hatred of Floyd to the contrary). ELP shared prog rock’s great paramount and deep chasms, reflecting all that was good and bad in that time, which is known the age of the rock dinosaurs.

ELP, like many early prog bands, was an English group. Keith Emerson, its founder and keyboard player, began to take formal piano lessons when he was eight years old. He started to learn classical music but was fed up with “playing like Bach.” Later, he discovered jazz and started to perform in little clubs while he was in college. It was during that time that Emerson, searching for a new sound, purchased with the benevolent help of his father a new Hammond L100 electric piano. Later, Emerson would delve into the world of keyboards even further.

After playing in several bands, Emerson heard that P. P Arnold (then a successful solo singer and today a back up singer for ex-Floyd Roger Waters) was looking for players. He then formed The Nice, with the group playing behind Arnold. But after six months, they began performing by themselves. During late 1967 and early 1968, the band traveled in Britain with such names as Pink Floyd and Jimi Hendrix. In January 1968, they traveled in the U. S and came back to Britain just in time to see the release of their first album The Thoughts of Emerlist Davjack (a pun on the band members’ names). They later recorded “America,” a work that combined Leonard Bernstein’s famous piece from the West Side Story with Dvorak’s New World Symphony and protest lyrics, making for a complex political statement (as well as a controversial once since Bernstein didn’t approve of it). During that time, Emerson began to use knives when playing. He nailed them to his keyboard in order to help him hold certain keys while he was playing. This was just one of his yet-to-come stage tricks.

The Nice recorded another two albums during the next couple of years, but in April 1970, Emerson decided that he had enough and the band ceased to exist. Nevertheless, their manager was able to piece together more albums based on live shows and out-takes and eventually try to piggyback ELP’s success to get some sales.

During a King Crimson/Nice show in 1969, Emerson met Crimson’s young bass player Greg Lake backstage. After a small chat, they have decided to form a new band in several months. Now with The Nice project finished, Emerson was ready to move on.

Greg Lake started his musical career when he was given a guitar by his mother. When he was just a school boy, he wrote the song that will later become one of ELP’s greatest hits, “Lucky Man.” During the late ’60′s, Lake played in several bands. One of these bands, The Shy Limbs, nearly got him killed. The band used to sleep in a van and eat from the hand to mouth. Eventually, Lake developed pneumonia and had nearly died before his mother sent him to a doctor.

When he played with another band, The Gods, he caught the attention of Robert Fripp who was searching a bass player for King Crimson. Lake sang and played bass on the band’s first album, In The Court Of The Crimson King. But Fripp’s tyranny made the members of the band bitter and Lake was searching for a way out. Eve after meeting Emerson and making plans with him, Lake still helped Fripp with recording the next King Crimson’s album In The Wake Of Poseidon (retained as lead singer but not bassist) and then went of to start his own new group.

But the duo was searching for a drummer. They met Mitch Mitchell, Hendrix’s drummer who didn’t want to join but tried to get Hendrix into the new band. After the couple decided to join Carl Palmer as their drummer, the British Press fantasized about a new band with two virtuosos such as Hendrix and Emerson and speculated that the band will be called Hendrix, Emerson, Lake and Palmer or HELP (which would have surely made for some hilarious headlines). But Hendrix died in September 1970, before this idea came to fruition.

Emerson and Lake found Carl Palmer after he was recommended to them. They bought an album of his band Atomic Rooster and liked what they heard so they asked him to join them. But Palmer said no at first; he has been working hard, along with Vincent Crane, to get his band running and didn’t want to throw it all away. He was playing professionally since he was 15 years old and just recently toured with The Crazy World Of Arthur Brown which had a U.K. number one hit chart single, “Fire.”

But after continuing persuasion by Greg Lake, he decided to join them for a jam session. He enjoyed it very much and the trio began to practice until May 1970, when Palmer finished his work with Atomic Rooster and thus, ELP was born. Like another then-recent supergroup, Crosby, Stills and Nash, the English trio took the audacious move of using the group members’ names as the name of the group itself.

