George Harrison--All Those Years Ago (1981)

     Over the years there has been many songs written either referencing or directly dealing with John Lennon. After his shocking death in December of 1980, the musical world attempted to come to grips with his legacy. There are several song that stand out, the first (and in my mind the best) was Elton John's "Empty Garden" off of the 1982 album, "Jump Up". Paul McCartney came in with "Here Today" from his album, "Tug of War", and this song by George Harrison.
     Of the three songs mentioned, this was the first one released ("Here Today" was never released as a single). George had written a song for Ringo, but Starr never cared much for it because it was a bit high in pitch for the drummer. Harrison took the song back and in the meantime, when Lennon died, he put new lyrics to song. He took Ringo's voice off of the song, but kept his drumming track, then invited Paul and Linda McCartney with former Wings member Denny Lane to come and provide backing vocals.
     At the time the single was released, some critics found it a bit trite because of the bouncy music, but lyrically it spoke of George's loss. With it's release in May of 1981 it was the first of many tributes to the fallen Beatle. It was the third of four top five hits for Harrison who would not be heard from on the American charts again until 1987's, "Got My Mind Set On You"

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Gerry and the Pacemakers--How Do You Do It? (1964)

     George Martin felt he had a hit on his hand, but no one seemed to want it. It was offered to pop singer Adam Faith and he turned it down. The young producer felt sure the new group from Liverpool, The Beatles, could have a hit with it, but they didn't like the song either. (Martin told Lennon/McCartney they could shelve it if they could write something better...they came up with 'Please Please Me') Manager Brian Epstein however had another group he had just signed who would be interested in recording the Mitch Murray song.
      Gerry and the Pacemakers had to this point, the same kind of trajectory The Beatles had in Liverpool. Gerry Marsden formed the group along with his brother Fred, Les Chadwick, and Authur McMahon (who was replaced by Les Maguire in 1961) and at first was known as, 'Gerry and the Mars Bars' until the Mars company complained and the name was changed to 'Pacemakers'.
     The group was the second to take Epstein as their manager, and he soon got them a contract with Columbia records. They took, "How Do You Do It?" and made it their first number in in the UK in March of 1963 and was knocked out of the spot later by the Beatles' first UK chart topper, "From Me To You". In fact, the Pacemakers hit the top their next two singles which firmly secured them as the fab four's top competition. They had three more top 10 singles in their homeland, but would never have another number one.
     In the states, they had released all of their hits as well, but it wasn't until The Beatles knocked down the walls in early 64 that any success was made there. The Pacemakers' first hit in the US was, "Don't Let The Sun Catch You Crying" in May of 64 and "How Do You Do It" was released in July of that year, reaching number 9. They were to reach the top 40 four more time, including another top 10, "Ferry Cross the Mersey" in 1965. But not too long after that, they began to fade, and by the end of the year they had disbanded. The group (minus Fred who passed in 2006) has continued to tour.

    

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Bob Dylan--The Times They Are A-Changin (1964)

     There is not a lot to add here about Bob Dylan that has not already been said. It is important to note however, that if you are under the age of 40, many of you might wonder what the fuss was really all about. After all, in all of his years he only had four songs in the top 10. His voice has been parodied to the point of exhaustion, and in interviews (like the latest one in Rolling Stone), he comes as a cross between a curmudgeon and a religious zealot.
     Let me put it as succinctly as I can. There has been no one, over this enormous span of a career (now over 50 years) who writes like he can. Almost all of the songwriters in the rock era that we look to as great, has been influenced either directly or indirectly by Dylan's craft. You can take his voice or leave it (am not a great fan of his vocals overall), but you cannot challenge his way with a lyric. By the time The Beatles met him, he had already redefined folk music, written anthems that spoke to a generation, became disillusioned with folk music religiosity and with politics and had begun to turn inward.
     If you hear a singer/songwriter who sings in an introspective manner, you can thank Dylan for that. John Lennon would remark years later that it was Bob's music which taught him that you could write songs that were personal. As strange as it seems, it was not conventional for songwriters to write directly about themselves. Dylan broke the mold for that.
     Together, Dylan and The Beatles led music into the modern Rock era. The Beatles' music came from a fresh take on the Rhythm and Blues filtered Rock and Roll of the middle/late 50's. Dylan's rock came directly from Folk, which shocked many followers, but gained many more fans as the quality of his output never wavered.
     And what an output that was! "The Freewheeling Bob Dylan" (1963), "The Times They Are A-Changing" (1964), "Another Side of Bob Dylan" (1964), "Bringing It All Back Home" (1965), "Highway 61 Revisited" (1965), "Blonde on Blonde" (1966), "John Wesley Harding" (1967), "Nashville Skyline" (1969). Most artists would give anything to have ONE album that was as good as any of these. Instead he gave us an entire decade's worth.
     That is not to say that he sloughed off after that, however it is fair to say that he has had peaks and valleys over the last 40 years. For those who stopped paying attention after Nashville Skyline, it's worth noting (and listening to), his middle 70's output, including, "After the Flood" (1974), "Blood on the Tracks" (1975), and "Desire" (1976). I could list another ten albums that are essential listening after that. It's not like he's been coasting, but after a decade like the 60's...it's a hard act to follow....ask any of the Beatles.

