Nowag Music Collection

Total Page:16

File Type:pdf, Size:1020Kb

Nowag Music Collection Nowag Music Collection Processed by Alessandro Secino 2015 Memphis and Shelby County Room Memphis Public Library and Information Center 3030 Poplar Avenue Memphis, TN 38111 Nowag Music Collection Historical Sketch The Nowag-Williams talent agency operated during a time when the Memphis music scene was undergoing drastic changes. In 1975 Stax Records, a staple of the Memphis music industry, shut down. Two years later Elvis Presley was dead. It seemed that the bedrock of the Memphis music scene was being torn up during the late ‘70s. Disco, Punk, and Hip-Hop replaced the sounds of Blues, Soul, and Rock n’ Roll music across the country. Despite these changes in the Memphis music scene, Craig Nowag and his partner Bubba Williams, through the Nowag-Williams talent agency, kept the faltering music industry in Memphis going strong during a period of changing tastes and styles. The Nowag-Williams agency represented artists from all over the South, including bands such as Good Question, Delta, Joyce Cobb, Montage, and countless others. Between 1975 and 1978 the Nowag-Williams agency split, and Craig Nowag formed Craig Nowag’s National Artist Attractions. Nowag was widely respected in the music industry and was responsible for organizing the Pinebluff Freedom Festival, Graceland Nostalgia Festival, and performance deals with Sam’s Town Casino in Tunica Mississippi. Nowag was also enlisted to organize events for the Murfreesboro Chamber of Commerce, and the Arkansas Department of Parks & Tourism. One of Nowag’s more notable clients was British singer Peter Noone, formerly the lead of Herman’s Hermits, a band that was a big part of the British Invasion in the 1960s. While he was not the biggest name in the Memphis music industry, Nowag was still a major player in southern music through the 1980s, 1990s and into the 2000s. He worked up until his death in 2005 at age 57. Craig Nowag’s career reflects the thriving Memphis music scene; his company was a fixture in Memphis for over 30 years. Nowag represented acts that ranged from hard rock to power pop and he was always able to find venues for his clients and artists. Nowag’s collection provides insight into his life, but it is also emblematic of the music in Memphis over the last three decades. Nowag was able to adapt and survive just the same way that the rich musical culture in the bluff city has since the 1970s. 2 Nowag Music Collection Scope and Contents Comprising one half of a linear foot, this collection contains a behind the scenes glimpse into the music industry in Memphis from the 1970s to the early 2000s. The donor of this collection is unknown. The Nowag Music Collection contains primarily photographs of various bands that Craig Nowag represented in his career at Nowag-Williams. Also included in the collection are song lists, performance contracts, contract riders, personal letters, and press packets from Nowag’s National Artist Attractions. This collection illuminates the business side of the Memphis music industry over the last thirty years, all the while shedding light on the musicians and agents that helped put Memphis music on the map. For further research on Memphis music, see the Jerry Lee Lewis Collection, Memphis Symphony Orchestra Collection, and the FreeWorld Collection, all of which are similar in content and theme about the industry side of Memphis music. Single Photocopies or scans of unpublished writing in these papers may be made for purposes of scholarly research Memphis and Shelby Country Room rights statement While the Memphis Public Library & Information Center may house an item, it does not necessarily hold the copyright on the item, nor may it be able to determine if the item is still protected under current copyright law. Users are solely responsible for determining the existence of such instances and for obtaining any other permissions and paying associated fees that may be necessary for the intended use. Any images from the library’s collection published in any form must cite as the source: Memphis and Shelby County Room, Memphis Public Library & Information Center. For All requests, please contact the History Department at 901.415.2742 or [email protected]. 3 Nowag Music Collection Container List Box Number Folder Number Folder Name 1 1 Business Records & Correspondence (1 of 2) 1 2 Business Records & Correspondence (2 of 2) 1 3 Peter Noone 1 4 Band Photos & Song Lists (1 of 4) 1 5 Band Photos & Song Lists (2 of 4) 1 6 Band Photos & Song Lists (3 of 4) 1 7 Band Photos & Song Lists (4 of 4) 1 8 Memphis Star magazine 4 Nowag Music Collection Box Number Folder Name Number of Items Description of Contents 1 Business Records & 18 Contains contracts for Correspondence performances, letters regarding various performances, and contract riders for several bands and venues. 1 Business Records & 22 Includes programs Correspondence promoting bands, festival schedules, contracts for those performances, and contract riders for bands and venues. 1 Peter Noone 6 Comprised of a photo of Peter Noone, his general contract rider, sound and lighting rider, press packet, and reviews. 1 Band Photos & Song 20 Includes photographs of Lists bands from the 1970s onward, and song lists for those bands. 1 Band Photos & Song 24 Contains photographs Lists of bands from the 1970s onward, and song lists for those bands. Also newspaper articles on specific bands. 1 Band Photos & Song 21 Photographs of bands Lists and song lists, and press pages for bands’ promotions. 1 Band Photos & Song 20 Contains photographs Lists of various bands, song lists, and press pages for promotional purposes. 1 Memphis Star 1 Memphis Star: The Magazine: Voice of Memphis Music Vol. VIII No. 1 July 1988 5 6 7 .