During 1970, ELP recorded its debut album, which was called, appropriately enough, Emerson, Lake and Palmer. They drew attention from the beginning because every one of its members played in a famous group before ELP. They were a super group, a term that was given to Cream in 1967 and was quite common during the late ’60′s and early ’70′s when music world was managed like the NBA. The first album included a modern version of a Bela Bartok piece called “The Barbarian.” It also included one of their greatest radio hits, “Lucky Man”. Lake was also responsible for the recording and it gave the album a very unique final sound. Another instrument which was innovatively used was the Moog Synthesizer. Although the Monkeys played it in 1967, no other musician has gained control over it as did Emerson. He was the first musician to use it on stage and managed to get amazing sounds out of this analog multi-switched instrument., becoming one of the earliest pioneers of the synthesizer (inventor Bob Moog himself though of Emerson as one of the great exponents of his Moog synthesizer).

The band gained wide public interest at the 1970 Isle of Wight Festival, during which Keith Emerson, dressed in shiny robe, fired two cannons (thus slightly injuring an Italian camera man) and played his keyboard like a madman.

In early 1971, they released their second album, Tarkus- their first concept album – which was recorded in only two weeks. The main theme of the album (the first side of the vinyl album) is, unsurprisingly, “Tarkus.” Tarkus is a bionic armadillo who fights other bionic creatures until it is convinced by the Manticore (a mythical hybrid creature that’s part human, part lion) to cease from its deviant ways. You may say that the story is a parable about wars and the ill-necessity of machines, but ELP claimed that it didn’t have any such exalted intentions. Significantly though, ELP later named its record label Manticore Records.

Tarkus was very popular in Britain and reached 9 on the U.S. Billboard charts. Six months after Tarkus, the band released Pictures At An Exhibition (1972), a newly rearranged version of the famous piece by Mussorgsky which was recorded during a live show in Newcastle City Hall. The band had already played it before at the Isle of Wight Festival (with the shooting cannons). Pictures was a very controversial album. Some people thought that it was a great achievement in rock while some classical fans thought that it was a disgrace to the original composer and some classic rock fans thought that it was self indulgent, masterbative crap that had nothing to do with rock itself. While I might understand some of the detractors’ opinions, I still think that they have ignored the most important thing in this album- the fact that these players combined two completely different types of music into a wholly amazing piece. Instead of classical masters like Liszt or Rachmaninoff who run in a raging fury on a classical keyboard, we had a new one who combines an amazing technique with amazing technicality and creating amazing, weird and feel accentuating sounds. We can get a great sense of pace from the rhythm section as well, which combines a deep electric bass with excellent drum work. And isn’t it true that many times, great art initially faces controversy when it first appears? If one is listening to this piece without comparing it to its antecedents, one can hear that Picture At An Exhibition is a very innovative work like no other.

Another anecdote about this album is that during a 1993 show in Budapest, Lake saw a man crying on the front row. After the show he asked the man why he was crying, and he told him that 15 years earlier he spend three months in jail because the Communist regime found out that he had had a copy of the album. That was the power of such music and how it was both loved and despised so strongly.

In 1972, the band released their third studio album, Trilogy. This was another eclectic album which drew on classical sources, combining the works of Ravel with the works of Aaron Copland and, of course, highly skilled playing by the members of the band. The album also contained ELP’s best selling single, “From The Beginning.”

From 1972 to 1974, ELP were one of the most popular bands in the world. With the exception maybe of other great showmen like Alice Cooper and Kiss, their shows were the most extravagant seen. Emerson was breaking keyboards like Pete Townsend use to break guitars while he also used a special remote which allowed him to play without even touching the instrument. Carl Palmer modified his drum battery by adding all kinds of bells, tubes and percussions. Capitalizing on their success, the band started its own label in 1973 to manage their music and to help new prog bands to achieve exposure, including Crimson lyricist Pete Sinfield and Italian band PFM.

In 1973, ELP recorded another studio album, Brain Salad Surgery. The cover was designed by H. R Giger, which became one of the first high-profile gigs for the artists who later designed the set and creatures for the movie series Alien as well as David Lynch’s Dune and album covers for the Dead Kennedys and Debbie Harry of Blondie. The first side of BSS contains, like every ELP album before, a new version of previous works, this time William Blake’s “Jerusalem” and Alberto Ginstera’s “Toccata” (along with the stamp of approval from the composer himself). The rest of the first side contains two other short songs, including Lake’s lovely “Still… You Turn Me On” and a collaboration with Pete Sinfield. The end of the first side and entire second side of the album contained a 30 minute piece called “Karn Evil 9″ (a pun with carnival). The piece is divided into three parts and talks about the battle between men and technology (recalling Tarkus).