     

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Lonnie Donegan & His Skiffle Group--Rock Island Line (1956)

     Over the years, all four of the Beatles had discussed their influences. Elvis, Carl Perkins, Buddy Holly, Chuck Berry and so on. One name however that comes up that most in the US have never heard of was Lonnie Donegan.
     Skiffle was a type of music that drew from traditional jazz, blues and folk, and generally performed with homemade instruments. It's roots are disputed, but began to show up in recorded form in Chicago during the 1920's. It popped up from time to time over the next 20 years, but was a rural genre that never saw a lot of popularity until Lonnie Donegan led a revival of the style in the UK during the 50's.
      Donegan spent much of the 40's and early 50's playing guitar in various traditional jazz bands throughout Britain. While playing with Ken Colyer's Jazzmen, he would play a guitar and banjo during a dixieland set. This led him to join with a couple of other members to play what they called a "skiffle" break which included a washboard, a tea-chest bass and Spanish guitar. 
     This proved to be so popular that the combo recorded a version of Leadbelly's, "Rock Island Line" in the summer of 1954, which became a hit in 1956. He recorded much of the rest of the 50's, with a great deal of success. His real influence however was how, in bringing skiffle to England, he inspired many a poor and middle class boys to pick up homemade (or very low rate) instruments and start banging out, "Rock Island Line".

     

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Listen Here!! -#1 Sgt. Pepper (1967) Part 1

    I'm starting something new for the Omnibus this year. We are a people who love to make lists, and those who love music do the same. The Billboard top 40 has been a part of the landscape as long as Elvis as been shaking his hips. Since the blog and radio show deals with the music of our past, I thought it be a cool idea to write about the albums that have influenced modern music, and the albums that should have done so. There will also be a opportunity for me to stretch out a bit beyond the confines of where the Omnibus usually goes in the way of content. Hope you like it, and if you have any suggestions...I'm all ears.
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      It's easy to pick this one as the first album to write about. For someone who was not familiar with music before 1990, I'd hand them this one, because much of what happened in rock music after 1967, for better or worse came because of Sgt. Pepper. Personally, it's not my favorite (that usually flips between 'Revolver' and 'Abbey Road' depending on my mood), but it is not arguable of it's influence in it's day, and in the decades since.

      There are many places where you can read the whole story of the album's conception, but the real beginning of the album came at the end of the group's last tour in 1966. Unencumbered by the rigors of touring the world, they could focus on the experimentation begun with the 'Revolver' album.

      The original concept was Paul's, that the group had become pigeon-holed and that a way they go beyond what the fans expected was to create an alter ego, which would have different names which would allow them to go in whichever direction musically they wanted to go. It seems like a bit of a silly proposition now, and the other members were not crazy about the idea per se, but all were interested in pursuing a different sound in the studio. As it turned out, other than the the opening song (and it's reprise), any of songs, as John Lennon later said, "could have been on any other album".

       The first song lays out that initial concept of Sgt. Pepper, and then leads into a song written especially for Ringo. "With a Little Help From My Friends" was sung in the character of Billy Shears, and looking back at it, was a perfect vehicle for the drummer. Starr rejected an original line in the song, "What you do if you sang out a tune/Would you stand and throw and throw tomatoes at me?" Ringo remembered a comment that George had made in the early days of Beatlemaina about liking jelly beans, and spending the rest of his touring days as a Beatle dodging the little missiles being throw at him from a distance. He begged the boys to change the lyrics....which they did....

