BILL HALEY: Saddlemen and Comets

by Tony G. Marshall

Rock the Joint front cover

My first taste of the rock n’ roll music of Bill Haley and His Comets came via the original opening theme of the nostalgic American comedy series, “Happy Days” (1974 – 1984) namely “Rock Around The Clock” followed by a viewing of the 1956 movie of the same name which was shown on British television sometime in the late 1970’s. Intermingled with all this was the experience of listening to further hits of the band albeit infrequently on various radio stations. Sometime around 1980 I first saw a copy of “Rock The Joint!” – a 10″ album (the first of its format I’d ever seen) released by Rollercoaster Records with fabulous retro cover artwork, and through the back cover sleeve essay I discovered that there were more facets to Bill Haley’s early career than I had previously imagined: primarily, starting out as a ‘Hillbilly’ musician with a group called ‘The Down Homers’ in the 1940’s followed by his tenure fronting the band known as The Four Aces of Western Swing. Subsequently, Haley went on to form his own group known as The Saddlemen and it was Bill and The Saddlemen who, at their first recording session for the Holiday label in 1951, recorded a version of the song which is considered to be the first ever rock and roll record – “Rocket 88” by Jackie Brenston and his Delta Cats. The following year the Holiday label became known as the Essex label, and it’s most of these early releases featuring Bill Haley & The Saddlemen/Bill Haley and His Comets from 1952 – 53 which are compiled on this “Rock The Joint!” album. The title track of the album was the band’s first single release on Essex and five years later became a hit in the UK charts. However, it was the song “Crazy Man, Crazy”, written by Bill himself and released as ‘Bill Haley With Haley’s Comets’ on the label in 1953, which became the band’s first national hit and also bears the distinction of being the first  rock and roll recording to appear on the national American music charts. 

SIDE 1:
Rock The Joint / Rocking Chair On The Moon / Farewell, So Long, Goodbye / Fractured / Stop Beatin’ Around The Mulberry Bush.

SIDE 2:
Crazy Man, Crazy / Pat-a-Cake / I’ll Be True / Whatcha Gonna Do? / Dance With A Dolly.

Bill+Haley++The+Comets+Rock+Around+The+Clock+288197My actual first ever Haley/Comets album purchase was originally released in 1968 on the Hallmark label (Sonet/Pickwick in the US) with such an iconic cover and simply entitled “Rock Around The Clock”. The album featured 9 of the band’s greatest hits along with 1 of the most recent recordings (“Ling-Ting-Tong”) from this period. I didn’t realise it at the time but the majority of the songs featured on the album were re-recordings of their classic hits and the arrangements in the songs were basically the same as the originals. Therefore, it was an enjoyable listening experience for myself and a welcome addition to my vinyl collection. The album release coincided with the nostalgic Rock n’ Roll revival that was gradually taking shape amidst the psychedelic and acid rock-infused musical landscape of the late sixties. It also served as a period piece for another time in which a white country & western and rhythm & blues enthusiast changed the face of popular music by making his own musical cocktail acceptable in the mainstream for a new generation of rock and roll fans to drink up. At the time of the original Haley and The Comets’ recordings of some of the songs featured on this album, Elvis Presley & the Blue Moon Boys were beginning to shake up the Southern regional sanctums of entertainment with their own brand of rocking interpretations of old country and r n’ b standards which came to be identified with ‘Rockabilly’. Subsequently, Presley further developed the blueprint of Haley’s ‘acceptable’ white Rock n’ Roll style with his black-sounding voice and uptempo heavy beat style which in turn heralded the start of a new musical revolution in worldwide popular culture. 

SIDE 1:
Rock Around The Clock / Skinny Minnie / Ling-Ting-Tong / Rock The Joint / Rock-A-Beatin’ Boogie.

SIDE 2:
See You Later Alligator / Flip, Flop And Fly / Love Letters In The Sand / The Saints Rock And Roll / Shake, Rattle & Roll. 

The written content and style in this not-for-profit article is owned by Cosmic Dwellings/Tony G. Marshall. All Rights Reserved. Copyright © 2016 Tony G. Marshall/Cosmic Dwellings.
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Posted in Album, Music, musician, Recording, Rhythm and Blues, Rock, Rock 'n' Roll, Rockabilly | Tagged , , , , , , , , , , , , | Leave a comment

FOR THE LOVE OF JUDY…

 Cosmic Dwellings proudly presents a special tribute which has been specially-approved by best-selling author, Raymond Benson in collaboration with writer Tony G. Marshall

For the Love of Judy...

“Judy is a fantastic character, and Benson absolutely nails the way women write in their diaries. I think this sort of strong woman will be enormously appealing to female readers. The action is great, and Benson writes in a voice that’s accessible and engaging.”

       TASHA ALEXANDER  ( ‘Dangerous to Know’ )

“A beautiful character who not only attempted to do something about the violence on the streets, but also addressed the torture within her own strangled heart…We love you, Judy!”

  TONY G. MARSHALL (‘That’ll be the Stardust!’ , ‘GOLD1E’)

2016-05-19

The following article is inspired by a very special version of ‘The Twelfth of Never’ (below) and pays tribute to author, Raymond Benson’s crime-fighting character of ‘The Black Stiletto’ from the critically-acclaimed 5-book serial. Writer, Tony G. Marshall hosts this special tribute straight from the heart – ‘For the Love of Judy’

April 12th, 2008… 

The package arrived just before 9am; I left it on the table for later. Overnight, I completed writing ‘The Highest Steeple’ – another radio drama in which I billed myself in the lead voice role; however, I wasn’t happy with it. Now, I needed a morning walk to refresh the senses. Today was the twelfth – it was circled on the calendar as the birthday anniversary of my late grandmother – Mary Marshall.
           Outside, I wondered if grandma had ever experienced any of her birthdays walking through a thin coating of snow scattered across April countryside; one thing’s for certain – it was more of a shock rather than a ‘melting heart’ moment in early spring – difficult to comprehend the romance of it all as I was glad to see the back of January and February. Some sporadic clusters of bluebells already in semi-bloom will give hope to a new season once the snow is melted. If the overstayed welcome of winter is to continue then more than likely the roses will have their fair share of early morning dew in the form of April showers. The scent of the clover would be a most appreciated freshness through the dale, as opposed to the considerable smell of ice cold atmosphere that ascended from underneath my footsteps. As I continued my walk, a light bulb went on (inside my head, that is!): I realised what was missing in ‘The Highest Steeple’! It was a combination of both nature and human nature elements that somehow I had overlooked…then, another element displayed its physical presence before me, rising above several rooftops of a nearby housing estate and between a huddle of almost bare tree tops which framed the scene of coldness: a church spire ignited my imagination like a powerful flame of an inspirational ‘beacon’ on a writer’s creative landscape. I walked towards the protruding structure as the slight intrusion of a morning sun appeared to ignite its presence on this snowy day of early spring… 

After breakfast, and before preparing to re-evaluate the draft of ‘The Highest Steeple’, I decided to unwrap the Amazon ‘treat’ that had arrived through the post earlier: ‘The Christopher Reeve Superman Collection’ – 9 Disc DVD set. You see, my main reason for this purchase was to hopefully gain some form of inspiration in developing the so-called ‘heroes’ that populated my aforementioned radio drama script. However, my characters were not ‘Superheroes’ – they were normal human beings who didn’t possess any kind of ‘superpowers’ to wield against any adversary whilst pursuing their quest for justice and peace. Furthermore, being inspired by the natural surroundings of my walk earlier had instilled in me the quest to highlight the more human aspects of the story. Nevertheless, “The Man of Steel” was to prove a fine starting point whilst undertaking my research – afterall, he did possess core elements of a human character. 

                 Perusing the contents of the discs gave me a feeling of sheer delight knowing that the original Fleischer/Famous Studios cartoons were all present and correct as extra features. These gems, made during the second World War and based on the character’s comic book exploits which began in Action Comics #1 in June, 1938, reminded me of when I was a child in the seventies and became a fan of these long-running comics along with Superman’s very own self-titled tome, both at which point had surpassed their thirty-something year in publication. For, it was my Grandmother who had introduced me to such colourful costumed performers of fantastical worlds and beyond, directly from the newspaper racks of the local newsagent; she was the one who appeared to be on ‘comic book duty’ in our household. Therefore, she played the major part of introducing an essentially fun aspect of my reading development through the ‘Bronze Age of Comic Books’. It was at this stage that the stories were returning to address the more social and cultural issues which had originally set the tone in the ‘Golden Age’ but with the inclusion of a somewhat darker twist, and also eliminated some of the more ‘campier’ aspects introduced during the ‘Silver Age’

When you strip away all the special armour and fx of a story, and character, it all leads back to a major element of the whole concept: the human condition. For example, no matter how much ‘super’ there was in Superman, back in the beginning, his interaction with the relevant cultural issues brought him back to that realistic human element – thanks in part to ‘Clark Kent’. Furthermore, ‘The Batman’ gave us a better sense of humanity in the form of being a vigilante on the streets, a crime-busting detective, ‘The Caped Crusader’ or even moreso –  ‘The Dark Knight’.  Batman doesn’t have any special superpowers – he should not really be labelled as a total ‘superhero’.  He was a professionally-trained martial artist who possessed considerable technological intelligence. And, it would appear that his story reboot in the ‘The Dark Knight Trilogy’ of recent years has successfully married together those human elements of a tortured soul who happens to be a billionaire industrialist who in turn invests money into becoming his crime-fighting alter-ego whenever required to do so. It is the basis of this human persona which so appeals within the depiction of these classic stories and is forever blessed with youthful nostalgia. 