Recommended publications
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • Course Outline and Syllabus the Fab Four and the Stones: How America Surrendered to the Advance Guard of the British Invasion
    Course Outline and Syllabus The Fab Four and the Stones: How America surrendered to the advance guard of the British Invasion. This six-week course takes a closer look at the music that inspired these bands, their roots-based influences, and their output of inspired work that was created in the 1960’s. Topics include: The early days, 1960-62: London, Liverpool and Hamburg: Importing rhythm and blues and rockabilly from the States…real rock and roll bands—what a concept! Watch out, world! The heady days of 1963: Don’t look now, but these guys just might be more than great cover bands…and they are becoming very popular…Beatlemania takes off. We can write songs; 1964: the rock and roll band as a creative force. John and Paul, their yin and yang-like personal and musical differences fueling their creative tension, discover that two heads are better than one. The Stones, meanwhile, keep cranking out covers, and plot their conquest of America, one riff at a time. The middle periods, 1965-66: For the boys from Liverpool, waves of brilliant albums that will last forever—every cut a memorable, sing-along winner. While for the Londoners, an artistic breakthrough with their first all--original record. Mick and Keith’s tempestuous relationship pushes away band founder Brian Jones; the Stones are established as a force in the music world. Prisoners of their own success, 1967-68: How their popularity drove them to great heights—and lowered them to awful depths. It’s a long way from three chords and a cloud of dust.
    [Show full text]
  • The White Animals
    The 5outh 'r Greatert Party Band Playr Again: Narhville 'r Legendary White AniMalr Reunite to 5old-0ut Crowdr By Elaine McArdle t's 10 p.m. on a sweltering summer n. ight in Nashville and standing room only at the renowned Exit/In bar, where the crowd - a bizarre mix of mid­ Idle-aged frat rats and former punk rockers - is in a frenzy. Some drove a day or more to get here, from Florida or Arizona or North Carolina. Others flew in from New York or California, even the Virgin Islands. One group of fans chartered a jet from Mobile, Ala. With scores of people turned away at the door, the 500 people crushed into the club begin shouting song titles before the music even starts. "The White Animals are baaaaaaack!" bellows one wild-eyed thirty­ something, who appears mainstream in his khaki shorts and docksiders - until you notice he reeks of patchouli oil and is dripping in silver-and-purple mardi gras beads, the ornament of choice for White Animals fans. Next to him, a mortgage banker named Scott Brown says he saw the White Animals play at least 20 times when he was an undergrad at the University of Tennessee. He wouldn't have missed this long-overdue reunion - he saw both the Friday and Saturday shows - for a residential closing on Mar-A-Lago. Lead singer Kevin Gray, a one-time medical student who dropped his stud­ ies in 1978 to work in the band fulltime, steps onto the stage and peers out into the audience, recognizing faces he hasn't seen in more than a decade.