     I remember reading about "Lucy in the Sky With Diamonds" for the first time. Even as a teenager it was hard for me to believe it when Lennon said it wasn't about acid. Was it really about a picture Julian drew and brought home for his dad to see? Well....sure. I don't have a doubt that the picture was the first inspiration for his song. It also wouldn't be the first time a Beatle would write a song that had layered meaning. All of that aside, it is a great song that has had a great cover as well. Lennon provided background vocals and guitar to Elton John's cover of the song in 1974. It became the only Beatle cover to reach #1 on the charts.

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The Beatles--Helter Skelter (1968)

     It's difficult to separate this song from it's link to Charles Manson and his brutal madness, but just a couple of years before it was Paul McCartney's response to an article he had read....

      An 1967 article in Guitar Player, had Pete Townshend describing The Who's, "I Can See For Miles" as the loudest, dirtiest, rawest song the group had done to date. Paul began to think about a song that would have that feel as well. One also wonders if the criticisms about him being the "ballad" writer was stinging a bit as well. 

      Helter Skelter is a nonsense song that is raw, brutal and does exactly what Paul envisioned for it.  The version that ended up on the White Album was done in 18 5 minute takes. Despite what many think, the last exclamation, was Ringo  After the last take, Ringo threw his sticks across the room and screamed, "I've Got Blisters On Me Fingers".....we can almost feel the pain as the song grinds to a satisfying halt...

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The Beatles--A Hard Days Night (1964)

     As those who know me well would attest, I'm not much of a movie watcher, and it seems as if the older I get, the less likely it is that the time will be spent watching one. However, there was a time that movies held a bit more of an allure and just like with my writing subjects, movies about music were a must watch....

     Rock stars have always had a thing for being in movies (the opposite is true as well), with very mixed success, especially when real acting is going on.  More common, if not more interesting is the actual rock film where we follow around the musician(s) to see how they live life on the road, or in the studio. Every once in a while they go beyond and truly give a snapshot of the person, such as Madonna in "Truth or Dare". However, they are mostly vanity films that are little more than collector items for fans.

     Except for the rare occurrence when some real acting chops are shown, musicians are under the best light when either asked to play themselves in a movie, or a character that mimics their real persona. The blueprint of this kind of  movie was "A Hard Days' Night". The movie not only stands as a musical, but as one of the best films, period. Part of the reason belonged to Alun Owen who wrote the dialogue. The Beatles were familiar with his work and showed an ability to capture the dialect of a common Liverpool resident. Because the result was so natural for the boys, it put them at ease and allowed for their personalities to peek beyond the words themselves.

     Richard Lester who directed the film got along so well with the group that he was asked to film their second film, "Help". He also asked John Lennon to act in a comedy several years later, "How I Won the War". There were several cameos of note as well. Patti Boyd was an extra as a schoolgirl riding on the train with the boys. She would rebuff George Harrison's advances for a date, saying that she had a boyfriend, but they would soon be a couple and marry less than 2 years later.  There was also a sighting during a concert scene of a young Phil Collins....who I'm sure we will write about in a later blog.

     The soundtrack in my opinion began the transformation of The Beatles into something more than the sum of their influences. The whole package was a charming glimpse of four boys from a northern town who was still marveling at what success was bringing them. Although marketing attempted to keep them pigeon-holed in the same personalities seen here....but we would also never see them like this again. 

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Paul/Linda McCartney--Uncle Albert/Admiral Halsey (1971)

     It's hard to imagine now the atomic blast that was the break-up of the Beatles. Although not a true fan of their music at the time (or anyone elses), I distinctly remember at the age of 9 hearing about the breakup. Having been a rabid fan over the years since, reading as many accounts as I could get my hands on, it's sad that something so totally unmusical caused the break up, at the same time it being so inevitable. Those first few years afterward the microscope on their lives was as intense as ever, as each of them dealt with it in totally different (and predictable) ways. 

     Many of the fans were looking for outside sources to blame for the breakup. Yoko took heaps of abuse for her perceived role, in a lesser way Linda did as well. However, the press seemed to take dead aim at Paul. Maybe it was because he was the first one to "officially" leave, this despite the Ringo and George quitting for brief periods of time and John being begged not to break the band up during a time where a new record deal was being negotiated. His leaving, along with leaving behind a debut album that was as much therapy session as it was album gave many in the media a boatload of reason to take dead aim at Paul AND Linda.  