1974 was the best year in ELP’s history. The road shows were unprecedentedly grandiose, featuring twenty tons of musical gear. Lake played while standing on a 5000 pound rug because he was afraid two get electrified (he nearly did during an earlier show). Emerson’s piano flew and spun in the air while he was playing. In April 6, 1974 the band played at the California Jam rock festival after Deep Purple. 350,000 viewers watch their best performance and the show was broadcasted nationwide. Later on, they released a triple album to commemorate the tour with a title taken from “Karn Evil 9″ (Welcome Back My Friends To The Show That Never Ends– Ladies and Gentlemen. Emerson, Lake and Palmer). ELP’s albums hit top of Billboard again and Melody Maker Magazine voted them as “Best Band” along with “Best Keyboard Player” and “Best Drummer” (leaving poor Lake in the lurch). But it was to be ELP’s, as well as the progressive rock’s, apex- from here the only way to go was down. Times began to change.

After the tour, the three had decided to take some much-deserved rest. During the next three years, they bought new homes, had some rest and worked on solo albums. When they came back, punk was the popular style of the day and one of the punk’s main targets were the progressive dinosaurs, who they painted as villains that were ruining rock and growing rich and fat from it.

During the next couple of years, the band recorded two “group solo albums” (1977′s Works) with a part for every member solo composition (and years before Outkast or Hella had the idea). A tour in 1977 was economically destructive for the band members, with a loss of nearly two million dollars. And then in 1978 came Love Beach, an album that was made because the trio was under contract and was forced to do the album. Even worse, from its Beach Boys title and sunny cover image, it’s the least convincing of all of their records. This was the end. In July 1979, ELP disbanded.

During the next 20 years the band reunited as Emerson, Lake and Powell (with Cozy Powell formerly of Whitesnake, Jeff Beck Group). Palmer was available as he was involved in the most commercial of all post-ELP projects- another supergroup called Asia (included former members of Yes and Crimson).Emerson, Lake and Powell disband in the late ’80′s but Emerson, Lake and Palmer reunited again. In the early 90′s, rthey ecording a new album (Black Moon) and embarked on a few tours during the 90′s, occasionally disrupted by Emerson’s problem with nerves in his right arm (no doubt brought on by years of his theatrical playing). ELP then ceased to exist once again in 1998.

The ELP phenomenon was not unique. Every prog rock band had to reinvent itself in order to survive the punk revolution and the shallow ’80′s. Of course, they had to do it because the bands members were accustomed to a certain living style they wanted to preserve, but the prog rock style itself became somewhat inadequate. In a world where punk could transfer the essence of a song in two minutes of guitar work, nobody needed a 15 minutes piece for the same task. The bright side is that today with the Internet revolution more and more bands can get exposure and the prog rock is more alive than ever, as witnessed by the subsequent math rock movement and groups like TV on the Radio and Radiohead who have picked up on prog’s threads.

But a parallel ELP can never exist. ELP symbolized progressive rock in all its glory, with thousands of fans, tons of technical music and a highly desired glamour. But here laid its weakness. ELP became literally too expensive to maintain. All the stage tricks, all the extra players and accessories led to a situation were the cancellation of one show could cost hundreds of thousands of dollars. The band’s pomposity was derided by almost many writers who instead of listening to the music as it was, tried to find the band’s faults. The fact is that few other bands has ever taught so many young men and women that classical music can correspond very well with modern rock and roll. No other band could have done it as good as ELP had.

Sure, you can say they were a bunch of self indulged hedonists and you might accuse them of plagiarism, but to me, ELP is one of the symbols of London during the ’70′s. Every time I am listening to one of ELP’s early records, all I have to do is close my eyes and I am there, walking from Oxford St. to Regent St. There you are, going through Soho, watching King Crimson perform in Hyde Park or David Bowie at the Hammersmith Apollo, or just wandering around in the streets of London at its peak; traveling in a time when dinosaurs ruled the earth.

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