    [Show full text]
  • Is Rock Music in Decline? a Business Perspective
    Jose Dailos Cabrera Laasanen Is Rock Music in Decline? A Business Perspective Helsinki Metropolia University of Applied Sciences Bachelor of Business Administration International Business and Logistics 1405484 22nd March 2018 Abstract Author(s) Jose Dailos Cabrera Laasanen Title Is Rock Music in Decline? A Business Perspective Number of Pages 45 Date 22.03.2018 Degree Bachelor of Business Administration Degree Programme International Business and Logistics Instructor(s) Michael Keaney, Senior Lecturer Rock music has great importance in the recent history of human kind, and it is interesting to understand the reasons of its de- cline, if it actually exists. Its legacy will never disappear, and it will always be a great influence for new artists but is important to find out the reasons why it has become what it is in now, and what is the expected future for the genre. This project is going to be focused on the analysis of some im- portant business aspects related with rock music and its de- cline, if exists. The collapse of Gibson guitars will be analyzed, because if rock music is in decline, then the collapse of Gibson is a good evidence of this. Also, the performance of independ- ent and major record labels through history will be analyzed to understand better the health state of the genre. The same with music festivals that today seem to be increasing their popularity at the expense of smaller types of live-music events. Keywords Rock, music, legacy, influence, artists, reasons, expected, fu- ture, genre, analysis, business, collapse,
    [Show full text]
  • The Music (And More) 2019 Quarter 3 Report
    The Music (and More) 2019 Quarter 3 Report Report covers the time period of July 1st to Kieran Robbins & Chief - "Sway" [glam rock] September 30th, 2019. I inadvertently missed Troy a few before that time period, which were brought to my attention by fans, bands & Moriah Formica - "I Don't Care What You others. The missing are listed at the end, along with an Think" (single) [hard rock] Albany End Note… Nine Votes Short - "NVS: 09/03/2019" [punk rock] RECORDINGS: Albany Hard Rock / Metal / Punk Psychomanteum - "Mortal Extremis" (single track) Attica - "Resurected" (EP) [hardcore metal] Albany [thrash prog metal industrial] Albany Between Now and Forever - "Happy" (single - Silversyde - "In The Dark" [christian gospel hard rock] Mudvayne cover) [melodic metal rock] Albany Troy/Toledo OH Black Electric - "Black Electric" [heavy stoner blues rock] Scotchka - "Back on the Liquor" | "Save" (single tracks) Voorheesville [emo pop punk] Albany Blood Blood Blood - "Stranglers” (single) [darkwave Somewhere To Call Home - "Somewhere To Call Home" horror synthpunk] Troy [nu-metalcore] Albany Broken Field Runner – "Lay My Head Down" [emo pop Untaymed - "Lady" (single track) [british hard rock] punk] Albany / LA Colonie Brookline - "Live From the Bunker - Acoustic" (EP) We’re History - "We’re History" | "Pop Tarts" - [acoustic pop-punk alt rock] Greenwich "Avalanche" (singles) [punk rock pop] Saratoga Springs Candy Ambulance - "Traumantic" [alternative grunge Wet Specimens - "Haunted Flesh" (EP) [hardcore punk] rock] Saratoga Springs Albany Craig Relyea - "Between the Rain" (single track) Rock / Pop [modern post-rock] Schenectady Achille - "Superman (A Song for Mora)" (single) [alternative pop rock] Albany Dead-Lift - "Take It or Leave It" (single) [metal hard rock fusion] Schenectady Caramel Snow - "Wheels Are Meant To Roll Away" (single track) [shoegaze dreampop] Delmar Deep Slut - "u up?" (3-song) [punk slutcore rap] Albany Cassandra Kubinski - "DREAMS (feat.
