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George Harrison
COPYRIGHT 4th Estate An imprint of HarperCollinsPublishers 1 London Bridge Street London SE1 9GF www.4thEstate.co.uk This eBook first published in Great Britain by 4th Estate in 2020 Copyright © Craig Brown 2020 Cover design by Jack Smyth Cover image © Michael Ochs Archives/Handout/Getty Images Craig Brown asserts the moral right to be identified as the author of this work A catalogue record for this book is available from the British Library All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins. Source ISBN: 9780008340001 Ebook Edition © April 2020 ISBN: 9780008340025 Version: 2020-03-11 DEDICATION For Frances, Silas, Tallulah and Tom EPIGRAPHS In five-score summers! All new eyes, New minds, new modes, new fools, new wise; New woes to weep, new joys to prize; With nothing left of me and you In that live century’s vivid view Beyond a pinch of dust or two; A century which, if not sublime, Will show, I doubt not, at its prime, A scope above this blinkered time. From ‘1967’, by Thomas Hardy (written in 1867) ‘What a remarkable fifty years they -
Gene Pitney, 1940-2006
10 Grapevine GRAPELEAVES Gene Pitney, 1940-2006 Singer/songwriter and News & notes: The James Gang rides Yoakam and others... There are two new Rock And Roll Hall Of again! For the first time in 35 years James titles in Music Video Distributors’ Under Fame member (2002), Gang members Joe Walsh, Jim Fox, and Review series, Velvet Underground, Gene Francis Allan Dale Peters will tour together. The first Under Review and Captain Beefheart, Pitney, age 66, died show kicks off Aug. 9 at Colorado’s Red Under Review. Each DVD features rare unexpectedly of natural Rocks Amphitheatre. Complete tour date performances and interviews along with causes in his Hilton info is available at jamesgang commentary and criticism from band Hotel room April 5, ridesagain.com... This spring will find members and music writers... Other 2006, in Cardiff, Wales. another band on the road for the first time recent DVD releases include Judas He was midway through in many years. Seattle’s Alice In Chains Priest, Live Vengeance ’82. This 17-song www.goldminemag.com GOLDMINE #673 May 12, 2006 • GOLDMINE #673 May www.goldminemag.com a 23-city United members Jerry Cantrell, Mike Inez, and set features the band’s 1982 Memphis, Kingdom tour; he had Sean Kinney haven’t toured together as a Tenn., show ripping out fan faves such just played Cardiff’s St. band since 1996. A re-linked Chains will as “The Hellion/Electric Eye,” “Heading David’s Hall and was hit the stage May 26 at Lisbon, Portugal’s Out To The Highway” and “Hell Bent scheduled to perform Super Bock Festival. -
Post-World War II Jazz in Britain: Venues and Values 19451970
University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Society and Culture Post-World War II Jazz in Britain: Venues and Values 19451970 Williams, KA http://hdl.handle.net/10026.1/4429 10.1558/jazz.v7i1.113 Jazz Research Journal Equinox Publishing All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. [JRJ 7.1 (2013) 113-131] (print) ISSN 1753-8637 doi:10.1558/jazz.v7i1.113 (online) ISSN 1753-8645 Post-World War II Jazz in Britain: Venues and Values 1945–1970 Katherine Williams Department of Music, Plymouth University [email protected] Abstract This article explores the ways in which jazz was presented and mediated through venue in post-World War II London. During this period, jazz was presented in a variety of ways in different venues, on four of which I focus: New Orleans-style jazz commonly performed for the same audiences in Rhythm Clubs and in concert halls (as shown by George Webb’s Dixielanders at the Red Barn public house and the King’s Hall); clubs hosting different styles of jazz on different nights of the week that brought in different audiences (such as the 100 Club on Oxford Street); clubs with a fixed stylistic ideology that changed venue, taking a regular fan base and musicians to different locations (such as Ronnie Scott’s Jazz Club); and jazz in theatres (such as the Little Theatre Club and Mike West- brook’s compositions for performance in the Mermaid Theatre). -
Dec. 22, 2015 Snd. Tech. Album Arch
SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London. -
The Relationship Between Fame and Fortune in Performance Related Careers with A
International Journal of Health and Economic Development, 6(2), 36-46, July 2020 36 The Relationship between Fame and Fortune in Performance Related Careers with a Shorter Life Expectancy due to Accidents, Addiction, Homicide and Suicide S. Eric Anderson, Ginny Sim La Sierra University, Riverside, California, USA [email protected] Abstract Around 92% of the US population dies from natural causes. However, only 49% of famous musician stars die from natural causes resulting in performance related careers being one of the most dangerous professions in the United States. According to this study, musicians were 20 times more likely to die from an addiction, four times more likely to die from an accident, six times more likely to die of homicide and four times more likely to die of suicide than the general population. Why do dangerous profession lists fail to include musicians in the high risk career list categories? It is not the profession that is dangerous, but