            Perhaps it was a great sense of nostalgia to my Grandma which became the reason for introducing me to the comic book, coupled with the fact that it was a favourite reading past-time for every Grandson on the planet! Undoubtedly, she had witnessed a vast amount of comic book crime-fighters and superheroes across all the mediums: film, television and radio. Some of these characters had also been ‘Pulp’ heroes via novels and newspaper strips before making their mark in the comic book fraternity, and maybe Grandma was curious to see how these characters had developed since she was first made aware of them. Some of them donned similar styles of disguise, and consequently these disguises evolved into concepts of further outlandish ‘threads’ to suit the style of the modern-day crime-fighting hero; furthermore, in some cases, these ‘threads’ were ‘criminal-proof’. These days, the resurgence of the more flamboyant superheroes in their very own updated/rebooted action films has proven to be a successful ‘crime-fighting’ formula for several filmmakers and studios. Even so, I’m not certain what Grandma would make of them today; I would hazard a guess that she would probably hark back to the ‘Golden Age’ and say: “They don’t make ‘um like they used to!”…I smiled as I envisaged her confirmation. Grandma had been a part of all three major comic book ages but sadly passed away at the beginning of the so-called ‘Modern Age’

Taking hold of my script of ‘The Highest Steeple’, which is a science-fiction-related story, but doesn’t bear any resemblance to a ‘superhero story’, I began to ponder. I flicked through the text some more…double-checking…observing…and still not happy. I then tore it up and threw it in the trash. The human condition still had quite a way to travel to begin to ignite this story…maybe on the twelfth day of another month…another time… (continues below)

Pinup_HalfSize_Clean_300DPI

4 years later: April 12th, 2012…

It’s just after 1am. The candle’s flame was far from dying. It still warmly lit the area of the coffee table on which it was placed within a glass holder. Next to it, the piercing brown eyes with the illuminating green specks looked back at me – longing for me to finish reading the story they were a part of. One could be forgiven for misinterpreting it for an almost sinister glare, but what I saw in those eyes was a shining soul – much more igniting than any burning candle.

                 My vision began to fill with a watery blur; those eyes, still looking at me, longing…but now glazed in my own pools of sight. The flame of the candle expanded within the thin film of my view – glowing. I felt emotionally drained but on the cusp of both sadness and delight. You see, today is the anniversary of my late Grandmother’s birthday and those aforementioned eyes that are piercing into me belong to a woman who is also a Grandmother. I had  just experienced reading one of several wonderfully poignant moments she had with her Granddaughter. Obviously, I can no longer cherish those type of moments with my Grandma, so a natural sadness forced its way into this enlightening moment. But, I took great joy from the fact that all Grandmothers hold the key to such special moments of poignancy laced with the unconditional bond of family unity. Gina Talbot knows all about these moments – she is the Granddaughter of Judy Talbot, whose surname was once Cooper. Gina is very much her ‘Grandmother’s Granddaughter’.  However, at present, she is unaware of the family secret that her father, Martin Talbot (Judy’s son) is keeping, which has thoroughly been documented by Judy in a very old diary from 1958.

               I reached over for a tissue and dabbed my face. Those eyes were now burning through the candlelight even more, and true to form, I know for a fact if I was to walk about this living-room – they would follow me, no matter what. Those eyes belong to the one I refer to as Judy Cooper Talbot; they are her youthful eyes…probably from that first diary year of 1958 when she was 20 years old. Judy’s story was documented in 2010 when she was 72 years old – a couple of years prior to my experience of this moment. One further ‘twist-in-the-tale’ is that Judy suffers from Alzheimer’s disease. You see, the story I’ve been totally engrossed in reading over the past couple of nights could actually be a real story – a true story…It isn’t – but it could be. I dabbed at my face once again; however, I am happy for the fact that author, Raymond Benson has allowed me to share in Martin Talbot’s special secret about his Mom…I am happy I have made her acquaintance through the pages that are pressed lovingly together behind those eyes. Incidentally, those eyes are on the hardcover of the book that relays the story, and first diary, of Judy Cooper Talbot. It’s quite an unusual title that the author has chosen to give her story, and very much holds a double-meaning; but I now understand why he chose to name it, simply – ‘The Black Stiletto’. I looked at the calendar on the wall – April 12, circled…that was now, the wee hours, today, in its infancy. I remember four years previously when I was struggling to craft an idea for a radio drama I had written – ‘The Highest Steeple’. I never really knew why I named it that except having culled it from a song which was the source of its inspiration. Furthermore, I had always felt that certain forces of human nature were not present in the text of the script; there was a longing for a human condition – an element of realism to be conveyed through a character and the world that they occupied. I tore it up, but I still have the original file saved on my laptop; I haven’t looked at it since. However, I have undertaken the writing of several other pieces of ‘art’ over the past few years that have thankfully paid off for me – unlike ‘The Highest Steeple’.  I never really discovered the moral  purpose behind that one. That is…until NOW… 

The very large framed colour print of the first self-titled Superman comic book from 1939 proudly decorated the wall behind me; the world’s first (and finest) superhero ever to be created (circa 1932), but very much a ‘man’ in every sense of the image. During that period and for many years thereafter it would appear that the ‘male of the species’ got all of the best titles, and jobs, and preferences the world over could ever present. It’s a common fact. Why, even ‘The Batman’ – one of the most human of vigilantes – was given all that intelligence and technology to use in order to seek justice. Things had to change, and Judith May Cooper engineered that change. The likes of these so-called ‘superheroes’ were all a considerable myth to Judy – they were all pumped-up stick figures, coloured-in and given a ‘party’ dress to wear…she didn’t quite get it. But, somehow, one day, she had no choice but to take heed of the comic books that she had access to…for there was a personal reflection of the heart that was reoccurring in her troubled life and she aimed to do something about it…

41l3AMluVZL

One could be forgiven for interpreting her image directly from the wardrobe of Gotham City, but Judy had to begin her transformation at a starting point which was both economical and enduring; her resourcefulness has to be applauded. Remember, she is a human being just like you and I, and she had no great wealth in order to advance her plans on a larger scale, so there was no hi-tech equipment or special flying armour for her. However, she was a product of an era which was engulfed in prosperity and conformity; the US of the 1950’s faced a number of challenges – some of them good, but in the regions of some classes, not highly-regarded as such: Rock ‘n’ Roll, Television, and ‘Playboy’ – to name but three. On a more life-threatening scale – the Korean War conflict began, Communism reached its greatest heights, and organized crime was a most profitable business. In summary, these were very exciting, but rather apprehensive times (Hmm…ring any bells?!). Furthermore, the subject of Feminism is very much highlighted by the characteristics of Judy Cooper in the fifties – it is all there in her strength, courage and determination, and this is even before she dons a mask and a deadly knife!

Raymond Benson has done a wonderful job in illustrating the period through Judy’s eyes and in turn we get to relish all of this through her diaries which are seen through the eyes of her son, Martin in a modern-day perspective. Furthermore, the story as a whole, works on many levels so please do not misconstrue this as just another all-out vigilante attack on the criminal side of mankind – for you would be very wrong to make this assumption! ‘The Black Stiletto: The First Diary’ is also an endearing tale of relationships both past and present, and a fine helping of family trials and tribulations generously sprinkled throughout the events over several years.

I reached over for the book once again, knowing that the next time I put it down I will have finished my first complete reading of it. I say “first” because I am very confident I shall be reading it again sometime soon no doubt.  A writer and a reader both invest a tremendous amount of creative energy into the characters they believe in – it’s tantamount to the building of a whole new world  from within the imagination of each participant. It’s a wonderful process of thought that occurs when a writer has hit that ‘sweet spot’ of a reader’s mind, be it in the form of the story as a whole, or the many fictional ‘somebodies’ that populate that whole. Sometimes, it may just be that one ‘somebody’ who engulfs the process of thought, feeling and imagination within a story. Raymond Benson has delivered in that process and Judy Cooper Talbot, has delivered herself as that ‘somebody’. It’s a curious thing to behold when one experiences both sides of Judy – as herself she is the free-thinking spirit of adolescence whom we first come to know in Odessa, Texas, but as ‘The Black Stiletto’ I personally experience a wonderful mix of charming ‘southern belle’ intermingled with a vicious vixen; Wait – ooooo…a cold breeze has just prickled my lower back! But, it is this “southern belle/vicious vixen” that evokes some of  the most humorous moments of the story and there are several of these moments that shine as rich as the delivery of language in any Shakespeare comedy: Beautiful.

I looked into those eyes on the cover of the book once again. I reflect upon the soulful beauty that so encapsulates the moment of contact. They look out from beyond the cover of a mask that blends like a shroud of darkness…they could be calling your name in a friendly manner. Alternatively, you may also feel the prickly sensation of fear that criminals may exclusively feel from beyond that darkness, that calling. Those eyes could be representing a beacon of hope in a nightmare that may or may not be at its end; I anticipate the final proclamation of this “First Diary” that lies behind the cover of those eyes. Ironically, I observed three significant months in the diary which hosted major occurrences in Judy’s life from 1958 – each one occurred on the 12th day of each of those three months. Eerie. Raymond and I would now like to offer you an insight into one of those significant events via the link belowthis event occurs on the 12th July, 1958…and so for your perusal is ‘The Black Stiletto’s Autograph’ as told by a witness of this event (Please click the cover image below to access the free download of the short story)…“For the Love of Judy” continues below after the story link:

The Black Stiletto's Autograph

“The Black Stiletto’s Autograph” – Free Download…

I looked over at my calendar again: the 12th underlined…today…my Grandma’s birthday anniversary once again. Another reason why Judy’s story resonated so profoundly with me was regarding her suffering of Alzheimer’s as a 72 year old (my Grandma had suffered with dementia (a symptom of Alzheimer’s)).  I think this also adds to my sentimental reading of the scenes between Judy and her Granddaughter, Gina – both wonderful characters that share this extraordinary chemistry. And, even just thinking about the quality time they share together immediately fills me with the most overwhelming delight.