     The album, "McCartney" came across then (as now) as a lot of unfinished ideas and one brilliant song (Maybe I'm Amazed). It wasn't bad at all, it just seemed so un-Paul like that it was jarring in it's own way. The second album which was much more filled out, included Linda on some of the background vocals. It also gave more of a template (for better or worse) of the kind of music that Paul was to make over the next decade. Uncle Albert/Admiral Halsey according to McCartney was based on an uncle of his while Admiral Halsey was built on a real General, William Halsey Jr who fought in the Pacific theater during World War 2.

     The album, "Ram" had mixed reviews at the time, but over the last 40 years has aged well. The single was his first of seven #1 hits in the decade (in the US), and at least for me, one of his most creative....

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Billy Preston---Outa Space (1972)

     He had been around.....a lot.

     As a child he played organ alongside Mahalia Jackson, James Cleveland, and Andre Crouch. In the early 60's, he had already played in Little Richard's band and appeared on an album with Sam Cooke in addition to releasing his own gospel album in 1963. During that time he was touring with Richard, they traveled to Hamburg, Germany where he met a fledgling group from Liverpool called The Beatles. The meeting was a friendly one and would later be of great benefit to the group and to Preston.
 
      In 1965 he would release his first secular album (he released 7 of them in the 60's), and in 1967 would join Ray Charles' band which was where he was in 1969 when George Harrison came to see him play. Harrison was working with the other Beatles on what was to eventually become the "Let it Be" album and film. Pressures from many different places led him in exasperation to walk out for a period of time. While gone, he caught Ray Charles' concert in London. George had been the Beatle who was closest friends to Preston and the after the concert was invited to visit them all at the studio. 

      The meeting was a magical one as all of the Beatles were on their best behavior and after sitting in with them on a session invited him to record with them. The result was that the infusion of soul and excitement that Preston brought to the album saved it from being a disaster. He is the only one besides Tony Sheridan (very early in their careers) to share billing with them on a recording. The exposure was also very beneficial as it helped launch a very successful recording period throughout the 70's. 

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Happy Birthday to Ringo Starr.....

      Ringo Starr turns 71 today....

     I almost began writing this as a "In Praise Of" blog. Why? Because with all of the fame, and the fortune that comes with it, Ringo always seems to have been on the short end of the stick when it comes to respect. 

      Part of this comes from the era immediately after the break up of the Beatles. The 70's (especially the first few years) was full of musical indulgence and drummers were no different. Looking back now, one has to wonder how many drugs were ingested to survive a 15-20 minute drum solo, but technique and speed were all the rage. Ringo did not excel in that kind of competition and was considered a lesser drummer because of it. Even while with the Beatles, he was seen as not quite fitting with the other three as Ringo was not a proficient songwriter and was not a technically gifted singer.

    But there is much to praise Ringo for......

    First of all....let's go back to the drumming. Looking back at their body of work, it is obvious that very few drummers could have molded his skills to fit what the Beatles were in need of. He did play riffs of complexity as well as that insistent, rock solid backbeat, but never gave the group more then was exactly needed. This is the key in my opinion. In an era where the group ethic would be sacrificed to the God of melodic ego, Ringo was the perfect group member. He gave the group a solid base, while doing what was needed to keep the group moving forward......

    This is where his personality played a big role. Every group needs a Ringo...one who can be a peacemaker....one who could bring humor.....one who brought an off kilter personality to the proceedings. He brought all of that, (although he could lose his temper as well....he was the first Beatle to walk off and quit....but came back when (a). The others begged him to return and (b). He got bored.). No matter how much bickering was going on near the end, all three could still go back to Ringo. This is a factor that many of the books written about the group gloss over, but I personally think it's a very important spice in the mix.

      The post-Beatles time is really where he has shined. Starr is the only one of the four who did more then dabble into movies. (41 to be exact...counting work with the Beatles), and has done work in television as well. Not only this, but for a four year period (71-74), his output musically (chartwise AND in terms of quality) can easily hold up to the work of his former bandmates. His All Star Bands continue to sell out, and just as Paul has moved into his senior years continuing to do quality work, Ringo continues to be Ringo. Loveable, quotable, and thankfully for the rest of us, musical.