    [Show full text]
  • De Eindeloze Jaren Zestig
    De eindeloze jaren zestig Geschiedenis van een generatieconflict Hans Righart bron Hans Righart, De eindeloze jaren zestig. Geschiedenis van een generatieconflict. Uitgeverij De Arbeiderspers, Amsterdam Antwerpen 1995 Zie voor verantwoording: http://www.dbnl.org/tekst/righ002eind01_01/colofon.htm © 2008 dbnl / erven Hans Righart 9 Woord vooraf De jaren zestig boeien mij om twee redenen. De eerste is beroepsmatig: als historicus zoek ik de verklaring voor een breuk die Nederland waarschijnlijk ingrijpender veranderde dan de Tweede Wereldoorlog heeft gedaan. Veel van wat we anno 1995 als heel vanzelfsprekend beschouwen, vindt zijn oorsprong in de jaren zestig. De openheid waarmee we tegenwoordig over seks praten, de egalitaire manier waarop kinderen met hun ouders omgaan, de democratisering van ooit onaantastbare gezagsverhoudingen op school, werk en universiteit, de alomtegenwoordigheid van popmuziek, dit alles en nog veel meer valt terug te voeren tot de jaren zestig. In zekere zin zijn de jaren zestig nog altijd niet afgelopen; de mythe duurt voort en de culturele nabijheid. van een tijdperk dat al ruim een kwarteeuw achter ons ligt, is opmerkelijk. Of de erfenis van het mythische decennium in alle opzichten positief te waarderen valt, is een vraag waarop dit boek geen antwoord geeft. Toen ik er een paar jaar geleden aan begon, wilde ik in de eerste plaats weten waar de jaren zestig vandaan kwamen. Hoe moeten we deze samenballing van vernieuwing en verandering verklaren? Op die vraag heeft, voor zover ik weet, nog niemand een bevredigend antwoord gegeven, en dit boek wil een eerste poging daartoe zijn. De tweede reden voor mijn fascinatie is gelegen in mijn persoonlijke biografie.
    [Show full text]
  • Music History Lecture Notes Modern Rock 1960 - Today
    Music History Lecture Notes Modern Rock 1960 - Today This presentation is intended for the use of current students in Mr. Duckworth’s Music History course as a study aid. Any other use is strictly forbidden. Copyright, Ryan Duckworth 2010 Images used for educational purposes under the TEACH Act (Technology, Education and Copyright Harmonization Act of 2002). All copyrights belong to their respective copyright holders, • Rock’s classic act The Beatles • 1957 John Lennon meets Paul McCartney, asks Paul to join his band - The Quarry Men • George Harrison joins at end of year - Johnny and the Moondogs The Beatles • New drummer Pete Best - The Silver Beetles • Ringo Star joins - The Beatles • June 6, 1962 - audition for producer George Martin • April 10, 1970 - McCartney announces the group has disbanded Beatles, Popularity and Drugs • Crowds would drown of the band at concerts • Dylan turned the Beatles on to marijuana • Lennon “discovers” acid when a friend spikes his drink • Drugs actively shaped their music – alcohol & speed - 1964 – marijuana - 1966 – acid - Sgt. Pepper and Magical Mystery tour – heroin in last years Beatles and the Recording Process • First studio band – used cutting-edge technology – recordings difficult or impossible to reproduce live • Use of over-dubbing • Gave credibility to rock albums (v. singles) • Incredible musical evolution – “no group changed so much in so short a time” - Campbell Four Phases of the Beatles • Beatlemania - 1962-1964 • Dylan inspired seriousness - 1965-1966 • Psychedelia - 1966-1967 • Return to roots - 1968-1970 Beatlemania • September 1962 – “Love me Do” • 1964 - “Ticket to Ride” • October 1963 – I Want To Hold your Hand • Best example • “Yesterday” written Jan.
    [Show full text]
  • Travis Larson Band Travis Larson Band Travis Larson Band Travis Larson Band Travis Larson Band Travis Larson Band S S E R P S S E R P S S E R P S S E R P R P S Q a F
    TRAVIS LARSON BAND TRAVIS LARSON BAND TRAVIS LARSON BAND TRAVIS LARSON BAND TRAVIS LARSON BAND TRAVIS LARSON BAND PRESS PRESS PRESS PRESS PR FAQS Travis Larson Band TRAVIS LARSON BAND TRAVIS LARSON BAND Guitar Player Magazine GP Editors' Top Three 2011 ES TRAVIS LARSON BAND Guitar Hero goes from tender to full throttle "Silky bends, sweet legato lines, and tuneful shred... instrumen- "...A smoking instrumental power trio...With tons of technique Burn Season (PRCN-1005) BURN SEASON Rockshow DVD SOUNDMIND (PRCN-1009) TRAVIS LARSON BAND Suspension tal rock fans should catch this guy." -Guitar Player Magazine to burn..." -Expose Magazine Precision Records (2004) Precision Records (2003) Itching for something that will sound as good Rock Show DVD Tracing the evolution of the rock guitar instrumentalist would probably start with Les Paul and S (Precision) Silky bends, sweet legato lines, and tuneful shred characterize Larson's playing speeding down the interstate as it does in your Guitar freaks Precision Records (PRCN-1004) move into the realm of the surf movement, the technical advances of Hendrix and Clapton, and “Melodically tasty, the playing is smoothly condent while "A lot of meat on the barbecue..." on these 12 cuts. Some stellar moments include the slick lines on the opener, home stereo system? Look no further than Burn Guitarist/keyboardist Travis Larson has a bit of Steve Morse have a new then into more modern axe grinders like Eric Johnson and Joe Satriani. Add to the stack a cat technically brilliant, and production is so sonically crisp the -Axe Magazine "Nevermore," the swooping whammy work on "Down on Victory," and the Season, the third studio album from the Travis sensibility to his technically nimble melodic/harmonic guitar work, With the release of their second full length CD Suspension, The Travis named Travis Larson, and you have yourself the ultimate guitar solo experience.
    [Show full text]
  • Liz Phair the Poptimist by Carrie Courogen
    Liz Phair the Poptimist By Carrie Courogen HE EARLY AUGHTS WEREN'T exactly a medic}. landscape that Tendeared itself to my parents. It was the heyday of Total Request Live, when Britney became a ~'bad girl" and Christina joined her, when Hilary Duff turned her TV starpower into a music career, and Jessica Simpson turned her music career-into a TV show. Our TV was enforced by parental controls, and once Britney held that snake, my music television access was·limited to VHl, whose programming was heavy on aging seventies rock stars' safe, adult contemporary output and not much else. MTV had to be consumed in bits and pieces, after school a( friends' houses or sleepovers. It was during one of those covert viewings that I heard Liz Phair's "Extraordinary" for the first time. It felt like a revelation. ' . , h d fl t rodamation of Ph airs confidence was infectious; er e an P b · · · essage I'd yet to emg flawed but still spectacular was a nveting m re · c. • d and I consumed as ceive from a song. Toe pop music my inen s . • I5 tw l . 1h closest thing gir e Ve-year-olds lacked this sort of fe~hng. e . 5 Kelly our h . h at the tiOle wa age ad to an empowerment ant em . usic was Clarkso , " " B t Clarkson, whose Ill d ns Miss Independent. u as Iaunche fizzy . Her career w . and fun, was a reality show winner. · ) and call-in in p Of thern rnen art by a panel of three judges (two .
    [Show full text]
  • Everett Rock Band/Musician List "T" Last Update: 6/28/2020
    Everett Rock Band/Musician List "T" Last Update: 6/28/2020 "T" List for Bands/Musicians Genre* From & Genre 311 R Los Angeles, CA Rock 322 J Seattle Jazz 322 J Seattle Jazz 10 Cent Monkey Pk R Clinton Punk / Rock / Alternative 10 Killing Hands E P R Bellingham's Electro / Pop / Rock 12 Gauge Pump H Everett Hip Hop 12 Stones R Al Mandeville, LA Rock / Alternative 12th Fret Band CR Snohomish Classic Rock 13 MAG M R Spokane Metal / Hard Rock 13 Scars R Pk Tacoma Rock / Punk 13th & Nowhere R Everett Rock 2 Big 2 Spank CR Carnation Classic Rock / Rock / Rockabilly 2 Guys And A Broad B R C Everett Blues / Rock / Country 2 Libras E R Seattle Electronic Rock 20 Riverside H J Fk Everett Jazz / Hip Hop / Funk 20 Sting Band F Bellingham's Folk / Bluegrass / Roots Music 20/20 A Cappella Ac Ellensburg