It’s fascinating to read how music is used to such profound affect in their relationship too. We discover from Judy’s diary how much the music of the fifties was playing such an important part in her own youthful development; her favorite music was another aspect of the story that resonated with me jubilantly. It makes one consider how important the music was to her – inspiring her throughout all the ordeals she had to endure – soothing the pain, calming the fear like the comforting arms of a loved one’s affection. For Judy’s was a heart full of restlessness triggered by torment, and you can’t resist the rush of human emotions as you begin to run alongside her roulette wheel of life. ‘The Black Stiletto’ accelerates in a race to the finish line and it tempts you taste every morsel of suspense and danger of a world that got shattered in its tender years and was forever searching for that new horizon later on – pushing it farther away from that tortured past; but it was that past which held the key to the future…the key which jangled from around the neck of one of life’s demons.

Judy is a beautiful character; my investment as a reader has paid off tremendously. I am ready to open the cover once more; it’s time to read on. And, read on to the very end. However, this is most certainly not the “very end” of Judy’s story – it is just the beginning – ‘The Black Stiletto: Black and White’ is the second book of this 5-book serial! I celebrated by lighting another candle – it just seemed an appropriate thing to do. Then, a thought just occurred to me about ‘The Highest Steeple’ and how four years ago my creative thinking towards it was covered in a white sheet of blankness – similar to the white sheet of snow that covered some of those roses needing rain, bluebells in bloom, clover of perfume; I was like a poet that had run out of rhyme. However, below this article you will discover just exactly what ‘The Highest Steeple’ has become today and I sincerely hope you appreciate it.  I turned to my page in ‘Judy’s Diary’ and before I commenced reading, I looked at the burning candle then smiled at the calendar on the wall and remembered: Happy Birthday, Grandma!

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With a Special Dedication to my Grandmother – the late MARY MARSHALL – formerly of Royton in Oldham, Greater Manchester. April 12, 1907 – January 15, 1986.

____________________________________________

The title of the poetry here was originally conceived as a radio drama of sorts which never materialised. Therefore, the story of “The Black Stiletto” inspired me to develop the title as a tribute to the wonderful character created by Raymond Benson. Incidentally, the poem was inspired by elements of John Parr‘s “Restless Heart (Running Away with You)” from the soundtrack of the 1987 film The Running Man(based on the Richard Bachman (Stephen King) novel)Throughout the stanzas of the poem I’ve incorporated various aspects of the life and character of Judy Cooper Talbot (‘The Black Stiletto’) which includes music, family, past, future, diaries, violence, heartache and mystery references.  This is – The Highest SteepleThe song of the jukebox way below
With a tune for every son,
The whisper of darkness all around
With skyline above for one.

The rawness of anger tempting you
With dreams from yesteryear,
The barren pathway that lies ahead
With faces: vicious and dear.

The disguise of one that covers you
With the shine of black veneer,
The chase of screams – piercing high
With desolate souls now feared.

The past now present close behind
With crawling hands of dirt,
The stiletto unsheathed – so freely
With focus and sound alert.

The darkness of pupils piercing thru
With specks of flickering green,
The soulful journey: a darting shadow
With courage, alone to be seen.

The future of thoughts ponder anew
With journals of justice sown,
The city below the rooftops: free
With your mask of cover: unknown.

The Twelfth of Never sung in view
With hearts all broken and torn,
The years of your story unfolding
The calendar months now born.

The words are flowers all for you
With love and caring, unfold,
The affection from behind your mask
With a tear that reigns untold…

SOCIAL MEDIA LINKS – 

Official Website:
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Facebook Fan Page:2016-05-19 (7)

A SPECIAL THANK YOU TO AWARD-WINNING AUTHOR:
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Permission was granted to publish this not-for-profit blog article. The written content and style in this article are owned by Tony G. Marshall and Cosmic Dwellings. Copyright © 2012/2016 Tony G. Marshall/Cosmic Dwellings. All Rights Reserved. ‘The Highest Steeple’  written by Tony G. Marshall. Copyright © 2008/2012 Tony G Marshall. All Rights Reserved. ‘The Black Stiletto’ and all of its content, associated books, short story and links: Copyright © 2011 – 2016 Raymond Benson. All Rights Reserved.

Posted in Author, Book, Character, Crime, Fiction, Serial, Series, Story, Writer, writer | Tagged , , , , , , , , , , , | Leave a comment

RICHARD, CHARLES & JILES: The Original Albums

The ‘triple’ Rock ‘n’ Roll tragedy that was eventually labelled “The Day The Music Died” encompasses the passing of a trio of pioneering greats who have been the subject of many “how much greater they could have been…” conversations around the world since that fateful day of February 3rd, 1959. The three men were brought together, not only by sharing the same concert stage, but by their shared love of creating, writing and playing the upbeat and sometimes frenzied rhythms which can be found in the mix of both Rockabilly and Rock and Roll music. To lose one of them would have been heartbreaking enough, but to lose the three of them together was totally devastating for the music business as a whole. They had already become musical Legends in their own lifetimes and because of the magnitude of their influences on new and up and coming musicians at the time, the shocking event that transpired somewhere over the dark skies of Clear Lake, Iowa en route toward Moorhead, Minnesota on that cold February morning, would forever inscribe their musical legacies into the history books for all future generations to discover. These history books also take the form of all the audio output available for these three forever young men which considerably lays proof to the fact that the music didn’t actually die on that fateful day afterall!

However, through the annals of promotional and marketing history for the ‘upgraded’ legacies – repackaged and reissued in various forms – it’s very easy for several aspects of their musical contributions to become somewhat ‘muddled’ over the years, especially when one takes into consideration the amount of product available on vinyl, cassette, CD and now digital downloads. Amidst all these compilations that have been released posthumously throughout the decades it’s very easy to lose track of the original long-playing albums and overlook the context in which some of these songs first appeared. Originally released back in the late 1950’s we now salute these classic original albums with this retrospective reflection to remind ourselves in awe about the material that appeared therein and consequently whetted our appetites for further discoveries of the legendary talents…

Jiles PerryJ. P.Richardson, Jr. aka “THE BIG BOPPER”

The guitarist and singer-songwriter responsible for George Jones’ first No.1 hit “White Lightnin'” along with Johnny Preston’s “Running Bear” and Hank Snow’s “Beggar To A King”. ‘The Big Bopper’ initially began his career as a radio disc-jockey and was later a pioneer for the rock music video. His unique and popular “Chantilly Lace” became a big rock n’ roll hit in the US during the summer of 1958 and subsequently in the UK later that year. The follow-up single “The Big Bopper’s Wedding” became his second US hit.  An Extended Play (EP) record consisting of the four songs that made up his first two singles was released in the UK in 1959. The musician’s acclaimed debut album entitled “Chantilly Lace Starring The Big Bopper” was released on the Mercury Records Label in ’58 and became a Top 10 hit Stateside. In the early ’70’s it was issued on the Contour Label in the UK and featured a different cover along with a slightly different track listing.

Chantilly Lace starring The Big Bopper

Side 1:
Chantilly Lace / Pink Petticoats / The Clock / Walking Through My Dreams / Someone Watching Over You.

Side 2:
Big Bopper’s Wedding / Little Red Riding Hood / Preacher and The Bear / It’s The Truth Ruth / White Lightnin’.

Richard Steven Valenzuela aka RITCHIE VALENS

The Mexican-American singer-songwriter and self-taught guitarist was also a pioneer for the Chicano Rock genre. His first single, “Come On, Let’s Go” was released during the summer of 1958 and became a hit in the US. His follow-up single was a Double A-sided hit which coupled the beautiful ballad, “Donna” with his riveting rock n’ roll adaptation of “La Bamba”. This was to become his biggest hit record and the final single issued before his death. A unique aspect of Valens’ live stage show was his spontaneous experimentation when performing such songs. His three original albums were all released posthumously on the Del-Fi Records Label between March 1959 and December 1960. 

“RITCHIE VALENS”

Ritchie_Valens_1959

Side 1:
That’s My Little Suzie / In a Turkish Town / Come On, Let’s Go / Donna/ Boney-Moronie / Ooh, My Head.

Side 2:
La Bamba / Bluebirds Over The Mountain / Hi-Tone / Framed / We Belong Together / Dooby-Dooby-Wah.

“RITCHIE”

Ritche_album

Side 1:
Stay Beside Me / Cry, Cry, Cry / Big Baby Blues / The Paddi-Wack Song / My Darling Is Gone / Hurry Up.

Side 2:
Little Girl / Now You’re Gone / Fast Freight / Ritchie’s Blues / Rockin’ All Night. 

“RITCHIE VALENS IN CONCERT AT PACOIMA JR. HIGH”

In_Concert_at_Pacoima

Side 1:
Introduction by Bob Keane / Come On, Let’s Go / Donna / Summertime Blues / From Beyond / La Bamba.

Side 2:
Introduction by Bob Keane / Rhythm Song / Guitar Instrumental / Malaguena  / Rock Little Darling / Let’s Rock and Roll. 

