British Beat & The U.S. Chart / 700 Albums (1964 - 2020)
Apr 29, 2023 0:16:55 GMT
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Post by petrolino on Apr 29, 2023 0:16:55 GMT
đȘ "Let There Be Drums" : Rhythmic Pillars Of The British Beat Invasion đ„
{ ~ The Beatles, The Rolling Stones, The Hollies & The Kinks In The 1960s .... }
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01. Ringo Starr (born 7 July 1940, Liverpool, England) [The Beatles]
Ringo Starr perhaps wasn't the quickest drummer in the world, but he had a knack of always being able to find the right filler for every musical gap. He perfected "the Ringofill", a rarefied technique drummers have been trying to replicate ever since.
'âHeâs not a technical drummer. Men like Buddy Rich and Gene Krupa would run rings around him, but he is a good solid rock drummer with a steady beat, and he knows how to get the right sound out of his drums.â
Thatâs how Sir George Martin, the man who produced The Beatles into existence, summed up the magic of Ringoâs drumming genius. No, it wasnât technically perfect, but it had an intuitive soul that all truly great musicians have. So how did he do it?
Ringo would say that a lot of it has to do with simply being left handed in a right handed world.
Ringo was also known for âpaintingâ his hi-hat with an unorthodox swing. He swung his stick at a more horizontal angle, glancing back and forth off of the hi-hat. He would also aim to hit the middle of the stick, not the tip. The beauty of this technique is that he could add more sound without expending more energy, simply by adjusting the angle of his swing and how close to the tip he would hit. This technique is easy to spot in early hits like âI Saw Her Standing There.â
Then there are the signature Ringo fills. He had a go-to formula that he would turn to again and again, molding it to fit the song he was playing: (2x) sixteenth notes on the one beat > a sixteenth rest > four or five sixteenth notes ...
From âHey Jude,â right on through to the White Album and Abbey Road, Ringo found innovative ways to add this fill at the most opportune times. Take a listen to the fills in âHelter Skelterâ and youâll see what we mean.'
- Sweetwater, 'Ready, Set, Ringo : The Unique Sound Of Ringo Starr'
Thatâs how Sir George Martin, the man who produced The Beatles into existence, summed up the magic of Ringoâs drumming genius. No, it wasnât technically perfect, but it had an intuitive soul that all truly great musicians have. So how did he do it?
Ringo would say that a lot of it has to do with simply being left handed in a right handed world.
Ringo was also known for âpaintingâ his hi-hat with an unorthodox swing. He swung his stick at a more horizontal angle, glancing back and forth off of the hi-hat. He would also aim to hit the middle of the stick, not the tip. The beauty of this technique is that he could add more sound without expending more energy, simply by adjusting the angle of his swing and how close to the tip he would hit. This technique is easy to spot in early hits like âI Saw Her Standing There.â
Then there are the signature Ringo fills. He had a go-to formula that he would turn to again and again, molding it to fit the song he was playing: (2x) sixteenth notes on the one beat > a sixteenth rest > four or five sixteenth notes ...
From âHey Jude,â right on through to the White Album and Abbey Road, Ringo found innovative ways to add this fill at the most opportune times. Take a listen to the fills in âHelter Skelterâ and youâll see what we mean.'
- Sweetwater, 'Ready, Set, Ringo : The Unique Sound Of Ringo Starr'
The Beatles' music encompassed all the finer aspects of the Merseybeat sound. Their contemporaries on the Liverpool club scene included Gerry & The Pacemakers, The Searchers, The Merseybeats, The Swinging Blue Jeans, The Fourmost and The Undertakers.
"I had no schooling before I joined The Beatles and no schooling after The Beatles. Life is a great education.â
- Ringo Starr, Anthology
Drum Masterclass : 'Being For The Benefit Of Mr. Kite'
- Ringo Starr, Anthology
Drum Masterclass : 'Being For The Benefit Of Mr. Kite'
# The Beatles were inducted into the Rock and Roll Hall of Fame in 1988. All four main band members (John Lennon, Paul McCartney, George Harrison, Ringo Starr) were inducted into the Rock and Roll Hall of Fame individually between 1994 and 2015, making them 2-time Hall of Famers.
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02. Charlie Watts (born 2 June 1941, London, England) [The Rolling Stones]
The Rolling Stones were said to be "the bad boys" of English pop and rock and the antidote to Cliff Richard. Drummer Charlie Watts was a dapper jazzman with a great feel for the kit.
"Charlie Watts was born in London in 1941. His mother was a homemaker, and his father drove a truck. As a teen-ager, he collected and studied 78-r.p.m. records by American jazz musicians such as Thelonious Monk, Jelly Roll Morton, and Charlie Parker.
In 2012, Watts told my colleague Alec Wilkinson that he created his first snare drum by purposefully disassembling a banjo: âI didnât like the dots on the neck, so I took the neck off,â he said. Heâd heard a drummer named Chico Hamilton, who had performed with Charles Mingus and Dexter Gordon before founding his own quintet in Los Angeles. âI wanted to play like that, with brushes. I didnât have a snare drum, so I put the banjo head on a stand,â Watts recalled.
He eventually enrolled at Harrow School of Art and took a day job as a graphic designer. He was earning good money performing in various jazz outfits around London, and so it took some effort for the Rolling Stones to recruit him. Watts didnât agree to join until they could guarantee him a salary of five pounds a week. (âWe went shoplifting to get Charlie Watts,â the guitarist Keith Richards later wrote in his memoir, âLife.â âWe cut down on our rations, we wanted him so bad, man.â)
Rock and roll was still a relatively new music â it had been only a decade or so since black musicians from Mississippi and Tennessee had started mixing up elements of rhythm and blues, gospel, country, and jazz, performing with a kind of lunatic urgency â and Watts wasnât especially well acquainted with its particularities. It didnât matter. He and the Stones instantly became foundational to the genre."
- Amanda Petrusich, 'The Elegant, Astounding Drumming Of Charlie Watts'
In 2012, Watts told my colleague Alec Wilkinson that he created his first snare drum by purposefully disassembling a banjo: âI didnât like the dots on the neck, so I took the neck off,â he said. Heâd heard a drummer named Chico Hamilton, who had performed with Charles Mingus and Dexter Gordon before founding his own quintet in Los Angeles. âI wanted to play like that, with brushes. I didnât have a snare drum, so I put the banjo head on a stand,â Watts recalled.
He eventually enrolled at Harrow School of Art and took a day job as a graphic designer. He was earning good money performing in various jazz outfits around London, and so it took some effort for the Rolling Stones to recruit him. Watts didnât agree to join until they could guarantee him a salary of five pounds a week. (âWe went shoplifting to get Charlie Watts,â the guitarist Keith Richards later wrote in his memoir, âLife.â âWe cut down on our rations, we wanted him so bad, man.â)
Rock and roll was still a relatively new music â it had been only a decade or so since black musicians from Mississippi and Tennessee had started mixing up elements of rhythm and blues, gospel, country, and jazz, performing with a kind of lunatic urgency â and Watts wasnât especially well acquainted with its particularities. It didnât matter. He and the Stones instantly became foundational to the genre."
- Amanda Petrusich, 'The Elegant, Astounding Drumming Of Charlie Watts'
The Rolling Stones escaped the beat classification for the most part, as they were seen as spearheading the new blues revival centred in London town. The Animals were doing something similar in Newcastle in the north of England, with John Steel on the drum stool. In the clubs of London, Jim McCarty could be found drumming for The Yardbirds, Ginger Baker found a steady job with Cream, and Mick Fleetwood lent his drum identity to the band Fleetwood Mac.
"He didnât come in with one style. Charlie Watts was trained to adapt, while keeping elements of jazz. You can hear it in the R'nâ B of â(I canât Get No) Satisfaction,â to the infernal samba-like rhythm of âSympathy For The Devilâ â two songs in which Wattsâ contribution is central.