A Cappella 206 A$$A$$IN H Rp Seattle Hip Hop / Rap 20sicem H Seattle Hip Hop 21 Guns: Seattle's Tribute to Green Day Al R Seattle Alternative Rock 2112 (Rush Tribute) Pr CR R Lakewood Progressive / Classic Rock / Rock 21feet R Seattle Rock 21st & Broadway R Pk Sk Ra Everett/Seattle Rock / Punk / Ska / Reggae 22 Kings Am F R San Diego, CA Americana / Folk-Rock 24 Madison Fk B RB Local Rock, Funk, Blues, Motown, Jazz, Soul, RnB, Folk 25th & State R Everett Rock 29A R Seattle Rock 2KLIX Hc South Seattle Hardcore 3 Doors Down R Escatawpa, Mississippi Rock 3 INCH MAX Al R Pk Seattle's Alternative / Rock / Punk 3 Miles High R P CR Everett Rock / Pop / Classic Rock 3 Play Ricochet BG B C J Seattle bluegrass, ragtime, old-time, blues, country, jazz 3 PM TRIO
    [Show full text]
  • Please Do Not Take the Cabaret Book. You May Download a Complete Copy At: Ben Mackel, Hunter Brown, Eric Scott Anthony, John Bronston
    Richard Hopkins, Producing Artistic Director Please do not take the Cabaret Book. You may download a complete copy at: www.floridastudiotheatre.org Ben Mackel, Hunter Brown, Eric Scott Anthony, John Bronston. Photo by Matthew Holler. Holler. Matthew by Photo Bronston. John Anthony, Eric Scott Brown, Hunter Ben Mackel, Table of Contents What is Cabaret?, page 3 A brief history of the artform. The British Invasion, pages 4-5 Learn about how the artists of the era took the music industry by storm. Timeline of Events, pages 6-7 Learn about the major events that occured throughout the 1960s and 1970s that influenced the music culture. Artists of the Era, pages 8-11 Some of the top recording solo artists and groups during the 60s and 70s. What’s Behind The Songs?, page 12 Every song has a story behind it. Find out some fun facts on how the songs of this era were written. Hunter Brown. Photo by Matthew Holler. 2 What is Cabaret? It began in Paris on November 18, 1881, the year in which the first and most famous cabaret of all, the Chat Noir (Black Cat), was established. Paris, during what the French like to call the Belle Epoque, was the cultural capital of Europe; the mecca of the arts to which admirers and young hopefuls flocked from one end of Europe to the other, and indeed from still farther away. If something caught on in Paris, the immense reputation of the city as the source of fashion and innovation ensured its rapid diffusion across the continent and beyond.
    [Show full text]
  • 1 ALTERNATE TITLE JUNE 7, 1989: FILE to ALL AGENCIES Today
    ALTERNATE TITLE JUNE 7, 1989: FILE TO ALL AGENCIES Today was the day the Sixties finally ended. There was no big send-off, no grand ceremony, Just five or six people gathered in a lawyer’s office in downtown Los Angeles to sign a few legal documents – documents that formally wound up the career of a once-world famous entity known as The Beatles. And thus the Sixties were concluded, because if a word can contain an entire decade of change and, dare it be said, revolution, then that word is “Beatles.” For the first time since their final performance at Live Aid in 1984, all four Beatles were present in one room at the same time: Davy Jones, Peter Tork, Mickey Dolenz and Mike Nesmith. It is not known if the atmosphere was frosty or convivial: no cameras or recording devices were present by request of the band’s manager since 1962, Brian Epstein. But, given the nature of remarks from all sides in recent months – and setting aside Nesmith’s somewhat spirited comments from the stage at Live Aid – it seems likely that the meeting was brief and relatively friendly. As Jones told reporters just before the band’s surprise 1980 appearance on Saturday Night Live, “We go back a long way.” But 1967 – the year the current incarnation of the band was formed - was a long time ago, and there have been as many spats as hits in that time. Famously, the split between the “entertainers” – Jones and Dolenz – and the “musicians” – Nesmith and Tork – had initially led to a conflict that was more creative than disruptive, with each member of the group spurred on to create their own vision for the Beatles, but in recent years, worsened perhaps by the treadmill of touring and the spectre of drug use, the Beatles had become little more than a sort of traveling Jukebox, churning out oldies no longer so golden to an audience that – like the band themselves – were more concerned about getting back to relieve the babysitter than partying like it was 1969.
    [Show full text]