Charles Hardin Holley aka BUDDY HOLLY

The singer-songwriter and guitarist with his trademark spectacles is regarded as one of the most iconic and influential figures in the history of Rock n’ Roll music. Throughout 1955 he was an opening act for such greats as Elvis Presley and Bill Haley & His Comets during which time his music began to develop beyond its country & western roots crossing over into both Rockabilly and Rock n’ Roll. With the song “That’ll be the Day” he scored his first No.1 hit under his band’s name ‘The Crickets’ (Niki Sullivan, Jerry Allison, Joe B. Mauldin). Upon its release in May, 1957, Buddy was under contract to Decca Records’ two subsidiary labels therefore subsequent record releases under the moniker of ‘The Crickets’ continued on the Brunswick Label and releases credited to his own name were issued by the Coral Label. Furthermore, it was the Decca Label itself that continued to release the recordings Buddy had made specifically with them in 1956 – one of these included as its ‘B’ side an earlier version of “That’ll be the Day”.  A string of hits followed by Buddy Holly & The Crickets especially in the UK which proved to be very successful and reinforced Buddy’s status as a prolific writer and performer of songs which instantly became classics. His three original albums were issued between November 1957 and April 1958 – one from each of the aforementioned labels. 

“THE CHIRPING CRICKETS” (Brunswick)

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Side 1:
Oh, Boy! / Not Fade Away / You’ve Got Love / Maybe Baby / It’s Too Late / Tell Me How.

Side 2:
That’ll be the Day / I’m Looking for Someone to Love / An Empty Cup (And a Broken Date) / Send Me Some Lovin’ / Last Night / Rock Me My Baby. 

“BUDDY HOLLY” (Coral)

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Side 1:
I’m Gonna Love You Too / Peggy Sue / Look At Me / Listen To Me / Valley of Tears / Ready Teddy.

Side 2:
Everyday / Mailman, Bring Me No More Blues / Words of Love / (You’re So Square) Baby I Don’t Care / Rave On / Little Baby. 

“THAT’LL BE THE DAY” (Decca)

That'll_Be_the_Day_album

Side 1:
You Are My One Desire / Blue Days, Black Nights / Modern Don Juan / Rock Around With Ollie Vee / Ting A Ling / Girl On My Mind.

Side 2:
That’ll Be The Day / Love Me / I’m Changing All Those Changes / Don’t Come Back Knockin’ / Midnight Shift. 

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The written content and style in this not-for-profit article is owned by Cosmic Dwellings/Tony G. Marshall. All Rights Reserved. Copyright © 2016 Tony G. Marshall/Cosmic Dwellings.
Posted in Album, Artist, Blues, CD, Country, Folk, Guitar, Live, mp3, Music, musician, Pop, Recording, Rhythm and Blues, Rock, Rock 'n' Roll, Rockabilly, Studio | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

ELTON JOHN: Midsummer Fantastical!

10 Things You Need to Know About Captain Fantastic And
The Brown Dirt Cowboy

By the Editor@EltonJohn.com

Before there was Google there was Captain Fantastic And The Brown Dirt Cowboy.

To explain… For many an Elton fan in 1975, listening to the ten songs and poring through the detailed packaging of his ninth studio LP (and 12th album overall) was like being lovingly thrust into information overload regarding the history of Elton and Bernie Taupin’s formative years as a songwriting partnership in the late 1960s – a topic virtually unknown by the general public at the time. Each passing lyric line and every graphic image became another in a surplus of clues as to the pair’s experiences and expectations while they toiled at their craft before Elton’s first album, Empty Sky, was released in 1969.

For certain, if you were an Elton fan, this album took you down a rabbit hole and gave you the answers to questions you didn’t even know you had. And it gave them, more than 15 years before the World Wide Web was established, “from the end of the world to your town.”

In honour of the 40th anniversary of the album’s release, here are our 10 Things You Need to Know About…

1) Captain Fantastic And The Brown Dirt Cowboy was released on vinyl LP, cassette and 8-track in the United States on May 19, 1975 (May 23rd in the UK) at a list price of $6.98. This meant most customers could expect to part with $5.99 at the cash register…or less if they were at a large-volume store like Sam Goody or Tower Records in Los Angeles.

2) On the week ending June 7, Captain Fantastic
entered the Billboard Top 200 Albums billboardchart at #1. This is something no other album (by any artist) had done before and was a testament to the incredible popularity Elton enjoyed, especially in the United States. It had in fact shipped gold, the Recording Industry Association of America (RIAA) certification for 500,000 units sold, based on retailer pre-orders alone.

The album stayed at #1 on Billboard for six weeks and then remained in the Top 5 before returning to the peak position once more in September. It remained in the Top 200 for over nine months. Eventually it would be certified triple platinum (for over 3 million sold) by the RIAA in 1993. In the UK it peaked at #2, staying on the album charts for 24 weeks, and is certified gold by the British Phonographic Industry.

3) The album’s autobiographical lyrics were written by Bernie between May and July 1974. Elton wrote the music in three different locations: England, the Caribou Ranch recording studio in Colorado and aboard the SS France ocean liner during a six-day voyage that Elton and most of his band took beginning on July 19 in Southampton, England. Later that fall British Vogue published “’My Day’ by Elton John,” which offered a rare glimpse into the journey to New York City:

“July 22, 1974…At 12:00 I go to the music room to write some new songs. I have only booked it for two hours and to my embarrassment have to eject the ship’s classical pianist. She, however, makes her way to another room directly above and commences battle. I decide to write an up-tempo number as most of the songs so far are slowsy. By 1 pm Meal Ticket is complete – very pleased with it. Play it to the band and they nod their approval.”

4) The album was recorded and mixed in running order at Caribou Ranch in August 1974 during a rare break in Elton and the band’s hectic tour schedule. Producer Gus Dudgeon later said that laying down the album in sequence was, “Probably the only time that’s ever been done. Good fun doing it that way – it helped us to judge the next track by the track we’d just worked on and it gave it a sort of natural momentum.” This summer session also was the first time that Elton used a new piece of technology on his piano. Dudgeon: “[The piano sound on] Bitter Fingers was a combination of an [Eventide] Harmonizer (we used that for the first time on that album – it was a new device that had just been brought in) and putting the piano through a Lesley cabinet…what you normally would feed a B-3 organ through.”

5) For the first time since 1971’s Friends, only one single was issued from an Elton album: Someone Saved My Life Tonight. This was because of the immense success of his past two non-album 45s, Lucy In The Sky With Diamonds and Philadelphia Freedom. Both were recorded during the Captain Fantastic sessions and each reached #1 in America.

Rolling Stone reviewer Jon Landau pointed out in his review of the album on July 17 that, “As long as Elton John can bring forth one performance per album on the order of “Someone Saved My Life Tonight,” the chance remains that he will become something more than the great entertainer he already is and go on to make a lasting contribution to rock.” At 6 minutes and 45 seconds, Someone Saved… remains Elton’s longest single to date. With the non-album track House Of Cards as its b-side and sporting a custom label based on the album art, it entered the Billboard Hot 100 Singles chart at #51 on July 5. It peaked at #4 in early September, just a week before Elton’s next single, Island Girl (from his pending Rock Of The Westies album) was released.

6) Although listed as two different tracks on the album, We All Fall In Love Sometimes and Curtains were recorded together. “The two songs were recorded as one complete piece all the way through,” Dudgeon explained in 1993. “But it was done in two takes. I remember that Neil Sedaka walked into the control room just as we began the second take. The band actually had just started the song as he walked in. And I thought, ‘Now, this is going to be interesting, to see what his reaction is.’ Because it’s nearly 11 minutes long. So it got to about nine minutes, and he came over to me and whispered, ‘My God, are they doing this all in one go or are they dubbing on?’ And I said [whispering], ‘No, it’s all in one go.’ He went, ‘Jesus, they’ve been going on for hours!’

thisRecordx2757) The album cover art by Alan Aldridge features images of Elton, Bernie and the band (animated elements of the artwork were used in a 30-second television commercial celebrating the release of the album). The front panel shows Elton breaking out of a dangerously dreary cityscape astride his piano while the back of the cover shows Bernie writing in a somewhat protected pastoral bubble. Keen-eyed fans can also identify Elton’s first music publisher Dick James and Bernie’s then-wife Maxine in the intricate illustration. Even more subtle is a visual reference to the This Record Company, one of Elton’s early record labels, which constructed their unofficial slogan, “Turning shit into hits…” out of anagrams of the word “this.”

8) The elaborate album packaging also included a pair of booklets, one called “Lyrics” and the other “Scraps,” that contained a plethora of items from Elton and Bernie’s personal collections as well as the lyric to a song not included on the album called Dogs In The Kitchen. Bernie was very involved in the booklets’ concepts and the collection of memorabilia, even going so far as to provide the cardboard suitcase which he had used on his journeys between staying with Elton near London and his home in Lincolnshire, for use in the “Scraps”center spread photo.

9) Captain Fantastic was a landmark Elton album for everyone involved in its creation. As Gus Dudgeon put it, “Unquestionably, musically, the band were absolutely at their peak and they’d never played that well across a whole album. The songs were great anyway, but the performances are so ‘on the money.’” And guitarist Davey Johnstone explains, in an exclusive interview with EltonJohn.com*, “It was really cool. I knew there was something special. This was going to be an autobiographical album, it was going to be the story of what happened, and we weren’t concerned at all about ‘commerciality.’ It was a really fun album to make.”