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The Beatles: Strawberry Fields Forever (1967)

Ok....up against a deadline.....have to be out for business this morning....what's a person to do?? Well....thank God for the Beatles.....be sure to catch up tomorrow for the Sunday Morning Vault.

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The Beatles: Ticket To Ride (1965)

It's Friday, my morning is busy with stuff that isn't linked to me being near the computer...and there is nothing that jumps out me as far as a blog goes this morning. So what to do? You can never go wrong with the Beatles. Will have a fuller blog tomorrow morning....have a great Friday.

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It's one for the money....

Sixty-nine years ago today, Carl Perkins was born in Tiptonville TN. It could be argued that Perkins was the greatest influence on the The Beatles, as John Lennon and George Harrison were both not only big fans, but imitators of his style...especially in the early days. In fact his style and influence far out weighed his actual chart action, but you cannot say, "Rockabilly" without thinking of Carl Perkins....I can't decide which video to play, and such a cast of players along with him....so I'll play em' all....happy Saturday everyone!

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Valentine's Day: The Beatles--All You Need Is Love (1968)

Nothing much else to say today....but do something for the special someone today....Happy Valentine's Day.

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Forgotten Artist: Arthur Alexander

Arthur Alexander is one of the many examples of someone who had the musical skills to make it, but through mismanagement and just plain bad luck never achieved the success due him. He wrote songs that were covered by many artists such as The Beatles, Stones, Hollies, but basically sold the rights to his songs without realizing the consequences. (Many artists in the 50's an 60's suffered the same fate). His abilities vocally were such that his first major record company really had no idea what to do with him and so attempted to peg him as a pop star. On listening to his material now, it's easy to see that he was a master at the R&B ballad that had a solid country feel to it. Am not sure what the guys at Dot Records were thinking, but he never truly was given the chance to show his best with a major label. (However, check out ALL of his material on Judd Records)

In the mid 70's he finally tired of it all and went to driving a bus which is what he did until the early 90's when he made a very solid comeback album, "Lonely Like Me". He signed a recording/publishing contract in May of 93 and put together a new band. It seemed as if he was finally being recognized for his songwriting/vocal abilities. Before it could really get started however, he died in June of that year of a heart attack, being just 53.

It's very difficult to pick just three out of his songbook, the quality of his work was that strong. The first one is his first recorded single. "Sally Sue Brown". It is listed under "June" (as in Junior) Alexander...it is a very strong debut and it's easy to see what the folks at Dot could envision.

The next song is "You Better Move On", which was his highest charting hit (#24-US pop) in the spring of 1962. Artists from The Beatles, to George Jones covered this one.

He only had four songs that charted, three of them in 1962. In a last attempt for success he signed with Buddah records and recorded, "Every Day I Have To Cry Some" which reached #45 in the fall of 1975.

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Today in History: I Want To Hold Your Hand (1964)

Like many things in my early childhood, the time is foggy and the circumstances surrounding it murky. All I remember for sure is somewhere between 1966 and 67, my mom presented me with a 45rpm record of my very own. Am supposing upon reflection it was a gift to christen my new box record player. For those of you way to young to remember, it was truly in the shape of a box with the front having a mesh cover that hid the one tinny speaker. You could also close the lid and latch it for easy carrying, and the needles had a habit of breaking all of the time (probably from carrying it around..)

It's funny now to think of it because my mom's idea of Rock and Roll was Elvis and she really didn't like him all that much. We won't discuss what she (or my dad) thought of Little Richard or Chuck Berry. Anyway, someone had to have tipped her off to not only the Beatles, but to get me this specific record (I don't know who you are, but am eternally grateful). Carefully placing the record on the turntable and plopping the needle on the record (probably another reason for so many needles), the most beautiful music to my ears came out. The guitars!! The voices!! The falsettos!!

I had to play it again and again and again. The record was "I Want To Hold Your Hand" and although it had been a hit for several years and they had matured far beyond that particular recording, the fascination and love for The Beatles was born. Also instilled as time went on was a deep and abiding love for music in general as not only a hobby, but as a profession as well.

On this day, January 18, 1964, This song made it's US chart debut just 10 days after it's release opening at #45. It went on to spend 7 weeks at #1 and began the revolution of Rock music.

 

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