And a song like âCanât You Hear Me Knockingâ from 1971âs âSticky Fingersâ develops from one of Keith Richardsâ highest caliber riffs into a long concluding instrumental section, unique in the Stonesâ song catalog, of Santana-esque Latin jazz, containing some great syncopated rhythmic shots and tasteful hi-hat playing through which Watts drives the different musical sections.
You hear similar elements in âGimme Shelterâ and other classic Rolling Stones songs â it is perfectly placed drum fills and gestures that make the song and surprise you, always in the background and never dominating.
So central was Watts to the Stones that when bassist Bill Wyman retired from the band after the 1989 âSteel Wheelsâ tour, it was Watts who was tasked with picking his replacement.
He needed a bass player that would fit his style. But his choice of Darryl Jones as Wymanâs replacement was not the only key partnership for Watts. He played off the beat, complementing Richardsâ very syncopated, riff-driven guitar style. Watts and Richards set the groove for so many Stones songs, such as âHonky Tonk Womenâ or âStart Me Up.â If you watched them live, youâd notice Richards looking at Watts at all times â his eyes fixated on the drummer, searching for where the musical accents are, and matching their rhythmic âshotsâ and off-beats.
Watts did not aspire to be a virtuoso like John Bonham of Led Zeppelin or The Whoâs Keith Moon â there was no drumming excess. From that initial jazz training, he kept his distance from outward gestures."
- Victor Coelho, The Conversation
Drum Masterclass : 'Monkey Man'
And a song like âCanât You Hear Me Knockingâ from 1971âs âSticky Fingersâ develops from one of Keith Richardsâ highest caliber riffs into a long concluding instrumental section, unique in the Stonesâ song catalog, of Santana-esque Latin jazz, containing some great syncopated rhythmic shots and tasteful hi-hat playing through which Watts drives the different musical sections.
You hear similar elements in âGimme Shelterâ and other classic Rolling Stones songs â it is perfectly placed drum fills and gestures that make the song and surprise you, always in the background and never dominating.
So central was Watts to the Stones that when bassist Bill Wyman retired from the band after the 1989 âSteel Wheelsâ tour, it was Watts who was tasked with picking his replacement.
He needed a bass player that would fit his style. But his choice of Darryl Jones as Wymanâs replacement was not the only key partnership for Watts. He played off the beat, complementing Richardsâ very syncopated, riff-driven guitar style. Watts and Richards set the groove for so many Stones songs, such as âHonky Tonk Womenâ or âStart Me Up.â If you watched them live, youâd notice Richards looking at Watts at all times â his eyes fixated on the drummer, searching for where the musical accents are, and matching their rhythmic âshotsâ and off-beats.
Watts did not aspire to be a virtuoso like John Bonham of Led Zeppelin or The Whoâs Keith Moon â there was no drumming excess. From that initial jazz training, he kept his distance from outward gestures."
- Victor Coelho, The Conversation
Drum Masterclass : 'Monkey Man'
# The Rolling Stones were inducted into the Rock and Roll Hall of Fame in 1989.
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03. Bobby Elliott (born 8 December 1941, Burnley, Lancashire) [The Hollies]
The Hollies were like The Beatles in that they tried a bit of everything but were classical songwriters at heart. They enjoyed melody and harmony. Both bands achieved rare levels of sonic sophistication inside the studio, which was largely down to being creative and having a strong work ethic, but also thanks to the invaluable input and professionalism of Abbey Road record producer George Martin and his protege Ron Richards.
Drummer Bobby Elliott was voted number 1 drummer in a 1965 Beat Instrumental poll which was voted on by his peers, with crowd favourite Keith Moon of The Who coming in at number 3. Elliott wrote an article on Premier Percussion instruments to express his gratitude.
"Anyway, to start at the beginning, at 10 years old Bobby Elliottâs introduction to music and drums came not by way of a drum teacher, but via his uncle who had jazz records with ârealâ jazz drummers playing on them which he was able to listen to whenever he wanted. This encouraged him to make his own drumsticks and brushes so he could play along with them. He would swish these brushes around on a piece of newspaper resting on top of a bureau with an Oxo tin and a large chocolate box to act as the rest of his drum kit. Heâd happily play along with Spike Jones on âCocktails For Twoâ.
Obviously to get on with his planned domination of the drumming world he would need something better than a collection of confectionary tins borrowed from his motherâs shop â he would need drums. These came along in the form of a snare drum which could hardly be described as a kit even though it came with factory-made sticks and brushes. His next acquisition was a proper kit, and a Premier one which was ultimately exchanged in Manchester for the ruby-coloured Trixon kit I saw him playing in Morecambe. He played a lot of jazz in his formative years (sitting in with various local groups) before realising there was more money in rockânâroll. When he started playing this new music, aka âThe Devilâs Musicâ in Americaâs Bible Belt, he knew he wanted to push the envelope a bit and this was evident in all his playing with the Hollies.
So in 1959 he headed off first to âJohnny Theakstone and the Tremolosâ which morphed into âThe Fentonesâ before joining âThe Dolphinsâ. Like all ambitious bands of the time they sent a demo-tape to âSaturday Clubâ which was a hugely popular radio programme presented by Brian Mathews. However, nothing seems to have come of it at the time Bobby was in the band.
Bobby was born in Burnley and lived in Nelson, Lancashire which was 243 miles from London, so I donât believe we ever met where he lived, but we did lots of music TV shows together like âReady Steady Goâ, âThank Your Lucky Starsâ, âTop of the Popsâ and several others and we even made a record together called âDrum and Cokeâ. We often bumped into each other in Drum City too as well as in the various âwatering holesâ where we would turn- up to find the likes of Moonie, Tony Mansfield, Viv Prince, Mick Avory, Kenney Jones, Ric Lee and a great many other drumming reprobates.
Bobby Elliottâs early heroes make up a diverse list: Sonny Payne, Mel Lewis, Kenny Clare, Ronnie Verral, Eddie Cochran, Mel TormĂ©, Little Richard, Gerry Mulligan, Chet Baker, Thelonious Monk, Larry Bunker and Joe Morello. Earl Palmer unknowingly takes the credit for turning him on to the possibilities offered by Rock ânâ Roll. Bobby has always been a drummerâs drummer who influenced a whole generation of players many of whom have named him as their favourite including Bruce Springsteen, Max Weinberg, Ian Paice and Cozy Powell (the intro fill on âJust One Lookâ evidently inspiring Cozy to become a drummer).
That first Premier set was likely to have been used as a part exchange for the Trixon Luxus but as Bobby is known to be a drum collector Iâm pretty certain he held on to a few of them besides the sets he bought back from America after every tour. He was a Premier endorser and particularly partial to Ludwig but the most recent pics of him Iâve seen show him with a DW. Cymbal-wise I canât find any evidence that he hasnât been with Zildjian for his entire career.
The Hollies went to America in April 1965 to help spear-head the British Invasion and found themselves at The Paramount Theatre in Brooklyn doing a short season with Little Richard who just happened to have Jim Hendrix playing guitar for him and the King Curtis Orchestra. Bobby of course lapped this up."
- Bob Henrit, Mikedolbear.com ~ Where Drummers Meet Online
"Weâd become friendly with Phil Spector and attended a star-studded party in his honour thrown by Decca a week earlier; so he continued the friendship by dropping in our recording. Graham Nash and Allan Clarke of the Hollies also came and later Gene Pitney arrived direct from the airport, with duty-free cognac. It was his birthday, and his family custom was that everyone had to drink a whole glass. Pitney played piano while Spector and the Hollies played tambourine and maracas and banged coins on empty bottles. We recorded three songs, âLittle by Little,â âCan I Get a Witnessâ and âNow Iâve Got a Witness,â which we invented on the spot. The session then degenerated into silliness, but everybody had a great time cutting âAndrewâs Bluesâ and âSpector and Pitney Came Tooâ-âboth of which were very rude."