10) In a 2013 interview with Cameron Crowe for Rolling Stone, Elton said, “Every lyric on Captain Fantastic And The Brown Dirt Cowboy was about Bernie and me, about our experiences of being able to make songs and make it big. … In a way, years later, I ended up being Captain Fantastic and he ended up the Brown Dirt Cowboy: Here, I’m living my fabulous lifestyle, collecting paintings, and Bernie is interested in horses and bull riding and shit like that. We became those characters. Who was to know?”

EltonJohnCaptainFantasticJap

Red Vinyl

Source: 10 Things You Need to Know About Captain Fantastic And The Brown Dirt Cowboy :EltonJohn.com

One fan’s account of attending Elton’s “Midsummer Music” Extravaganza at Wembley Stadium, London in June, 1975 at the following link:

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Check out the Captain Fantastic Collectables at this link: 

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– BEACH BOYS TRIUMPH AT ELTON’S WEMBLEY EXTRAVAGANZA –

by UDISCOVER

Elton-John-Midsummer-Music“MidSummer Music,” they called it, and as you can see from the poster, it was some event. 40 years ago today, on June 21, 1975, Elton John headlined a huge, all-day concert at Wembley Stadium for a sellout crowd of 72,000 — and one of the most memorable open-air events of the decade turned into a triumph for the Beach Boys.

In a wonderful TV commercial that ran ahead of the day, here’s Elton explaining all about it — and apparently playing football with Joe Walsh and Chaka Khan…

Introduced by BBC Radio 1 DJ Johnnie Walker, the proceedings were opened as early as 11.30am on that Saturday morning by British rock outfit Stackridge. They had recently become the first group signed to Elton’s new Rocket label, for whom their fourth album ‘Extravaganza’ had been released five months earlier, in January.

MidsummerMusic75Stub-284x300

Next up, bringing some funky soul to the proceedings, were American R&B favourites Rufus, fronted by the aforementioned Chaka, who were touring their third album ‘Rufusized,’ featuring the US hit ‘Once You Get Started.’ Walsh was still a solo artist at the time, but was soon to join the Eagles, who followed him onto the Wembley stage. The appearance set up their first UK singles chart entry soon afterwards with ‘One Of These Nights,’ and Walsh joined them for a cover of Chuck Berry’s ‘Carol.’

In the first half of his set, Elton played hits like ‘Rocket Man,’ ‘Philadelphia Freedom’ and ‘Bennie and the Jets,’ but then chose to perform the whole of his new album ‘Captain Fantastic and the Brown Dirt Cowboy,’ which had been released on May 19 and was spending a third week at No. 2 as he played the show.

But many of his fans were unfamiliar with the songs, and he was widely perceived to have been upstaged, in the nicest possible way, by the second-on-the-bill Beach Boys, who came to London on a wave of nostalgic popularity in the US and seized the chance to bring it with them across the Atlantic.

21 Jun 1975, London, England, UK --- Carl Wilson of The Beach Boys stands on stage at Wembley Stadium during a concert with Elton John and the Eagles. --- Image by © Henry Diltz/CORBIS

21 Jun 1975, London, England, UK — Carl Wilson of The Beach Boys stands on stage at Wembley Stadium during a concert with Elton John and the Eagles. — Image by © Henry Diltz/CORBIS

With their double disc compilation ‘Endless Summer’ having topped the American chart the previous autumn and a second retrospective, ‘Spirit Of America,’ just going gold, the Beach Boys were well and truly back in style, if largely for their 1960s catalogue. It didn’t even matter that they hadn’t appeared on the UK album chart for more than two years.

In a hit-packed set that started with ‘Wouldn’t It Be Nice’ and ended with ‘Fun Fun Fun’ some 22 songs later, the California vibes rang out from Wembley Stadium, and the Beach Boys enjoyed one of the high points of their international career.

Explore our dedicated Beach Boys, Elton John and Joe Walsh Artist Pages

Posted in Album, Album, Artist, Blues, Concert, Festival, Funk, Live, mp3, Music, Musician, Pop, Recording, Rhythm and Blues, Rock, Rock 'n' Roll, Singer, Songwriter, Soul | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

JIMI HENDRIX: An Ectoplasm of Sound — R.A.H.

‘An ectoplasm of sound’: Jimi Hendrix’s Royal Albert Hall history

Posted on Wednesday 24 February 2016 by Lydia Smith – From The Archive Music

Guitar hero Jimi Hendrix has a special association with the Royal Albert Hall, with the venue being the site of some of his most notable British gigs, including The Jimi Hendrix Experience’s final UK concert.

Within months of arriving in Britain in September 1966, The Jimi Hendrix Experience (featuring bassist Noel Redding and drummer Mitch Mitchell) were already making waves on the UK music scene. Jimi’s virtuosic guitar had propelled their debut Are You Experienced? to No. 2 in the charts, and the country was quickly becoming addicted to the band’s psychedelic, rainbow blues sound.

1967: HALL DEBUT

With all eyes on the band’s theatrical performances The Jimi Hendrix Experience were invited to play the iconic Hall just one year later on 14 November 1967, alongside The Move, Pink Floyd, The Amen Corner and The Nice.

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The audience enthusiastically surrendered to Hendrix’s rock ‘n’ roll attack, and papers heralded the band as the hottest thing on the British music scene:

‘Hail Jimi Hendrix, the personality, the contortionist, the wise-cracker, the exhibitionist. Hail Noel Redding, and Mitch Mitchell, his traumatic Experience. How they were needed to close the package which opened up at London’s Albert Hall… The bill seemed as if it would never get off the ground. Thank goodness for Hendrix the untamed and the unchained swinging down from the trees through Knightbridge and Kensington to set the masses on fire in an ectoplasma of sound…. Most of all it was Hendrix the showman, the king-size personality.’
New Musical Express, 1967

1969: FINAL APPEARANCES

Two years later, a more musically mature The Jimi Hendrix Experience returned. The band’s two gigs, on 18 and 24 February 1969, would be their first and final headline performances at the Hall.

THE JIMI HENDRIX EXPERIENCE Royal Albert Hall… by superfro

The Jimi Hendrix Experience sold out the Hall easily, supported by Mason, Capaldi, Wood and Frog and The Soft Machine on 18 February, and by Van Der Graaf Generator and Fat Mattress on 24 February.

Tensions had been growing between band members and management for several months, but these were put aside for these two concerts, which would be remembered as some of the band’s best and most successful late performances.

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Throwing out their usual set list, Hendrix and the band instead included several of his blues songs including Hear My Train a Comin’, Red House and Bleeding Heart.

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Hendrix’s music roused the crowd, inciting a near riot when he threatened to leave the stage at the end of his set:

‘The crowd then went absolutely berserk and shouted for more for about 4-5 minutes. Some people started to leave as it didn’t look as though they were coming back, but they did and then they went absolutely… ­ well, there is no word for it! People were dancing in the aisles, Jimi went mad with the atmosphere and they did Purple Haze and Wild Thing. He played with his teeth and then on the floor…. [the stage] was beseiged [sic] by fans, police, bouncers, floor managers and practically the entire audience!’
Jane Simmons, ‘The Official Jimi Hendrix Fan Club Of Great Britain’ newsletter, April/May 1969

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Hendrix didn’t often give encores, but he did for the eager Hall audience, bringing out Traffic’s Dave Mason and Chris Wood and percussionist Rocki Dzidzornu to perform Room Full of Mirrors.

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These shows would be the final European performances by The Jimi Hendrix Experience, and immortalise Jimi’s legacy as rock history’s greatest instrumentalist.

SETLIST
18 & 24 February 1969
Lover Man
Stone Free
Hear My Train a Comin’
I Don’t Live Today
Red House
Foxy Lady
Sunshine of Your Love, Cream,
Bleeding Heart, Elmore James,
Fire
Little Wing
Voodoo Child, Slight Return
Room Full of Mirrors (Jimi Hendrix song)
ENCORE:
Purple Haze
Wild Thing, The Wild Ones
The Star-Spangled Banner, John Stafford Smith

HALL LEGACY
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Today, Jimi Hendrix’s performances at the Hall have been memorialised in our Loading Bay street art project LOAD – a graphical journey through the most memorable moments in the Hall’s existence.

Plus, see if you can spot Hendrix in the Hall’s Sir Peter Blake’s mural masterpiece entitled Appearing at the Royal Albert Hall – a fascinating ‘who’s who’ history of the past century-and-a-half of culture, seen through the prism of the Hall’s legendary stage.

 

Source: ‘An ectoplasm of sound’: Jimi Hendrix’s Royal Albert Hall history — Royal Albert Hall

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PRINCE and 3rdEyeGirl | Music | The Guardian

3RDEYEGIRL on Prince, ping pong and women in music who ‘treat their bodies like meat’ The purple one’s all-female band on his legendary work ethic, life at Paisley Park and why you should always look like a star…

3rdEyeGirl-emleft-to-righ-0143rdEyeGirl (left to right): Donna Grantis, Ida Nielsen and Hannah Ford Welton. Photograph: PR

You can tell 3rdEyeGirl are official Prince proteges from a mile away. They line up on a leather sofa in a purple-walled room, dressed in studded leather, knee-high boots and feathers. It’s hard not to be reminded of previous female purple collaborators – Apollonia 6, Sheila E, Wendy & Lisa. Beyond the striking image, however, this all-female rock band are part of Prince’s latest mission to deliver “real music played by real musicians” – drummer Hannah Ford Welton (all-American, talkative), guitarist Donna Grantis (Canadian, thoughtful) and bassist and former New Power Generation member Ida Nielsen (witty, Danish), can thwack, shred and slap bass with the best of them.