primarily the personality type gravitating towards the profession that creates risk. Should certain personality types be directed to non-performance related careers? Probably not, since performing on stage may be a more effective intervention than psychiatric treatment. Keywords: Accidents, Alcohol, Anxiety, depression, homicide, musicians and suicide. Introduction Is there a relationship between fame in performance related careers with the shorter life expectancy due to accidents, drug overdose, homicide and suicide? The number of musicians, Elvis Presley, Janis Joplin, Jimi Hendrix, Keith Moon, Sid Vicious, Kurt Cobain, Amy International Journal of Health and Economic Development, 6(2), 36-46, July 2020 37 Winehouse, Michael Jackson, Whitney Houston and Prince who died of addiction is staggering. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
Varsity Jazz
Varsity Jazz Jazz at Reading University 1951 - 1984 By Trevor Bannister 1 VARSITY JAZZ Jazz at Reading University 1951 represented an important year for Reading University and for Reading’s local jazz scene. The appearance of Humphrey Lyttelton’s Band at the University Rag Ball, held at the Town Hall on 28th February, marked the first time a true product of the Revivalist jazz movement had played in the town. That it should be the Lyttelton band, Britain’s pre-eminent group of the time, led by the ex-Etonian and Grenadier Guardsman, Humphrey Lyttelton, made the event doubly important. Barely three days later, on 3rd March, the University Rag Committee presented a second event at the Town Hall. The Jazz Jamboree featured the Magnolia Jazz Band led by another trumpeter fast making a name for himself, the colourful Mick Mulligan. It would be the first of his many visits to Reading. Denny Dyson provided the vocals and the Yew Tree Jazz Band were on hand for interval support. There is no further mention of jazz activity at the university in the pages of the Reading Standard until 1956, when the clarinettist Sid Phillips led his acclaimed touring and broadcasting band on stage at the Town Hall for the Rag Ball on 25th February, supported by Len Lacy and His Sweet Band. Considering the intense animosity between the respective followers of traditional and modern jazz, which sometimes reached venomous extremes, the Rag Committee took a brave decision in 1958 to book exponents of the opposing schools. The Rag Ball at the Olympia Ballroom on 20th February, saw Ken Colyer’s Jazz Band, which followed the zealous path of its leader in keeping rigidly to the disciplines of New Orleans jazz, sharing the stage with the much cooler and sophisticated sounds of a quartet led by Tommy Whittle, a tenor saxophonist noted for his work with the Ted Heath Orchestra. -
Bargain Blues
100% unofficial newsletter for P&O Blues Cruises Bargain Blues – book now! Those of you who keep a close eye on our ‘Blues@Sea’ Facebook Page will be aware that last month there was a sudden, unannounced, increase by P&O in the price of the November Blues Revue. This decision was reversed with the alert that the £99 price may well increase on Tuesday 19th September. DON’T DELAY!!!! Phone 0800 130 0030 (Currently there are almost 250 ‘cruisers’ signed up) 5-4-3-2-1 (Countdown for Kaz) For many years it’s been the ultimate accolade for UK blues artists to appear on the Paul Jones BBC Radio 2 Blues Show. In this edition (which focusses primarily on the great ‘Swamp Blues’ harpist Slim Harpo) a Kaz Hawkins track is featured. Kaz is at the start of her final tour with this fabulous multi-national band – ‘Cruisers’, of course, get two ‘bites at the cherry’ in November. This programme is well worth a listen - http://www.bbc.co.uk/programmes/b09039ny Ciao! Perhaps the least well known ‘Blues Revue’ act (to UK fans at least) is Veronica Sbergia & Max De Bernardi (Italy)…but that’s about to change. They swept to victory in the 2013 European Blues Challenge (as ‘The Red Wine Serenaders) and since then have performed across the Continent with their country blues and ragtime, hokum, jug band and rural music from the 20’s and 30’s. Veronica and Max who use strictly acoustic instruments such ukulele, washboard, kazoo and resophonic guitars, are terrific musicians and a lot-of-fun! Check-them-out on this video - https://www.youtube.com/watch?v=nj1rWJBuUJI Out of the studio into the Spinning Top! Norman Beaker and his band seem to be constantly on the road …particularly on Mainland Europe. -
Smash Hits Volume 60
35p USA $1 75 March I9-April 1 1981 W I including MIND OFATOY RESPECTABLE STREE CAR TROUBLE TOYAH _ TALKING HEADS in colour FREEEZ/LINX BEGGAR &CO , <0$& Of A Toy Mar 19-Apr 1 1981 Vol. 3 No. 6 By Visage on Polydor Records My painted face is chipped and cracked My mind seems to fade too fast ^Pg?TF^U=iS Clutching straws, sinking slow Nothing less, nothing less A puppet's motion 's controlled by a string By a stranger I've never met A nod ofthe head and a pull of the thread on. Play it I Go again. Don't mind me. just work here. I don't know. Soon as a free I can't say no, can't say no flexi-disc comes along, does anyone want to know the poor old intro column? Oh, no. Know what they call me round here? Do you know? The flannel panel! The When a child throws down a toy (when child) humiliation, my dears, would be the finish of a more sensitive column. When I was new you wanted me (down me) Well, I can see you're busy so I won't waste your time. I don't suppose I can drag Now I'm old you no longer see you away from that blessed record long enough to interest you in the Ritchie (now see) me Blackmore Story or part one of our close up on the individual members of The Jam When a child throws down a toy (when toy) (and Mark Ellen worked so hard), never mind our survey of the British funk scene. -
Early Blues Bibliography
EARLY BLUES BIBLIOGRAPHY In any selection of books the choice must inevitably be subjective as to what to include or exclude. This selection has ommitted some choices that other might have included. Also there are many articles, periodicals and magazines that provide information for the researcher that cannot be included here but are, perhaps, in Robert Ford's 'Blues Bibliography' or Edward Komara's '100 Books Every Blues Fan Should Have'. This selection is based very much on my own collection of books found in markets, second hand book shops but more recently through Amazon and the web site 'Abe Books' Many books are out of print, have reached the third, fourth or later edition but details are included here that will allow the collector to locate and purchase their own choice. I have not sought to comment on the accuracy, usefulness or expertise of each publication and care should be taken on choice of purchase as many are price inflated when a little more research will lead to better value for money. Where possible I have tended to provide details of hard cover books but many are also available in soft cover at a much reduced price. It should also be remembered that any list such as this is out of date the moment that it is produced. New books are regularly published. The University Presses of America provide a sound source of academic work under the general priciple of 'Publish or Perish' which reflects the wide range of books from the very simple history to the in depth difficult to read study of an aspect of my favourite genre of music - The Blues. -
Giving America Back the Blues
GIVING AMERICA BACK THE BLUES OVERVIEW ESSENTIAL QUESTION How did the early Rolling Stones help popularize the Blues? OVERVIEW The Rolling Stones ultimately made their mark as the nonconformist outlaws of Rock and Roll. But before they were bad boys, the Stones were missionaries of the Blues. The young Rolling Stones — Mick Jagger, Keith Richards, Brian Jones, Charlie Watts, and Bill Wyman — were white kids who hailed from working- and middle-class Britain and set out to play American music, primarily that of African Americans with roots in the South. In so doing, they helped bring this music to a new, largely white audience, both in Britain and the United States. The young men who formed the Rolling Stones emerged from the club scene fostered by British Blues pioneers Cyril Davies and Alexis Korner. These two men and their band, Blues Incorporated, helped popularize the American Blues, whose raw intensity resonated with a generation of Britons who had grown up in the shadow of war, death, the Blitz, postwar rationing, and the hardening of the Cold War standoff. Much of the Stones’ early work consisted of faithful covers of American Blues artists that Davies, Korner, and the Stones venerated: Muddy Waters, Howlin’ Wolf, Slim Harpo, Jimmy Reed. The early Stones in particular helped make the Blues wildly popular among young Britons. As the Stones’ fame grew and they became part of the mid-1960s British “invasion” of America, they also reintroduced the Blues to American listeners, most notably young, white audiences with limited exposure to the music. But almost from day one, the Stones were more than a Blues cover band. -
0 Well, That Didn't Go to Plan. General Election
0 Well, that didn’t go to plan. General election reflections: Simon Hughes, Nick Harvey, Liz Barker, Tony Greaves and more 0 All the presidents’ answers - Mark Pack 0 How we did Unite to Remain - Peter Dunphy Issue 399 - February 2020 £ 4 Issue 399 February 2020 SUBSCRIBE! CONTENTS Liberator magazine is published six/seven times per year. Subscribe for only £25 (£30 overseas) per year. Commentary.............................................................................................3 You can subscribe or renew online using PayPal at Radical Bulletin .........................................................................................4..7 our website: www.liberator.org.uk THE HORROR SHOW SEEN FROM OUTSIDE ..................................8..9 Professional roles meant Simon Hughes had to spend the general election campaign on Or send a cheque (UK banks only), payable to the sidelines for the first time in decades. What he saw of the Lib Dems alarmed him “Liberator Publications”, together with your name and full postal address, to: EIGHT ERRORS AND COUNTING ....................................................10..11 The Liberal Democrats got a lot wrong in the 2019 general election, many of them repeated mistakes never learnt from, says Nick Harvey Liberator Publications Flat 1, 24 Alexandra Grove LED BY DONKEYS ................................................................................12..13 London N4 2LF The general election saw the Liberal Democrats fail to find messages that resonated England with voters, and the campaign