- Bill Wyman, 'Stone Alone : The Story Of A Rock âNâ Roll Band'
Obviously to get on with his planned domination of the drumming world he would need something better than a collection of confectionary tins borrowed from his motherâs shop â he would need drums. These came along in the form of a snare drum which could hardly be described as a kit even though it came with factory-made sticks and brushes. His next acquisition was a proper kit, and a Premier one which was ultimately exchanged in Manchester for the ruby-coloured Trixon kit I saw him playing in Morecambe. He played a lot of jazz in his formative years (sitting in with various local groups) before realising there was more money in rockânâroll. When he started playing this new music, aka âThe Devilâs Musicâ in Americaâs Bible Belt, he knew he wanted to push the envelope a bit and this was evident in all his playing with the Hollies.
So in 1959 he headed off first to âJohnny Theakstone and the Tremolosâ which morphed into âThe Fentonesâ before joining âThe Dolphinsâ. Like all ambitious bands of the time they sent a demo-tape to âSaturday Clubâ which was a hugely popular radio programme presented by Brian Mathews. However, nothing seems to have come of it at the time Bobby was in the band.
Bobby was born in Burnley and lived in Nelson, Lancashire which was 243 miles from London, so I donât believe we ever met where he lived, but we did lots of music TV shows together like âReady Steady Goâ, âThank Your Lucky Starsâ, âTop of the Popsâ and several others and we even made a record together called âDrum and Cokeâ. We often bumped into each other in Drum City too as well as in the various âwatering holesâ where we would turn- up to find the likes of Moonie, Tony Mansfield, Viv Prince, Mick Avory, Kenney Jones, Ric Lee and a great many other drumming reprobates.
Bobby Elliottâs early heroes make up a diverse list: Sonny Payne, Mel Lewis, Kenny Clare, Ronnie Verral, Eddie Cochran, Mel TormĂ©, Little Richard, Gerry Mulligan, Chet Baker, Thelonious Monk, Larry Bunker and Joe Morello. Earl Palmer unknowingly takes the credit for turning him on to the possibilities offered by Rock ânâ Roll. Bobby has always been a drummerâs drummer who influenced a whole generation of players many of whom have named him as their favourite including Bruce Springsteen, Max Weinberg, Ian Paice and Cozy Powell (the intro fill on âJust One Lookâ evidently inspiring Cozy to become a drummer).
That first Premier set was likely to have been used as a part exchange for the Trixon Luxus but as Bobby is known to be a drum collector Iâm pretty certain he held on to a few of them besides the sets he bought back from America after every tour. He was a Premier endorser and particularly partial to Ludwig but the most recent pics of him Iâve seen show him with a DW. Cymbal-wise I canât find any evidence that he hasnât been with Zildjian for his entire career.
The Hollies went to America in April 1965 to help spear-head the British Invasion and found themselves at The Paramount Theatre in Brooklyn doing a short season with Little Richard who just happened to have Jim Hendrix playing guitar for him and the King Curtis Orchestra. Bobby of course lapped this up."
- Bob Henrit, Mikedolbear.com ~ Where Drummers Meet Online
"Weâd become friendly with Phil Spector and attended a star-studded party in his honour thrown by Decca a week earlier; so he continued the friendship by dropping in our recording. Graham Nash and Allan Clarke of the Hollies also came and later Gene Pitney arrived direct from the airport, with duty-free cognac. It was his birthday, and his family custom was that everyone had to drink a whole glass. Pitney played piano while Spector and the Hollies played tambourine and maracas and banged coins on empty bottles. We recorded three songs, âLittle by Little,â âCan I Get a Witnessâ and âNow Iâve Got a Witness,â which we invented on the spot. The session then degenerated into silliness, but everybody had a great time cutting âAndrewâs Bluesâ and âSpector and Pitney Came Tooâ-âboth of which were very rude."
- Bill Wyman, 'Stone Alone : The Story Of A Rock âNâ Roll Band'
"On listening to The Hollies you get an essence of a sound formed in Manchester, a sound which can be heard in the music of many major Manchester bands and artists that succeeded them, including the likes of Oasis, The Courteeners and Ren Harvieu today.
The sound maps out individual stories from working class Manchester, where dead end jobs and lack of opportunity was the norm for many young people. It was the music that was played in clubs and bars that provided the sole escape from the mundanities of everyday working life, introducing the popularity of soul imported in from The States as a key component of the Northern music scene at that time.
In one sense The Stone Roses adopted this same escape for the youth of Manchester during the 80s, with the birth of The Madchester club scene and bands such as The Smiths, New Order, and The Happy Mondays coming to fruition during a period of discontent among working classes during the Thatcher years.
The Hollies however, alongside other bands, represented the voice of a post-war generation, thriving in the newfound freedom of 1960s liberation, music releasing us from the shackles of society and creating new conversations towards how we express ourselves and our identities.
Despite the musical rivalry that The Hollies had in the form of The Beatles, The Rolling Stones and The Who to name a few, they were highly influential in their music, directly representing northern working class Britain. Stories about love and loss, upbringing and family, closely related to working people at that time and the way that it represented them, giving them a narrative to their lives."
- David Ready, The Huffington Post
Drum Masterclass : 'Step Inside'
The sound maps out individual stories from working class Manchester, where dead end jobs and lack of opportunity was the norm for many young people. It was the music that was played in clubs and bars that provided the sole escape from the mundanities of everyday working life, introducing the popularity of soul imported in from The States as a key component of the Northern music scene at that time.
In one sense The Stone Roses adopted this same escape for the youth of Manchester during the 80s, with the birth of The Madchester club scene and bands such as The Smiths, New Order, and The Happy Mondays coming to fruition during a period of discontent among working classes during the Thatcher years.
The Hollies however, alongside other bands, represented the voice of a post-war generation, thriving in the newfound freedom of 1960s liberation, music releasing us from the shackles of society and creating new conversations towards how we express ourselves and our identities.
Despite the musical rivalry that The Hollies had in the form of The Beatles, The Rolling Stones and The Who to name a few, they were highly influential in their music, directly representing northern working class Britain. Stories about love and loss, upbringing and family, closely related to working people at that time and the way that it represented them, giving them a narrative to their lives."
- David Ready, The Huffington Post
Drum Masterclass : 'Step Inside'
# The Hollies were inducted into the Rock and Roll Hall of Fame in 2010. Guitarist Graham Nash became a 2-time Rock and Roll Hall of Famer having been inducted previously as a member of Crosby, Stills & Nash in 1997.
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04. Mick Avory (born 15 February 1944, Chipping Barnet, London [The Kinks]
The Kinks came on the scene like a bolt of lightning and were instantly received by a rabid underground music press as having England's answer to America's burgeoning garage rock revolution. Like The Beatles and The Hollies, they emerged as committed social commentators with a passion for harmony and melody, and likewise, they also displayed a keen sense of humour.
"When Mick Jagger, Keith Richards and Brian Jones first got together in a London club in 1962 to form the seeds of the Rolling Stones, Mick Avory was their drummer.
Jagger and company's first gig as the Rolling Stones, at the Marquee Club, marked the beginning of Avory's tenure with the soon-to-be-giant band. It was not a long one, however, as the Stones didn't feel Avory was up to the task. Around the same time, art school student Ray Davies joined his brother Dave's band, the Ravens. Switching his career interest to music, Ray took over the band, which he renamed the Kinks. The Davies brothers completed their lineup with bassist Pete Quaife - and Mick Avory on drums.
Avory was born in 1944 in London. The Kinks released one of the signature songs of the British Invasion, "You Really Got Me", which topped the U.K. charts and hit #7 in the U.S. in 1964. Its pounding drums and slashing guitar chords were to have a profound influence on the development of '70s hard rock and heavy metal."
- Drummerworld
"I think a lot of Kinks music and Ray's writing is drawn from our family roots and background, so it seems quite normal for me to reflect on that. I had a great childhood and was very lucky, having a working class family in North London. That family support was really crucial in growing up and learning music, it was a really hopeful time. My sisters brought so much music into the house, everything from Little Richard and Fats Domino to Doris Day. They played piano and so did my dad, so it seemed quite natural to pick up a guitar."