Twelve-hour jams at Prince’s Paisley Park complex in Minneapolis have honed them, turning them into a must-see live act. Their recent tour with Prince at the start of this year – for which they announced cheap-entry shows at the last minute up and down the UK – saw this paper hail them, and not just their boss, as “one of the greatest funk-rock bands ever”.

All of which has culminated in a debut album, Plectrumelectrum, to be released alongside a Prince solo album, Art Official Age, on 29 September (2014). So what have they learned from nearly two years working with one of music’s most mysterious masterminds?

Be prepared for anything

Ida Nielsen: “The way it all started [in December 2012], we didn’t know we were going to be a band; we didn’t even have a name. We just went to Paisley Park and were jamming with Prince and he was teaching us all these new songs. And then all of a sudden we’re doing the Jimmy Fallon show and he’s introducing us as 3rdEyeGirl. And we’re like: ‘Oh, OK, that’s our name, then.’”

Hannah Ford Welton: “Every day is spontaneous like that for us – we all had to get used to it. But it’s especially hard to live in the moment today – everything is planned and scheduled, so when you step out of that and you create your own space where everything is up in the air, it keeps things fresh and interesting. Tomorrow we could be on the other side of the world.”

Prince 3rdEyeGirlPrince & 3rdEyeGirl perform in Manchester, 21 February. Photograph: PR

Forget about working nine to five

Donna Grantis: “Prince has an unbelievable work ethic that rubs off on all of us, but time exists in a different way at Paisley Park. Every day there are things to accomplish but it’s not related to the hour. It’s just: before the next resting period, we need to get this done. On one song, Another Love, there’s a giant guitar solo at the end, which we were rehearsing at four in the morning. Prince asked when I’d like to record it and I said: ‘You know what, I’ll do it tomorrow morning. I’ll think about it, work out some concepts …’ And he replied: ‘Let’s record it now.’ I had to go for it. It turned out to be a part where he and I are soloing and playing off each other and it’s really special.”

You need to work quickly

Nielsen: “We did this album old school, live, all in the same room, so if someone made a mistake everything had to be redone. That’s how it used to be in the old days: one, two, three, go! Play good! We thought we were learning new material to play live. But all of a sudden, he said: ‘Let’s make a sequence.’”

Grantis: “I was totally shocked. This was one take, play it perfectly all the way through, figure out the sounds on the spot. We had to play our parts so quickly that our musical instinct took over – the first sound or feel we thought might fit is what you’ll hear on the record. With the song Wow, we didn’t even play it all the way through before we recorded it.”

Trust your instincts

Welton: “Prince has really encouraged us to take the reins and be courageous with our playing. It’s OK to make mistakes as long as you’re trying for something, know how to recover and keep going. Either it can be fixed or it can’t and we have to redo it, but it’s OK to take chances. What’s cool is that Prince teaches us the grooves but he’s very much open to our interpretation of the parts, as long as we stay true to the feel. He’s not a stickler, like: ‘This is what I gave you, this is what you play.’ He’s really laidback – at least, he is with us. That’s what makes our sound and shows so special because you hear all of our different personalities shine through the music.”

You must be prepared to correct each other

Welton: “We all take this very seriously, so we’re all constantly challenging each other and keeping each other accountable. And sometimes that calls for what Prince says is ‘policing each other’ in rehearsals and finding weak spots in the song and drilling them. We all have to go in together and rub all the kinks out of the music so that when you come to a show it comes off flawless.”

Play as if the world is watching

Welton: “One thing Prince has said a few times is that with every performance, go in with the mindset that it’s being recorded, as much as we encourage people to put their phones away and bootlegging is highly discouraged – he calls bootlegs “unfinished recordings” because the sound quality is not nearly the same. He says to dress like you’re being videotaped, perform as if you’re in the studio, and nail it. Because at some point someone will be recording and they’ll probably put it online and you have to look at and hear yourself and you want to be proud of it.”

Remember to put the fans first

Welton: “I’ve never been in a band up until this point where I’ve seen thousands of people lining up outside a venue and down the street for a mile – and I can’t think of an artist out right now, other than us, that I would do that for. The genuine love and loyalty from the fans was really eye-opening, that they are willing to train it for hours to stand outside for hours before even getting in. People don’t do that any more. Some people got frustrated about the process of the Hit and Run tour in that tickets weren’t for presale but at the same time, we did that for the fans – we wanted them to be able to pay £10 rather than £900.”

It’s best to be humble

Welton: “When we’re learning new material, or he’s showing us a band that we haven’t heard of, or introducing us to new ways of playing, it’s a teacher-student vibe. He’s so willing to share his knowledge, about the industry, music and performance. But at the same time he is extremely humble and when we are all together, even in those teacher-student moments, we’re a collective. We sit around and chat and if someone has an idea, we’ll bring it up casually – while we’re playing ping pong – and talk about it. It’s very open. He’s all about all of us as a unit, playing and performing and jamming as a family. There’s never really a moment where he acts or carries himself as ‘greater than’.”

You have to stay classy

Welton: “We’ve been inspired by his style and him telling us how he wants people to see us. There’s a way to be portrayed as beautiful, and even sassy and sophisticated, yet still powerful. None of us will ever compromise our look and feel as if we have to go out there wearing next to nothing to be noticed. That’s what the industry has become these days and the music is suffering; people are over-compensating for their music not being very good.

“We have way too many young kids looking up to artists that are putting out music with terrible, vulgar messages and also walking around with next to nothing on. There are misogynists everywhere in the music industry. But if women are getting sick and tired of men talking about them in their music like they’re a piece of meat, they can’t then walk around treating their body like it’s a piece of meat. Cover up, carry yourself like a woman, and then hopefully the men will take the hint and start treating you with the respect you deserve. But women first have to stand up for themselves and stop degrading themselves, stop compromising. We talk about these things with Prince a lot.”

Learn to survive on no sleep

Nielsen: “The lack of sleep has been the biggest challenge but the thing is when you play, even if it’s late, you forget that you’re tired. The adrenaline kicks in and we feed off the energy of the crowd. When I joined Prince [with New Power Generation], we’d been in Paris rehearsing for a week without him and then he joined us onstage in Norway. We played the first song and when he came out, everything lifted and everyone rose to play better. I’ve never done a single show with him where I didn’t feel like he was in it 100%. He goes on stage and it doesn’t matter how many people are there, whether it’s an arena or three people, he gives everything.”

But make time for relaxing, too

Grantis: “Ping pong is how we kick back, if you can call it kicking back – sometimes the ping pong gets more intense than rehearsal. Our ping pong game, from the time that we first got to Paisley to now, has skyrocketed.”

Nielsen: “Sometimes we beat him, though.”

Welton: “We are the softest rock stars on the planet!”

Be careful what you put on the internet

Welton: “We live in a digital age and, at any point, even if it’s minimal, you’re going to use the internet and social media. I’ve definitely noticed Prince, over time, get a little more social media savvy – but in a fun way, not a dependent way. There’s a fine line between needing social media and using it to have fun.”

Nielsen: “Nowadays, as a promo tool, it’s a necessity. But everything you put on the internet is out there somewhere. So you have to think: ‘Will it be cool in 10 years to see this?’ It’s stuff you don’t really think about when you’re young and you just think: ‘Oh, that’s funny.’”

Artists should be in control of their creativity

Grantis: “Prince has definitely imparted to us the importance of the artist being in control of their creations and a huge part of that is about an artist owning their masters and their publishing. NPG Publishing was created earlier this year and he got his masters back from Warners, which was amazing. It’s absolutely important to be working with people who can help release the music but it’s great how his view is that the artist takes care of the music and the machine takes care of the business side of things. The artist holds their artistic vision so close to their hearts and it can be so easily manipulated.”

Your potential is limitless

Grantis: “He’s operating at the highest level, as one of the greatest musicians of all time, so his level of expectation is way up high, too. He wants to bring out the best in everyone and the best in us and I feel like he wants us to rise up to our potential, or even beyond that.”

Nielsen: “What we felt was the limit to our potential does not exist. It can be pushed and pushed again. I found out about myself that I’m able to learn and remember quite a lot of different songs in a very short amount of time. And I never thought I’d be able to do that because it’s not a situation you would normally be in.”

Source: 3rdEyeGirl on Prince, ping pong and women in music who ‘treat their bodies like meat’ | Music | The Guardian

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GRACE SLICK presents Monterey and Woodstock | Limelight Agency

~ Grace Slick Presents Monterey Pop ~

monterey

1. Unknown (Drug Dealer)
2. Marty Balin (*JA singer)
3. Jorma Kaukonen
4. Janis Joplin
5. Ghandi
6. Jack Casady (*JA Bass)
7. Otis Redding
8. (Mama) Cass Elliot
9. Pete Townshend
10. Groupie chick
11. Grace Slick
12. Roger Daltrey
*Jeffferson Airplane
  13. Jerry Garcia
14. Alice and White Rabbit
15. David Crosby
16. Keith Moon
17. Neil Young
18. John Philips
19. Jimi Hendrix
20. Ravi Shankar
21. Wavy Gravy
22. Ben Fong Torres
23. Brian Jones
24. Spencer Dryden (*JA drums)

Over forty years ago, a turning point in rock history took place, the 1967 Monterey Pop Festival. This three day concert packed with performances from some of the biggest names in music history, would be the epicenter for the “Summer of Love.”

A full two years before Woodstock, 200 thousand fans would experience an unparalleled event, during a year like no other, before or after. In 1967 our ears heard for the first time; the Jimi Hendrix Experience, Janis Joplin with Big Brother and the Holding company, Jefferson Airplane and many, many more musicians that would be known as the collective sound of the time.

Of course one of those new rising stars at the festival was our very own Grace Slick. Grace in celebration of the important anniversary has used here talents as a painter to share with us an intimate view that could only come from her.

In Grace’s painting “Monterey” she is telling a story from the performers perspective, by placing the back stage scene in the foreground. She has chosen a unique perspective that only a small group that was there experienced. It was a once in a lifetime meeting of most all of the top musical contemporaries of the day. With the intense tour and recording schedules of the time, to cross paths with just a couple performers of their status was extremely rare. In many cases this was the only time that some of these legendary stars would ever meet during their lives.

After the creating of this important work, Grace took a moment to put some of her thoughts about that time to words:

“Throughout history there have been delightful little blobs of collective hope.

For a couple of years in the late sixties, no matter what was going on in the world, our generation happily assumed that with love and education we could change outdated social systems.

One huge thing that we missed, 90% of the population is genetically imbued with sub mediocre reasoning skills. No matter how much you hug them or read to them, there’s no correcting stupid.”

Monterey – a celebration of youthful naiveté.

– Grace Slick 2007

Source: Grace Slick Paints the Monterey Pop Festival

~ Woodstock Through Grace Slick’s Looking-glass ~

Grace Slick looks back 40+ years, to a concert no one will ever forget…

Woodstock-550

Can you find them all?
Jack Cassady, Jorma Kaukonen, Marty Balin, Spencer Dryden, Santana, Paul Kantner, Barack Obama, Roger Daltrey, Keith Moon, Pete Townshend, Mickey Hart, Phil Lesh, Jerry Garcia, Bob Weir, Bill Kreutzmann, White Rabbit, Jimi Hendrix, Alice, Ravi Shankar, Richie Havens, Graham Nash, David Crosby, Neil Young, Stephen Stills, Buddha, Country Joe McDonald, John Sebastian, Joan Baez, Alvin Lee, John Entwistle, Janis Joplin, Grace Slick, Jesus, Max Yasgur.
Dear Grace Slick Fan,

Forty (+) years ago history was made on a farmers field in upstate New York. And if your over the age of 10, you probably do not need the likes of me to explain all that happened and what it all meant. I’ll leave that to the countless movies, books, news stories, documentaries, department store theme window displays, historians, and the four million people who say they were one of the four hundred thousand there.

Personally, I’d rather hear the story of the historic “3 Days Of Peace & Music” from one of the few remaining voices of a revolutionary generation who gathered together on that stage to create something amazing… Grace Slick.

The truth is, Woodstock is not one story at all. It’s the story of each individual who braved the traffic, the weather and the absence of general services, some whose names we’ll never know.

  Grace has perfectly captured this, in her recent painting Woodstock. In one grand single view on canvas, Ms. Slick has offered a sea of people who made up the epic scene. Each with their own experience of the festival. On stage we see a parade of icons (Hendrix, Joplin, Baez, and on), but in the open field she’s painted one by one an endless expanse of people, young lovers, vendors, backpackers, parents and children… each one the center of their own Woodstock tale.

It’s not often that an artist can offer through her own work a historic statement from a firsthand perspective, but in this one particular case, that is exactly what we have.

Hog Farmer
Danny Stern
Limelight Agency<

grace-woodstock-250In Grace Slicks Own words:

“At the time (1969), A concert with ½ a million people was unheard of. To be honest we were blissfully unprepared and unmercifully hammered by the weather. As the painting shows, the audience had to slog around in the mud. Young people adapt to that kind of a mess better than old farts.

Saying goodbye on the last of three days, the clump of musicians on the stage is appreciating the audience and vice versa. Everything except murder is happening in the crowd – as it would in any gathering of that size.

I have taken the liberty of inserting some individuals who could not have been there, but maybe they were in spirit – Abraham, Buddha, Mohamed, Jesus, Adam & Eve, Alice in Wonderland, The White Rabbit, My daughter and Barack Obama.

For composition and space, I have simplified the stage gear and the sound towers. If it looks like a cartoon – it was.”

Source: Woodstock Through Grace Slick’s Looking-glass

Posted in Art, Art Rock, Artist, Blues, Festival, Film, Folk, Live, Music, Painting, Pop, Rhythm and Blues, Rock, Rock 'n' Roll, Soul | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

QUENTIN TARANTINO’s Top 20 favorite Spaghetti Westerns | The Spaghetti Western Database

Quentin Tarantino’s Top 20 favorite Spaghetti Westerns from The Spaghetti Western Database

A Spaghetti Western Database / The Quentin Tarantino Archives Exclusive

The SWDB is the first sister site of The Quentin Tarantino Archives that was launched and it didn’t take long for the director himself to admit his admiration for this site. It has been a huge success on the internet and a beloved location for fans around the globe to exchange ideas about these classic movies and do research. Our own Top 20 has not gone unnoticed, so the director took some time out of his schedule while shooting Inglourious Basterds, to submit his own personal Top 20. Enjoy.

“It is a cold January afternoon on the Babelsberg studio lot a few minutes outside Berlin. The sun is out and it’s nice, but there’s a cold wind blowing. As we walk across the snow-covered streets I’m reminded of The Great Silence, but silence is not what I’m here for. I sit down with Quentin Tarantino so he can brief me on his personal twenty most favorite spaghetti westerns (rather unexpectedly I have to say, as his current project was all that was on my mind at that moment). This is an authoritative list he had compiled meticulously after having read the SWDB’s Essential Top 20 Films (which is calculated through a complicated formula from people’s personal top 20 lists). The cineast and filmmaker, lists and discussing favorites having been part of not just his video store past, and who’s currently shooting Inglourious Basterds, also added a few more films that didn’t make it into his top 20 but are runners up. Ladies and gentlemen, get out your own personal lists and compare, for this my friends, is Q’s list …” – Sebastian Haselbeck

Quentin Tarantino’s official list of favorite Spaghetti Westerns:

Source: Quentin Tarantino’s Top 20 favorite Spaghetti Westerns – The Spaghetti Western Database

Posted in Film, Spaghetti Western, Western | Tagged , , , , , | Leave a comment

LAURA!

“WHEN YOU ROLL THE DICE THERE’S A LESSON LEARNT –
IF YOU PLAY WITH FIRE, WELL YOU’RE GONNA GET BURNT!”
–  ‘Irate’ song lyrics/music Copyright © Laura Wilde/Brian Canham.
LW Somric Castro

  • guitar“Music in the Blood” – New Short Essay
  • “Sold My Soul” – Updated Album Review
  • “Sold My Soul” – Album on Spotify
  • “All Alone” Single Download link 
  • “Highway To An Angry Heart” on Wattpad
  • Updated Social Media links
  • “Crashing Out” – new song demo on Soundcloud
  • “Finding Clarity”new song on youtube
  • Gig Database promo link 

Before we commence let’s take a few seconds to witness the talent of LAURA WILDE – here she is with a jam of the guitar solo to Led Zeppelin’s “Stairway To Heaven”

~ Music in the Blood ~

May, 2012: Hard Rock Cafe, Hollywood Boulevard…
One could almost be correct in their observation that most performers possibly approach every gig as some kind of ‘prizefight’. As a rule, the ‘prizefighter’ is more than willing to beat down any obstacle in their way, or at least keep it under some manageable control. Sometimes, the circling audience can provide that obstacle and take on the presence of a formidable opponent: baying for the blood and guts of sheer entertainment. Sometimes, it may be an unforeseen element, or circumstance, that appears to be working against the ‘staged prizefighter’. The ‘unforeseen’ which somehow evokes a blind spot or disguise within the realm of its murky presence. In this case,  the unforeseen lay in wait patiently somewhere between the striking of a power chord on the electric guitar and the eye of the element that captured the moment…

The dice had already been rolled, the fire ignited and the spotlights now descending upon, and saturating, the falling locks of blonde. The guitar’s burning emotion was crackling upon the atmosphere, continuing its search for an unspoilt and textured landscape. Then it happened: the cold sting from the metallic object flying past her eyes; the fleeting glint caught in the lights. Then it appeared: oozing like a cherry red wine, a glistening clot of human ‘crude’. Her thoughts trying to numb the pain; all emotion reserved for the remainder of the song. The lights molesting the drama they forever sought in the liquid appendage seeping on the bridge of her nose. A spotlight or two had shone on the expressions among the ‘ordinary’ faces in the audience, trying to capture every possible concern. Tonight’s show had been given freely, no charge; the blood flowed freely too, but could have been at a potentially high cost to its owner. Eventually, the set was brought to its ‘uncomfortable’ climax followed by the equally uncomfortable sting of the mopping implement soaking up its potent palette. The instigator of this bloody inconvenience was still dangling around her neck, smiling its charm. It was truly the unforeseen enemy obstacle on this night, on this field of musical combat steeped in the dazzling lights of Hollywood nights. But, it was her professionalism which shone more than the chained necklace; a professionalism that bathed freely in the deception of its surroundings.

The healing process of a resurrection began with a Doctor’s visit for this hard-working performer of rock-oriented songs; this ‘rookie’ of the US touring circuit who was gradually cutting into the musical fabric of the place she now called home. The next stop after the Doctor’s office would be the Arkansas Music Pavilion in Fayetteville to soak up more of that ‘prize-fighting’ experience of blistered fingers and thumbs and potential bloody noses. It is hard work being a genuine musician. But, the next stop was also a ride on the continuing “Great White Buffalo” tour supporting the legendary Ted Nugent. Therefore, all this blood, sweat and tears being wrung out of every ounce of rock ‘n’ roll was not totally void of its perks… or its prizes as Laura went on to win Rock Over America “Best New Female Rock Artist 2012” and Vegas Rocks “Best New Female Artist 2013” awards!