- Dave Davies, The Arts Fuse
Jagger and company's first gig as the Rolling Stones, at the Marquee Club, marked the beginning of Avory's tenure with the soon-to-be-giant band. It was not a long one, however, as the Stones didn't feel Avory was up to the task. Around the same time, art school student Ray Davies joined his brother Dave's band, the Ravens. Switching his career interest to music, Ray took over the band, which he renamed the Kinks. The Davies brothers completed their lineup with bassist Pete Quaife - and Mick Avory on drums.
Avory was born in 1944 in London. The Kinks released one of the signature songs of the British Invasion, "You Really Got Me", which topped the U.K. charts and hit #7 in the U.S. in 1964. Its pounding drums and slashing guitar chords were to have a profound influence on the development of '70s hard rock and heavy metal."
- Drummerworld
"I think a lot of Kinks music and Ray's writing is drawn from our family roots and background, so it seems quite normal for me to reflect on that. I had a great childhood and was very lucky, having a working class family in North London. That family support was really crucial in growing up and learning music, it was a really hopeful time. My sisters brought so much music into the house, everything from Little Richard and Fats Domino to Doris Day. They played piano and so did my dad, so it seemed quite natural to pick up a guitar."
- Dave Davies, The Arts Fuse
Drummer Mick Avory was the engine that powered the Kinks raw, combustible sound. He could drum like a hurricane when the wind caught but his jazz training allowed him to gently caress the cymbals during quieter ruminations.
"There have been many influences over the years. I used to listen to professional drummers, that played the music I was playing at the time. I started with skiffle, Lonnie Donegan, etc⊠Played the Shadows stuff mixed with early rock nâ roll, then I played quiet jazzy stuff in a hotel. In the jazz field, my main influences were Shelly Manne, Joe Morello, Art Blakey, and Grady Tate.
From the Sixties onward? People like Bobby Elliott, Bobby Graham, Clem Cattini, Levon Helm, and Richie Hayward."
- Mick Avory, Please Kill Me (The Uncensored Oral History Of Punk)
Drum Masterclass : 'Mr. Churchill Says'
From the Sixties onward? People like Bobby Elliott, Bobby Graham, Clem Cattini, Levon Helm, and Richie Hayward."
- Mick Avory, Please Kill Me (The Uncensored Oral History Of Punk)
Drum Masterclass : 'Mr. Churchill Says'
# The Kinks were inducted into the Rock and Roll Hall of Fame in 1990.
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âïž Immigration Crackdown âïž
The Beatles, The Rolling Stones, The Hollies and The Kinks all encountered issues with Visas and travel documents when heading to countries like the United States of America, Canada, Australia, New Zealand and Japan to play concerts.
The Hollies deal with immigration issues in Milwaukee, Wisconsin in 1966 ....
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đȘ 'Beat Club' : 8 Beats A Bar đž
'Drummers' 65' {: Drum band sequence featuring Ginger Baker, Bobby Graham, Allan Ganley, John Kearnes, Bobby Richards, Ronnie Verrell & Andy White :}
01) Hugh Grundy (The Zombies)
No group epitomised the intimate relationship between beat pop and jazz more than baroque beat poets, The Zombies.
# The Zombies were inducted into the Rock and Roll Hall of Fame in 2019.
No group epitomised the intimate relationship between beat pop and jazz more than baroque beat poets, The Zombies.
# The Zombies were inducted into the Rock and Roll Hall of Fame in 2019.
02) Andy Brown (The Fortunes)
Based in Birmingham, The Fortunes were the city's biggest beat attraction in the early 1960s. They influenced the harder, regional music of Spencer Davis Group who spearheaded a blues revival emerging in the heart of the midlands. In Birmingham, bands that followed like The Move, The Moody Blues and Traffic went psychedelic.
03) Mike Hugg (Manfred Mann)
Manfred Mann were one of the first beat groups to start writing original material for albums.
04) Ronnie Bond (The Troggs)
The Troggs were known as the snarling menace of the U.K. beat scene. They quickly became rivals to dangerous outsiders, The Pretty Things.
05) Viv Prince (The Pretty Things)
The Pretty Things matched their southern English rivals, The Troggs, when it came to snarling, but went heavier with the raw psychedelics.
06) Keith Moon (The Who)
The Who freely admitted to copying The Kinks when starting out, adding that you should always copy from the best. It didn't take long for them to perfect their own hard-driving formula as they became godfathers to England's burgeoning mod subculture.
# The Who were inducted into the Rock and Roll Hall of Fame in 1990.
07) Kenney Jones (Small Faces)
Small Faces enjoyed a strong mod following like The Who but were quicker to embrace a deep love of American soul music on record.
# Small Faces were inducted into the Rock and Roll Hall of Fame in 2012.
08) Nick Mason (Pink Floyd)
Pink Floyd hammered the final nail into the coffin of beat pop and relished their role in its demise. It was a hopeful, optimistic musical movement for the first two or three years, but every dog has its day. The time had come for bands to expand upon their creative ideas and widen their musical palettes, which I believe is what made every group here, great. Those that couldn't, just faded away.
# Pink Floyd were inducted into the Rock and Roll Hall of Fame in 1996.
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đŒ British Rearmament : U.S. Billboard Albums Chart ~ 1970s đŸ
As the 1960s came to a close, "the British Invasion" of the United States of America, as it affectionately came to be known (in musical terms), reached a crossroads. Some groups had disintegrated, some had changed line-up beyond all recognition, some had retreated to the fringes of society, and some were all at sea. The Beatles were no longer, yet still led the way - alongside the Rolling Stones - when it came to being dominant on the U.S. Billboard Albums Chart.
'As a musician, Paul McCartney has the most number-one albums in the history of the Billboard 200, with 27. This includes 19 albums from his work with The Beatles, 3 solo albums, and 5 albums as a part of his 1970s group Wings.
John Lennon is in second place with 22, including 19 albums with the Beatles, 2 solo albums, and 1 album credited to him and his wife Yoko Ono.
George Harrison had 19 number-one albums with The Beatles and 2 as a solo artist.'
- Wikipedia
John Lennon is in second place with 22, including 19 albums with the Beatles, 2 solo albums, and 1 album credited to him and his wife Yoko Ono.
George Harrison had 19 number-one albums with The Beatles and 2 as a solo artist.'
- Wikipedia
In the 1960s, the Rolling Stones registered 9 top 10 studio albums, including a number 1 album. In the 1970s, the band released 6 studio albums and they all went to number 1, setting a bar of excellence surely no other British musical artists could hope to touch (the Stones began the 1980s with 2 number 1 albums, taking their top spot tally to 9).
Or could they?đ 1970s Studio Albums đ
The Beatles and The Rolling Stones led the way in the 1960s but were far from being the only groups to achieve a consistent degree of success. The Who have released 9 albums in a row since 1969 that have reached the top 10 on the U.S. Billboard Albums Chart. To put this in some kind of perspective, contemporaries like The Kinks and The Hollies, who were prolific recording artists in their own right, never once reached the top 10. That's how difficult it can be for a British band to reach the summit in America.
The Moody Blues released their debut album in 1965. They've had 6 top 10 albums on the U.S. Billboard Albums Chart to date, albums which charted from the 1960s to the 1980s, with 3 coming in the 1970s. The Moodies went all the way to number 1 in the 1970s with 'Seventh Sojourn' (1972), then again with 'Long Distance Voyager' (1981) in the 1980s.
The Bee Gees released their debut album in 1965. They soared to number 1 on the U.S. Billboard Albums Chart in the late 1970s with the release of 'Spirits Having Flown' (1979), but this wasn't the whole story. The Bee Gees had recently anchored a bestselling movie soundtrack that also reached number 1 on the chart, 'Saturday Night Fever' (1977). They'd also written the title track for another bestselling movie soundtrack that topped the chart, 'Grease' (1978), so were firmly in the ascendancy.
Cat Stevens released his debut solo album in 1967. In the 1970s, he had 6 top 10 albums on the U.S. Billboard Albums Chart, with 'Catch Bull At Four' (1972) going to number 1.
Pink Floyd released their debut album in 1967. Since 1973, the band have had 8 top 10 albums on the U.S. Billboard Albums Chart. They had 3 number 1 albums in the 1970s, 'The Dark Side Of The Moon' (1973), 'Wish You Were Here' (1975) and 'The Wall' (1979). They hit the number 1 spot once again in the 1990s, with the release of global phenomenon 'The Division Bell' (1994).
Fleetwood Mac released their debut album in 1968. It took them some time to truly crack the U.S. Billboard Albums Chart, but they got there in the mid-1970s when 'Fleetwood Mac' (1975) and 'Rumours' (1977) both reached number 1. Following another top 10 album in 'Tusk' (1979), the band scored their 3rd number 1 album in the early 1980s with 'Mirage' (1982).
Jethro Tull released their debut album in 1968. Jethro Tull went viral in the 1970s with 6 albums breaking in to the top 10 on the U.S. Billboard Albums Chart. 'Thick As A Brick' (1972) and 'A Passion Play' (1973) were back-to-back number 1 albums.
'Cross-Eyed Mary' - Jethro Tull
Elton John released his debut solo album in 1969. 'Empty Sky' (1969) wasn't released in America until 1975 when it reached the top 10 on the U.S. Billboard Albums Chart. John also reached the top 10 with a live album in the mid-1970s, adding to an astonishing total of 11 top 10 albums for the decade. This included 6 number 1 albums, 'Honky Chateau' (1972), 'Don't Shoot Me I'm Only The Piano Player' (1973), 'Goodbye Yellow Brick Road' (1973), 'Caribou' (1974), 'Captain Fantastic And The Brown Dirt Cowboy' (1975) and 'Rock Of The Westies' (1976).
'The first album to debut at number one on the U.S. Billboard Albums Chart was Captain Fantastic and the Brown Dirt Cowboy by Elton John.
John repeated the same feat with the album Rock of the Westies â the second album to debut at number one â making John the first artist to have two consecutive studio albums debut at number one.'
- Wikipedia
John repeated the same feat with the album Rock of the Westies â the second album to debut at number one â making John the first artist to have two consecutive studio albums debut at number one.'
- Wikipedia
The heavy rock movement developing in Britain collided with a hard rock movement unfolding in America, but despite this, the U.S. Billboard Albums Chart was never plain sailing. For example, Free made it to the number 17 position in the 1970s but that's as high as they got. Judas Priest finally reached number 17 in the 1980s, yet only broke the top 10 this century. The American market is a tough nut to crack.
Yes had 6 top 10 albums in the U.S. in the 1970s, Traffic had 4, Deep Purple had 2, and Black Sabbath had 1 (Sabbath finally reached the top spot in 2013). Queen released 4 albums in the 1970s that reached the top 10, before finally scoring a number 1 album in the 1980s with 'The Game' (1980), which was to be their first and last. Bucking the odds was Bad Company whose self-titled debut album 'Bad Company' (1972) proved to be a number 1 smash on the U.S. Billboard Albums Chart; the Company charted 3 more top 10 albums before the decade's end.
Supertramp released their debut album in 1970. They closed out a successful decade with a number 1 album on the U.S. Billboard Albums Chart, 'Breakfast In America' (1979).
Gerry Rafferty released his debut solo album in 1971. His album 'City To City' (1978) went all the way to number 1 on the U.S. Billboard Albums Chart.
Average White Band released their debut album in 1973, the same year as Queen. They plotted 3 top 10 albums on the U.S. Billboard Albums Chart in the 1970s, with 'AWB' (1974) driving them all the way to number 1.
'The Wanton Song' - Led Zeppelin
- - -
đ· The Biblical; Old School Style (Book' O' Genesis, Judges & Chronicles) ! đ
"By 1970, Fleetwood Mac had released three decently received albums, and it was when they finally started gaining mainstream success, that things began to fall apart. Peter Green, whose mental state was declining supposedly due to a bad acid trip at a hippie commune in Munich, was the first to go. They quickly found a replacement with Christine McVie, but meanwhile, Jeremy Spencer was slowly becoming independent of the band himself after being the first member to release a self-titled solo album in 1970. In February of 1971, while on tour with Fleetwood Mac, things were seemingly going well until one day, Spencer claimed he was going out âget a magazineâ and never returned.
Distraught after several days of searching for Spencer, the band was shocked to discover that he had been dabbling in a new religious group called the Children of God and decided to join them full time in the middle of the tour. Although Spencer claims that there wasnât a particular incident that sparked the departure, he attributed his own growing feelings of disillusionment as the primary cause.
âI was sad, uninspired musically, I had questions about life, death, love, my future, God â everything,â claimed Spencer. âI couldnât go on with it. Bottom line, I had to leave in order to step back from the picture and get my life sorted out. I wouldnât be here today if I hadnât and they would not have gone on to be one of the biggest bands in history! I donât say that in a self-demeaning way, because I knew when I heard the first album with the Buckingham-Nicks line up, that they had hit on something good with an enormously catchy appeal,â shared Spencer.
âBesides that, after I left them, I prayed for God to reward them with success beyond their dreams. He answered that prayer.â
- Gracie Williams, Far Out
'Morning Has Broken' (1971) - Cat Stevens
Distraught after several days of searching for Spencer, the band was shocked to discover that he had been dabbling in a new religious group called the Children of God and decided to join them full time in the middle of the tour. Although Spencer claims that there wasnât a particular incident that sparked the departure, he attributed his own growing feelings of disillusionment as the primary cause.
âI was sad, uninspired musically, I had questions about life, death, love, my future, God â everything,â claimed Spencer. âI couldnât go on with it. Bottom line, I had to leave in order to step back from the picture and get my life sorted out. I wouldnât be here today if I hadnât and they would not have gone on to be one of the biggest bands in history! I donât say that in a self-demeaning way, because I knew when I heard the first album with the Buckingham-Nicks line up, that they had hit on something good with an enormously catchy appeal,â shared Spencer.
âBesides that, after I left them, I prayed for God to reward them with success beyond their dreams. He answered that prayer.â
- Gracie Williams, Far Out
'Morning Has Broken' (1971) - Cat Stevens
"My favourite author? God, I donât know ... um ..."
- David Gilmour, The British Broadcasting Corporation
'That's All Right / Amazing Grace' (1971) - Rod Stewart
- David Gilmour, The British Broadcasting Corporation
'That's All Right / Amazing Grace' (1971) - Rod Stewart
-
đż The Ballad Of Samson And Delilah đȘ
'In the bible, 1000 year bc,
There's a story of ancient history,
Bout a fella who was strong as he could be,
Till he met a cheatin gal who brought him tragedy,
Oh, run Samson run, Delilah's on her way,
Run Samson run, you ain't got time to stay,
Run Samson run, on your mark you better start,
I'd rather trust a hungry lion than a gal with a cheatin heart ...
There's a story of ancient history,
Bout a fella who was strong as he could be,
Till he met a cheatin gal who brought him tragedy,
Oh, run Samson run, Delilah's on her way,
Run Samson run, you ain't got time to stay,
Run Samson run, on your mark you better start,
I'd rather trust a hungry lion than a gal with a cheatin heart ...
She was a demon, a devil in disguise,
He was taken by the angel in her eyes,
That lady barber was very well equipped,
You can bet your bottom dollar that he was gonna get clipped,
Oh, run Samson run, Delilah's on her way,
Run Samson run, you ain't got time to stay,
Run Samson run, on your mark you better start,
I'd rather trust a hungry lion than a gal with a cheatin heart ...
Oh Delilah made Sammy's life a sin,
And he perished when the roof fell in,
There's a moral so listen to me pal,
There's a little of Delilah in each and every gal,
Oh, run Samson run, Delilah's on her way,
Run Samson run, you ain't got time to stay,
Run Samson run, on your mark you better start,
I'd rather trust a hungry lion than a gal with a cheatin heart ...
I'd rather trust a hungry lion than a gal with a cheatin heart ...'
- Howard Greenfield, 'Run Samson Run' (1959)
He was taken by the angel in her eyes,
That lady barber was very well equipped,
You can bet your bottom dollar that he was gonna get clipped,
Oh, run Samson run, Delilah's on her way,
Run Samson run, you ain't got time to stay,
Run Samson run, on your mark you better start,
I'd rather trust a hungry lion than a gal with a cheatin heart ...
Oh Delilah made Sammy's life a sin,
And he perished when the roof fell in,
There's a moral so listen to me pal,
There's a little of Delilah in each and every gal,
Oh, run Samson run, Delilah's on her way,
Run Samson run, you ain't got time to stay,
Run Samson run, on your mark you better start,
I'd rather trust a hungry lion than a gal with a cheatin heart ...
I'd rather trust a hungry lion than a gal with a cheatin heart ...'
- Howard Greenfield, 'Run Samson Run' (1959)
-
"In his book Man on the Run, about Paul McCartney in the Seventies, the journalist Tom Doyle makes the case for post-Beatles Macca as a fascinating eccentric, not so much the beardie rural dad of reputation, but a musical maverick, whimsical in the most exhilarating ways, hence his decisions to record 'Mary Had a Little Lamb', his attempt to smuggle half a pound of marijuana into Japan, and his idea to disappear to war-ravaged Lagos, Nigeria to make an album. But while others were fĂȘted for such grandiose oddness, Macca, the former Beatle, was frequently derided. He seemed a crank, popular but out of touch."
- Alex Bilmes, Esquire
'Question' (1970) - The Moody Blues
- Alex Bilmes, Esquire
'Question' (1970) - The Moody Blues
"I am a religious person, in that I am a person with a lot of faith. But I try to study all religions and donât really belong to one particular religion. When I was a kid, it was Church of England. But when you base that on the fact that Henry VIII invented it, thatâs not really a religion, is it?"
- Barry Gibb, The Sydney Morning Herald
'Tower Of Babel' (1974) - Elton John
'But unto you that fear my name shall the Sun of righteousness arise with healing in his wings; and ye shall go forth, and grow up as calves of the stall.'
- Malachi
'Magus Perde _ Epilogue' (1973) - Jethro Tull
- -
âȘïž Mythological; (Ancient Civilisations They Come And Go) ! đ
David Bowie referenced the complexities of studying mythology with his album 'Aladdin Sane' (1973). The middle-eastern folk tale 'Aladdin' is forever associated with the collection 'One Thousand And One Nights' (aka. 'The Arabian Nights') yet is said to have not been part of the original text. It's believed to have been added by Frenchman Antoine Galland who'd heard an ancient folk tale told by Syrian Maronite storyteller Hanna Diyab. Yet, the original story was set in China!
'Aladdin Sane (1913-1938-197?') (1973) - David Bowie
Bowie returned to Arabia later in the decade with 'The Secret Life Of Arabia' (1977); a year earlier, Elton John had released a highly controversial Arabian-inspired, feminist anthem celebrating the idea of sheer "girl power".
'Where's The Shoorah?' (1976) - Elton John
-
Global Mythology đŠ
Psychedelia and punk have long held close ties with Indian mythology, Hindu texts and a south Asian spiritual dimension. Heavier forms of metal music have forged a strong winter alliance with Slavic mythology as well as Norse mythology. Funk has explored roots found within a variety of African mythologies, its branches carried forward through "the great migrations".
In rock 'n' roll, psychedelia opened the door to a world of mythological exploration. This was often mixed with a smorgasbord of wild ideas so interpretation of songs may vary. Thus, fans delighted in Derek And The Dominos exploring Southern African mythology with 'Bell Bottom Blues' (1970), The Bee Gees exploring Jewish mythology with 'Israel' (1971), Fleetwood Mac exploring Celtic mythology with 'Rhiannon' (1975) and Wings exploring Egyptian mythology with 'Spirits Of Ancient Egypt' (1975).
'Blues Power' (1970) - Eric Clapton
-
Greek Mythology đ
Genesis seemed to be Britain's flag bearer for exploring mythology in the 1970s. They referenced Greek mythology with songs like 'The Fountain Of Salmacis' (1971 - 'The Legend Of Salmacis & Hermaphroditus'), 'Supper's Ready' (1972 - 'The Legend Of Narcissus') and 'Firth Of Fifth' (1973 - 'The Legend Of Neptune').
"You wonât get much crossover between American jazz rock legends Steely Dan and British prog-rock gods Genesis. Both share a common love for complexity and a certain intellectual bent, but the way the two acts bring their visions to life is completely different.
Steely Dan were all about fitting classic R&B ethos into harmonically complicated packages, with some dashes of rock, funk, and pop thrown in to make them commercially viable. Genesis, at least in its initial form, had no worries about mainstream: they were a distinctly English form of progressive rock, with extremely long excursions that could blend time signatures, key signatures, and nursery rhymes together.
But just two years apart from each other, Steely Dan and Genesis both made references to an obscure mythical creature that supposedly stalks the American northeast. The Squonk is a distinctive character in American folklore and proceeded the eventual craze of cryptozoology by a few decades. The creature can supposedly dissolve itself in its own tears when cornered or frightened, making it a powerful poetic device for a discerning writer.
The Dan were the first to take on the squonk by giving it a prominent place in the lyrics of 1974âs âAny Major Dude Will Tell Youâ. Comically, the musicians who played on the track werenât sure what a squonk was but were too afraid of appearing ignorant to ask Walter Becker or Donald Fagen. The two had a very hipster-esque intellectualism about them, which could be either intimidating or a source of scorn for some of the band members who cycled through over the years.
But Steely Dan didnât devote the entirety of âAny Major Dude Will Tell Youâ to the squonk. Genesis were the band who gave the creature its own song, with âSquonkâ appearing as the third track on 1976âs A Trick of the Tail, Phil Collinsâ first album as the groupâs lead singer. âSquonkâ was actually the first song that Collins performed in that role, having been hesitant to take on the responsibility after Peter Gabrielâs departure. His bandmates responded positively, and Collins proceeded to record the vocals for the rest of the album."
- Tyler Golsen, Far Out
Steely Dan were all about fitting classic R&B ethos into harmonically complicated packages, with some dashes of rock, funk, and pop thrown in to make them commercially viable. Genesis, at least in its initial form, had no worries about mainstream: they were a distinctly English form of progressive rock, with extremely long excursions that could blend time signatures, key signatures, and nursery rhymes together.
But just two years apart from each other, Steely Dan and Genesis both made references to an obscure mythical creature that supposedly stalks the American northeast. The Squonk is a distinctive character in American folklore and proceeded the eventual craze of cryptozoology by a few decades. The creature can supposedly dissolve itself in its own tears when cornered or frightened, making it a powerful poetic device for a discerning writer.
The Dan were the first to take on the squonk by giving it a prominent place in the lyrics of 1974âs âAny Major Dude Will Tell Youâ. Comically, the musicians who played on the track werenât sure what a squonk was but were too afraid of appearing ignorant to ask Walter Becker or Donald Fagen. The two had a very hipster-esque intellectualism about them, which could be either intimidating or a source of scorn for some of the band members who cycled through over the years.
But Steely Dan didnât devote the entirety of âAny Major Dude Will Tell Youâ to the squonk. Genesis were the band who gave the creature its own song, with âSquonkâ appearing as the third track on 1976âs A Trick of the Tail, Phil Collinsâ first album as the groupâs lead singer. âSquonkâ was actually the first song that Collins performed in that role, having been hesitant to take on the responsibility after Peter Gabrielâs departure. His bandmates responded positively, and Collins proceeded to record the vocals for the rest of the album."
- Tyler Golsen, Far Out
'Longer Boats' (1970 - 'The Legend Of Styx And The Afterlife') - Cat Stevens
"With their 1969 debut album, "In the Court of the Crimson King," King Crimson (pictured above) established themselves as one of the first â if not the first â successful progressive rock bands, blending a wide range of musical influences as they helped create a new sub-genre of rock. However, the band's existence was soon hanging by a thread, with several members, including would-be Emerson, Lake & Palmer vocalist/bassist/guitarist Greg Lake, leaving after the album's release. Enter Elton John, who was invited to sing lead vocals for King Crimson's sophomore effort, "In the Wake of Poseidon."
As quoted by Ultimate Classic Rock, the band's lead guitarist, Robert Fripp, wrote in the liner notes of the 1976 compilation "A Young Person's Guide to King Crimson" that John was originally supposed to be paid ÂŁ250 as a session singer. Being that he was unfamiliar with John's work, he asked a record executive for a copy of the young musician's first album. That was all Fripp needed to hear to decide that John and King Crimson weren't a good fit. "His style didn't seem right for Crimson and the album was poor, so I canceled the sessions," he explained.
As it turned out, both sides turned out better for Fripp's decision â Lake temporarily returned to complete "Poseidon" while John's second, self-titled album helped him break out internationally, peaking at No. 4 on the Billboard 200 early in 1971."
- Lorenzo Tanos, Grunge
'I Used To Be A King' (1971 - 'The Legend Of Midas') - Graham Nash
As quoted by Ultimate Classic Rock, the band's lead guitarist, Robert Fripp, wrote in the liner notes of the 1976 compilation "A Young Person's Guide to King Crimson" that John was originally supposed to be paid ÂŁ250 as a session singer. Being that he was unfamiliar with John's work, he asked a record executive for a copy of the young musician's first album. That was all Fripp needed to hear to decide that John and King Crimson weren't a good fit. "His style didn't seem right for Crimson and the album was poor, so I canceled the sessions," he explained.
As it turned out, both sides turned out better for Fripp's decision â Lake temporarily returned to complete "Poseidon" while John's second, self-titled album helped him break out internationally, peaking at No. 4 on the Billboard 200 early in 1971."
- Lorenzo Tanos, Grunge
'I Used To Be A King' (1971 - 'The Legend Of Midas') - Graham Nash
-
Roman Mythology đ
'Some men like the Chinese life,
Some men kneel and pray,
Ooh, well, I like women and I like wine,
And I've always liked it that way,
Always liked it that way,
I can't dig it, the way she tease,
That old tough man routine up her sleeve,
Living and loving, kissing and hugging,
Living and loving with a cat named Hercules ...
A cat named Hercules ...'
- Bernie Taupin, 'Hercules' (1972)
'The King Must Die' (1970) - Elton John
Some men kneel and pray,
Ooh, well, I like women and I like wine,
And I've always liked it that way,
Always liked it that way,
I can't dig it, the way she tease,
That old tough man routine up her sleeve,
Living and loving, kissing and hugging,
Living and loving with a cat named Hercules ...
A cat named Hercules ...'
- Bernie Taupin, 'Hercules' (1972)
'The King Must Die' (1970) - Elton John
Norse Mythology đ
'And ride with us, young bonny lass,
With the angels of the night,
Crack wind clatter, flesh rein bite,
On an out-size unicorn,
Rough-shod winging sky blue flight,
On a cold wind to Valhalla,
And join with us, please
Valkyrie maidens cry,
Above the cold wind to Valhalla ...'
- Ian Anderson, 'Cold Wind To Valhalla' (1975)
'Immigrant Song' (1970) - Led Zeppelin
'And ride with us, young bonny lass,
With the angels of the night,
Crack wind clatter, flesh rein bite,
On an out-size unicorn,
Rough-shod winging sky blue flight,
On a cold wind to Valhalla,
And join with us, please
Valkyrie maidens cry,
Above the cold wind to Valhalla ...'
- Ian Anderson, 'Cold Wind To Valhalla' (1975)
'Immigrant Song' (1970) - Led Zeppelin
Frankish Mythology đ
'So where to now St. Peter,
If it's true I'm in your hands,
I may not be a Christian,
But I've done all one man can,
I understand I'm on the road,
Where all that was is gone,
So where to now St. Peter,
Show me which road I'm on ...'
- Bernie Taupin, 'Where To Now St. Peter?' (1970)
'Burn Down The Mission' (1970) - Elton John
Japanese Mythology đ
'I've watched the dogs of war enjoying their feast,
I've seen the western world go down in the east,
The food of love became the greed of our time,
But now I'm living on the profits of pride ...'
- Geezer Butler & Ozzy Osbourne, 'Hole In The Sky' (1975)
'Woman From Tokyo' (1973) - Deep Purple
Serer Mythology đŠ
'The Serer people believe in a supreme deity called Roog (or Rog) and sometimes referred to as Roog Sene ("Roog The Immensity" or "The Merciful God"). Serer tradition deals with various dimensions of life, death, space and time, ancestral spirit communications and cosmology.'
'Roog is the Supreme being and Creator God of the Serer pantheon. Roog is the source of life and everything returns to Roog. Roog is "the point of departure and conclusion, the origin and the end".
The practitioners of the Serer traditional religion do not directly pray to Roog, choosing instead to pray through ancestral spirits known as pangool, and as a result Roog has no place of worship. It is considered blasphemous to make images of Roog.
The Serer believe that Roog is an incorporeal and hermaphroditic being, possessing both a male and female nature. Depending on the situation, an individual may attempt to evoke its male or female side by using whichever pronoun is appropriate ...'
- Wikipedia
The practitioners of the Serer traditional religion do not directly pray to Roog, choosing instead to pray through ancestral spirits known as pangool, and as a result Roog has no place of worship. It is considered blasphemous to make images of Roog.
The Serer believe that Roog is an incorporeal and hermaphroditic being, possessing both a male and female nature. Depending on the situation, an individual may attempt to evoke its male or female side by using whichever pronoun is appropriate ...'
- Wikipedia
'Boogie Child' (1976) - The Bee Gees
-
Creative Mythology đ
'Open all the shutters on your windows,
Unlock all the locks upon your doors,
Brush away the cobwebs from your day-dreams,
No secrets come between us anymore,
Oh, say it's true,
Only love can see you through,
You know what love can do to you ...'
- Justin Hayward, 'The Land Of Make Believe' (1972)
'Monkberry Moon Delight' (1971) - Paul McCartney
'Open all the shutters on your windows,
Unlock all the locks upon your doors,
Brush away the cobwebs from your day-dreams,
No secrets come between us anymore,
Oh, say it's true,
Only love can see you through,
You know what love can do to you ...'
- Justin Hayward, 'The Land Of Make Believe' (1972)
'Monkberry Moon Delight' (1971) - Paul McCartney
--- --- ---
đ David Bowie & Elton John đą
{ : Duelling Pop Icons Born In South-East England In 1947 : }
David Bowie (David Robert Jones) : 'The Thin White Duke'
(born January 8, 1947 in Brixton, London)
David Bowie started out as singer-songwriter Davy Jones but changed his name when the Monkees came along. I don't think his first band the Konrads recorded anything before he'd moved on, though a 1963 rehearsal tape did the rounds on bootlegs. Bowie released the single 'Liza Jane' in 1964, as credited to Davie Jones with the King-Bees. He then joined the Lower Third who cut the underground classic 'Can't Help Thinking About Me' and this helped set the tone for Bowie's own confessional tone. He passed through the Riot Squad before landing a deal to record his self-titled debut album 'David Bowie' in 1967. The legend took hold with the release of his single 'Space Oddity' in 1969, a song that's helped enshrine Bowie as one of the definitive musical authors of space exploration.
Some Artistic Collaborations
Writing 'All The Young Dudes' for Mott The Hoople
Producing the 'Transformer' album for Lou Reed (of the Velvet Underground)
Creating harmonic arrangements with Luther Vandross for the 'Young Americans' album
Recording the 'Berlin' trilogy with producer Brian Eno (of Roxy Music)
Producing 'The Idiot' & 'Lust For Life' albums for Iggy Pop (of the Stooges)
'Cat People' soundtrack with Giorgio Moroder
The 'Let's Dance' dancefloor album with Nile Rodgers (of Chic)
The duet 'Dancing In The Street' with Mick Jagger (of the Rolling Stones)
'The Buddha Of Suburbia' soundtrack with Lenny Kravitz
Touring with Nine Inch Nails
Writing 'All The Young Dudes' for Mott The Hoople
Producing the 'Transformer' album for Lou Reed (of the Velvet Underground)
Creating harmonic arrangements with Luther Vandross for the 'Young Americans' album
Recording the 'Berlin' trilogy with producer Brian Eno (of Roxy Music)
Producing 'The Idiot' & 'Lust For Life' albums for Iggy Pop (of the Stooges)
'Cat People' soundtrack with Giorgio Moroder
The 'Let's Dance' dancefloor album with Nile Rodgers (of Chic)
The duet 'Dancing In The Street' with Mick Jagger (of the Rolling Stones)
'The Buddha Of Suburbia' soundtrack with Lenny Kravitz
Touring with Nine Inch Nails
'Moonage Daydream'
Elton Hercules John (Reginald Kenneth Dwight) : 'The Pinball Wizard'
(born March 25, 1947 in Pinner, Harrow, Middlesex [now Greater London!?!])
Elton John was a session musician and songwriter-for-hire in the 1960s. He played on records by harmonic soul brothers the Hollies and the Scaffold among others (Graham Nash was another Scaffold session player, as was Jack Bruce of the Cream). John provided songs for the likes of Lulu & The Luvvers (in 1966, Lulu toured Poland with the Hollies, the first British female singer to appear live behind the Iron Curtain - in 1979, John was a rare Western artist to perform in Israel and the USSR). At the turn of the decade, artists of the magnitude of Bo Diddley and Aretha Franklin were recording his tunes, but John wanted to bust out on his own.
His band Bluesology cut some records on the cheap in the mid-1960s. John's solo outing 'I've Been Loving You' was co-credited in 1968 with lyricist Bernie Taupin who was to become a lifelong creative associate. John cut a range of covers at the behest of studios - his take on Simon & Garfunkel's 'Bridge Over Troubled Water' signalled his talent and some Nick Drake song sessions saw him backed by members of Fairport Convention & Traffic. John finally hit the bigtime with the release of 'Your Song' which has been certified platinum in the USA. When he put his band together, he also helped set up avenues for them to explore their own solo adventures, sometimes making musical contributions to their work.
Some Artistic Collaborations
A long-running musical affair with Graham Nash (the Hollies), David Crosby (the Byrds), Neil Young (Buffalo Springfield) & Stephen Stills (Buffalo Springfield) from Manchester to L.A.
Collaborating with Kevin Ayers (of Soft Machine)
Creating unusual "pocket" arrangements with Tower Of Power for the 'Caribou' album
Various collaborations with Bruce Johnston (of the Beach Boys)
Backing early inspiration Neil Sedaka on the Number 1 hit 'Bad Blood'
Various collaborations with Stevie Wonder
Performing on the Wham! farewell single 'The Edge Of Heaven'
Recording the album 'The Union' with Leon Russell (of the Asylum Choir)
Recording 'How Could We Still Be Dancin' with Brian Wilson (of the Beach Boys)
The duet 'Hello, Hello' with Lady Gaga
A long-running musical affair with Graham Nash (the Hollies), David Crosby (the Byrds), Neil Young (Buffalo Springfield) & Stephen Stills (Buffalo Springfield) from Manchester to L.A.
Collaborating with Kevin Ayers (of Soft Machine)
Creating unusual "pocket" arrangements with Tower Of Power for the 'Caribou' album
Various collaborations with Bruce Johnston (of the Beach Boys)
Backing early inspiration Neil Sedaka on the Number 1 hit 'Bad Blood'
Various collaborations with Stevie Wonder
Performing on the Wham! farewell single 'The Edge Of Heaven'
Recording the album 'The Union' with Leon Russell (of the Asylum Choir)
Recording 'How Could We Still Be Dancin' with Brian Wilson (of the Beach Boys)
The duet 'Hello, Hello' with Lady Gaga
'Razor Face'
Examples Of Commonalities : (David Bowie / Elton John)
GUS DUDGEON (produced early recordings for both)
JOHN LENNON ('Fame' / 'Whatever Gets You Thru The Night')
HERBIE FLOWERS (played sessions with both)
IGGY POP (was a driving force in Bowie's creative life / John tried to sign the Stooges to his âRocketâ label but they're the one that got away)
ALICE COOPER (Bowie drew inspiration from Cooper's stage shows / John wrote 'All The Girls Love Alice' for Cooper after seeing him live while Bernie Taupin later became a collaborator)
MICK RONSON ('Ziggy' sideman / original 'Madman On The Water' guitarist appearing on the 'Tumbleweed' demo sessions)
RICK WAKEMAN ('Hunky Dory' sideman / 'Madman On The Water' sideman + Elton's soubriquet = Rick Bakeman?)
PETER NOONE ('Oh You Pretty Things' / 'Dear God')
DAVID GILMOUR (âArnold Layneâ cover / âUnderstanding Womenâ song)
QUEEN (âUnder Pressureâ / âLeather Jacketsâ album)
GUS DUDGEON (produced early recordings for both)
JOHN LENNON ('Fame' / 'Whatever Gets You Thru The Night')
HERBIE FLOWERS (played sessions with both)
IGGY POP (was a driving force in Bowie's creative life / John tried to sign the Stooges to his âRocketâ label but they're the one that got away)
ALICE COOPER (Bowie drew inspiration from Cooper's stage shows / John wrote 'All The Girls Love Alice' for Cooper after seeing him live while Bernie Taupin later became a collaborator)
MICK RONSON ('Ziggy' sideman / original 'Madman On The Water' guitarist appearing on the 'Tumbleweed' demo sessions)
RICK WAKEMAN ('Hunky Dory' sideman / 'Madman On The Water' sideman + Elton's soubriquet = Rick Bakeman?)
PETER NOONE ('Oh You Pretty Things' / 'Dear God')
DAVID GILMOUR (âArnold Layneâ cover / âUnderstanding Womenâ song)
QUEEN (âUnder Pressureâ / âLeather Jacketsâ album)
Their mutual British friends were many, including Paul McCartney, Ringo Starr, George Harrison, Mick Jagger, Keith Richards, Pete Townshend, Eric Clapton, Jimmy Page, Jeff Beck, Rod Stewart, Cat Stevens, Marc Bolan and Freddie Mercury among others. You might have seen them out at a party with Dusty Springfield one night, dancing with Lulu the next, such was the close-knit community feeling and intimate climate generated by 'Swingin' London at the time. Friends at times, foes at others, these boys kept swinging ...
'Holiday Inn'
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Elton John Remembers David Bowie ....
âWe all know how inspiring he is, we all know that his music stands. We donât have to say anything about the music: it speaks for itself. He was innovative, he was boundary-changing and he danced to his own tune â which in any artist is really rare.
Bowieâs mystique was the most magical thing about him. He kept his illness private in an age weâre living in with Twitter when everyone knows everything about everything â he kept it to himself.
He made two albums without anybody knowing he was making them ⊠and that is the mystique of the man, because we know David Bowie the figure, the singer, the outrageous performer, but actually, we donât know anything about him â and thatâs the way it should be in music and should be in any art form whatsoever.â
- Elton John
Bowieâs mystique was the most magical thing about him. He kept his illness private in an age weâre living in with Twitter when everyone knows everything about everything â he kept it to himself.
He made two albums without anybody knowing he was making them ⊠and that is the mystique of the man, because we know David Bowie the figure, the singer, the outrageous performer, but actually, we donât know anything about him â and thatâs the way it should be in music and should be in any art form whatsoever.â
- Elton John
'Madman Across The Water'