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~ SOLD MY SOUL ~

LauraWildeA glorious addition to your CD/mp3 collection is Laura Wilde’s “Sold My Soul” album. It’s a 21st Century take on a lot of the music which influenced her growing up years and has undoubtedly been in her family’s vinyl/cassette archives throughout those years. The ‘retro rock’ listener won’t be disappointed with Laura’s self-penned homages which blend the ingredients of Glam Rock, Glam Punk, Hard Rock and Pop mixed with a healthy dose of Metal and Soft Metal flavourings. It’s one big cool ride along a hot furnace of open road which commences with the 10-second intro of a roaring Harley-Davidson kick-starting a pulsating ‘heartbeat’ which segues into “ALL ALONE” – the first track which, incidentally, is the first song Laura ever wrote when she was a teenager and subsequently is her first single from the album. It’s a really good Punk-infused Pop song featuring crunching guitars amid a breathless recitation and an overall frantic production. “SOLD MY SOUL” – the gritty and catchy title track is a winner with its shades of Bolan’s20th Century Boy” guitar groove – it’s Glam Rock at its updated best as Laura takes us on a semi-autobiographical cross-country career-developing journey Stateside. “FREEEK!” – the throbbing baseline and ‘vox’ effects imbues the dark undertones in conjunction with another catchy electric guitar groove. The interesting spelling of the title is confirmed within the screech of its chorus. “IRATE” – guitars thrash across a dark landscape of attitude and a punk chorus that’s filled with angst and irritation.  “Irate” bellows with wordplay that’s singed with a fuming smoke and features “a guitar solo that bleeds along the highway of an angry heart!” (see “Highway To An Angry Heart” link below in this article). “BACK SEAT” – a fine commercial combination of Pop/Rock which became Laura’s follow-up single to “All Alone” and was one of the very first music videos Laura made. Throbbing base and fuzz guitar combine to great effect. “FOR YOU” – a major highlight of the album! The song is delivered with an incessant underlying angst which simply oozes from the words ‘creep’ and ‘sleaze’. Please note the ‘Explicit’ label attached to this song too. Nevertheless, it’s a brilliant delivery in performance and production as you’re able to experience the whole drama of the narrative via the song’s accompanying video (see link below in this article). A beautiful acoustic guitar pours its melancholy into the darkness of this atmospheric gem which also features another shining performance by Laura on the lead electric solo. “ANYTHING GOES” – a riveting glam rock sing-a-long with shades of Suzi Quatro equipped with Na-Na-Na-Na-Na’s thrown in for good measure. One of those songs which bestows the feeling of youth upon you. “CLASSICAL GUITAR STAR” –  a beautiful work of art. A yearning piece of musical drama unfolds for the adulation of the title character. Laura channels the young girl in this wondrous world of mystique. It’s a teenage angst that resonates for all and the beautiful musicianship culminates in a tear-inducing ending. “NOTHING BACK” – the punk undertones are delivered within a ‘machine gun’ style chorus which rocks straight in yer face! “LOVE BUYER” – more flashes of Suzi Quatro style phrasing here with a catchy chorus once again and a narrative that depicts the title character’s devious endeavour to pick up several ‘bargains’. “ANGEL” – rounds out the album with its fuzzing bass and electric solo searing through the ‘vox’ effects of combined punk and new wave pop textures. So, overall we have a brilliant debut by this young rocker still in her mid-20’s and with a great inspiring feel for classic rock which caters to all ages. “Sold My Soul” is vibrant, mostly upbeat and comes highly -recommended as a feel good listen paying homage to several sub-genres of rock and pop music. If only the album was made available in a warm vinly offering, it makes you crave for the nostalgia that inspired it. You can almost hear the flourishing touches of The Ramones and The Clash along with T.Rex, AC/DC and The Runaways! We eagerly anticipate the follow-up album* by Laura Wilde which is currently in the works…

*See Soundcloud link in ‘Social Media’ section below for new song demo entitled “Crashing Out”!

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Sold My Soul

 2016-01-19

Rock over america

~ Links to a selection of Laura’s promotional videos of songs from the “Sold My Soul” album ~

“BACK SEAT” 
Back Seat

“FOR YOU”
Laura Eyes 2

The following is a link to the song “IRATE”. It was Laura’s guitar solo in this song which inspired a quote from writer Tony G. Marshall which consequently inspired the creation of the lyrics of his own “Highway To An Angry Heart” (see below after “Irate” spotify link):

Tony G. Marshall’s
“HIGHWAY TO AN ANGRY HEART” ~

Highway To An Angry Heart promo

~ Laura on Social Media ~

Laura’s Official Website:

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Also included on Laura’s website, at the following link,
is a unique database record of
all her shows :
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New song demo – “Crashing Out” on Soundcloud:

New song “Finding Clarity”: 
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Laura on Facebook:

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Laura on Twitter:

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Cosmic Dwellings do not own the copyright to the image/likeness/music/videos of Laura Wilde and Vice Grip Music Group. The written content and style in this not-for-profit article is owned by Cosmic Dwellings/Tony G. Marshall. All Rights Reserved. Copyright © 2012, 2016 Tony G. Marshall/Cosmic Dwellings.
Posted in Album, Blues, CD, Guitar, mp3, Music, Pop, Rhythm and Blues, Rock, Rock 'n' Roll | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

VINYL: History of the 45 rpm Record

A History of the Gramophone Record

The first records were on cylinders, the earliest of which were made by the inventor of the first ‘Phonograph’, Thomas Alva Edison in 1877. Attempts had been made of ‘recording’ sound much earlier than this, but none were capable of reproducing the human voice.

By 1887, another American, Emile Berliner (a German immigrant to the U.S.) filed a patent for a recording system based on a flat disc instead of a cylinder. This was a very significant development because the new discs were much easier to mass produce than the cylinders that they replaced. This was important in making the technology available to a wide market.

By the turn of the century the industry had begun to settle on a diameter of 10 inches for the new format. The rotational speed varied somewhat from one manufacturer to another, but most turned at between 75 and 80 revolutions per minute and most ‘Gramophone’ machines were capable of some adjustment. The name ‘Gramophone’ began as a Trademark for Berliner’s new invention, but Europeans adopted it as generic while Americans continued to use the term ‘Phonograph’. One popular theory for the choice of 78 rpm is arrived at from calculations based on the rotational speed of synchronous electric motors and achievable gear ratios. This is neither technically sound nor supported by historic evidence. It is far more likely that a speed of around 78 rpm simply proved the best compromise from empirical results with the materials and technology available at the time.

Various materials were used for manufacturing the earliest discs, but shellac (a resin made from the secretions of the lac insect) was found to be the best. Shellac is a natural thermoplastic, being soft and flowing when heated, but rigid and hard wearing at room temperature. Usually a fine clay or other filler was added to the ‘mix’. However, by the 1930s the natural shellac began to be replaced by equivalent synthetic resins.

All of the earliest 78 rpm recordings were single sided, but double sided recordings were introduced firstly in Europe by the Columbia company. By 1923, double sided recordings had become the norm on both sides of the Atlantic.

The 78 rpm disc reigned supreme as the accepted recording medium for many years despite its tendency to break easily and the fact that longer works could not be listened to without breaks for disc changes (at 5 minute intervals for 12″ discs).

In 1948 the Columbia company had perfected the 12″ Long Playing Vinyl disc. Spinning at 33 rpm the new format could play up to 25 minutes per side. This new record medium also had a much lower level of surface noise than did its older shellac cousin. However, Columbia’s big rival, RCA Victor then produced the seven inch 45 rpm vinyl disc. These could hold as much sound as the 12″ 78 rpm discs they were to replace, but were much smaller and attractive.

Here is what RCA Victor’s original 45 looked like. This image was kindly supplied by Jules Woodell who manages the Record Collector’s Glossary  Note the large centre hole which needs an adaptor to make it fit a regular UK style spindle was already a feature and that coloured vinyl was not such a novelty in the 1940s!

This early demonstration copy carried a recording of a salesman extolling the virtues of the new format.

It took many years for the 78 to disappear because the new vinyl records needed new equipment on which to play them, but the two new vinyl formats then were to dominate the recorded music industry until the advent of the digital compact disc (CD). Even then, vinyl would take much longer to fall into oblivion than 78s did when vinyl recordings first appeared.

The 45rpm record’s years of greatest success began with the onset of rock and roll. The new 7 inch format was favoured by the young and in the UK sales of 45s overtook 78s early in 1958 as rock and roll established a boom in record sales. During the next few years the UK was to become a major source of popular recorded music with the advent of the British ‘beat’ groups which were exemplified in the ‘Beatles’. This was the ‘golden era’ for the 45. Although sales of popular music were to grow dramatically during the following decades, buyers gradually transferred their purchases to the 12″ ‘LP’ as their affluence grew. Indeed, by the end of the 1960s sales of the 45 had even begun to decline. During the early years of the Beatles, a record would need to sell in excess of 750,000 copies to reach the coveted number 1 chart position. Such was the decline in this part of the market that by a decade later only 150,000 copies could achieve the same result. (See ‘EMI: The First 100 Years’ by Peter Martland ISBN 0-7134-6207-8 Published by B.T.Batsford Ltd, London).

Source: History of the 45 rpm Record

Posted in 45rpm vinyl single, Album, Music | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment