This Historic Day In Music: Paul Met John

Of all the historic days in music that I have celebrated in this blog, few, in my mind, are of a level of significance equal to that of this day.

55 years ago, on Saturday, July 6, 1957, 16-year-old John Lennon and 15-year-old Paul McCartney were introduced by their mutual friend, Ivan Vaughan.

Paul met John. John met Paul.

Consider for a moment (you might want to give yourself a bit more time than that) all that followed from that meeting.

For instance, make a quick mental list of the songs.

Visualize the images that filled the album covers.

If you’re old enough, remember where you were and how you felt when you watched the television broadcasts of those early performances.

Is it possible to measure the scope of the influence on our lives – on the world – of the music that was created as a direct result of the meeting that took place on this day in 1957?

I hope you will leave a comment and share your thoughts.

On this day in 2010, I wrote of this meeting in more detail. If you’re interested, search the archives.

 

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This Historic Day In Music: Mississippi John Hurt

This is my third post celebrating the anniversary of the birthday of Mississippi John Hurt.

Last year, in my post of July 3, 2011, I included a link to a video of John playing and singing “You Got To Walk That Lonesome Valley.” However, in going back to that post myself, I discovered that the video has been removed and the link disconnected.

So, I’m going to try again and post a second video link as well.

In my mind, one can’t get too much of the wonderful music of Mississippi John Hurt.

There you go: a double dose of some of the best fingerpicking guitar playing you’ll ever hear. I hope you enjoyed it.

Mississippi John Hurt was born on July 3, 1893 in Teoc, Mississippi. For a detailed account of his life, recording history and near-miraculous rediscovery in 1963, please check out my archived post of July 3, 2010.

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This Historic Day In Music: Big Bill Broonzy

I don’t remember when or where I first heard or read it, but Big Bill Broonzy is a name you don’t forget.

Big Bill Broonzy played guitar and sang the Blues.

Big Bill’s recording career started in November of 1927. He and guitarist John Thomas recorded “House Rent Stomp” and “Big Bill’s Blues” for Paramount Records. Paramount billed the duo as Big Bill & Thomp.

In the years that followed, Bill made hundreds of solo and duo records under a variety of names including Big Bill Broomsly, Big Bill Johnson and Sammy Sampson. He also cut sides as a member of The Famous Hokum Boys and as accompanist to a host of other artists including Washboard Sam, Memphis Slim and John Lee “Sonny Boy” Williamson.

By the time of his last recording session in July of 1957, Big Bill Broonzy had put together a career and a body of work that would establish him as one of the most prolific, popular and influential singers, guitarists and songwriters in the history of the Blues.

Just to give you some idea how prolific of a recording artist he was: in 1991, Document Records released The Complete Recorded Works (1927-1942) of Big Bill Broonzy. It is an 11 CD set.

Among the many musicians who put Big Bill Broonzy high on their list of influences are Muddy Waters, Buddy Guy, Eric Clapton, George Harrison, Jimi Hendrix and Bert Jansch.

Here’s a bit of Big Bill Broonzy’s Blues that never fails to make me smile.

That was recorded on March 30, 1932 in New York City.

Here’s a film of Big Bill Broonzy made by Pete Seeger on July 4, 1954 (1957?) at Circle Pines Center, a camp in Hastings, Michigan.

Big Bill Broonzy always claimed that he was born in Scott, Mississippi in 1893. His supposed twin sister once announced that she had a birth certificate that put the year at 1898. In his 2011 book, I Feel So Good: The Life and Times of Big Bill Broonzy, author & researcher Bob Reisman sets the year as 1903 and the location as Lake Dick, Jefferson County, Arkansas. 

Everyone agrees that the date of his birth was June 26.

I highly recommend the 1998 Columbia Records CD Warm, Witty & Wise as a great place to start listening to the music of Big Bill Broonzy.

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“Friday Night”

Many years ago, I had a gig playing Friday nights at the Loaf & Ladle Restaurant on Water Street in downtown Exeter, NH.

After the first year or so, I decided that I needed some kind of “theme song.”

This is what I came up with and it served me quite well for what turned into almost every Friday night for another two years. 

I finally recorded “Friday Night” in 1995 at Fishtraks Recording Studio in Portsmouth, NH and released it that year on my one-and-only CD: “There Are (Songs To Be Sung).” Accompanying my acoustic guitar and vocals are: Andy Inzenga, bass guitar; Bob Thibodeau, percussion; and Laura Jackson, violin. Jim Tierney handled the recording and mixing duties and mastering was done by Jeff Landrock.

So, seeing as it is Friday night, here is “Friday Night,” the song!

“Friday Night” – words & music by Eric Sinclair

“It’s Friday night and the weekend’s begun!”

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This Historic Day In Music: June 20,1937, The Vitagraph/Warner Brothers Exchange Building, 508 Park Avenue, Dallas, Texas

Even though it was a typically hot middle-of-June Texas afternoon and even though the “recording studio” was a third-floor room in a warehouse/office building in downtown Dallas, Robert Johnson had the most productive day of recording in his career.

Johnson cut seventeen sides during this, his fifth recording session for the American Record Corporation. Those seventeen sides included master discs of ten songs and a nearly-identical, alternate-take “safety” disc each of seven of those songs.

His second most productive session was his first: Monday, November 23, 1936 in San Antonio, Texas, when he cut thirteen sides and eight different songs. (See my archived post of November 23, 2010 for more details on that historic day.)

The songs he recorded 75 years ago today (in the order he recorded them) were: “Hell Hound On My Trail,” “Little Queen of Spades,” “Malted Milk,” “Drunken Hearted Man,” “Me and the Devil Blues,” “Stop Breakin’ Down Blues,” “Traveling Riverside Blues,” “Honeymoon Blues,” “Love In Vain Blues” and “Milkcow’s Calf Blues.”

Of these ten songs, many have become standards in the repertoire of countless acoustic Blues musicians and electric Blues/Rock bands including Eric Clapton, The Rolling Stones and Keb ‘Mo, to name a very few. “Hell Hound On My Trail” and “Love In Vain Blues” were given special significance when the Rock & Roll Hall of Fame selected them for their list of 500 Songs That Shaped Rock & Roll. 

Here are those two songs. Please take a few minutes and listen to them both. (Got headphones?) These are the original 1937 recordings. Hearing is believing.

Robert Johnson’s recording session on June 20, 1937, in the Vitagraph/Warner Brothers Exchange Building, 508 Park Avenue, Dallas, Texas, was his last. He passed away under mysterious circumstances on August 16, 1938, near Greenwood, Mississippi.

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This Historic Day In Music: Paul McCartney

“Eight Days A Week,” “Nowhere Man,” “Hey Jude,” “I Should Have Known Better,” “Blackbird,” “I’ve Just Seen A Face,” “Help,” “Rocky Raccoon.”

As you, my knowledgeable reader, knows; these are all titles of songs recorded by The Beatles.  And, if you were to look each of them up in a Beatles’ songbook, you would find that their (original) publishing company Northern Songs credits them all as having been written by John Lennon & Paul McCartney.

The truth of the matter is that, except at the very beginning, John and Paul did not actually write songs together. As producer George Martin told Lennon  biographer Ray Coleman in 1985: “They never really collaborated. They were always songwriters who helped each other with little bits and pieces. One would have most of a song finished, play it to the other, and he’d say: ‘Well, why don’t you do this?’ That was just about the way their collaboration worked.”

In 1989, author William J. Dowlding wrote Beatlesongs. In his book, Dowlding chronicles every song written and recorded by The Beatles and claims to be “the first attempt to quantify the contributions they (John, Paul, George and Ringo) made.” More specifically, as Dowlding explains in the book’s introduction: “Credit for each song’s creation is apportioned based on all the information that could be amassed.”

For instance, according to Beatlesongs, “Eight Days A Week” is 70% by Paul and 30% by John. “Blackbird” is 95% by Paul and 5% by John. “Nowhere Man,” “I Should Have Known Better” and “Help” are 100% by John. “Rocky Raccoon,” “Hey Jude” and “I’ve Just Seen A Face” are 100% by Paul.

The songs on the list at the beginning of this post have one other thing in common: they are all songs that I use often in my teaching. Year after year, I continue to find that (amazingly and thankfully) they are also songs that budding teenage guitarists are still excited to learn how to play. Among the songs that I most frequently introduce to my students are “Eight Days A Week,” “Blackbird” and “Rocky Raccoon.”

In a recent guitar lesson, after putting the finishing touches on “Blackbird” in preparation for performing the song in an up-coming student concert, a student asked me: “What did guitar students learn how to play before The Beatles?”

As I put the finishing touches on this blog post here in New Hampshire, it is Monday evening, June 18, 2012. Wherever he is in the world, Paul McCartney turned 70 years old today.

Happy Birthday Paul.

Thanks for the songs!

P.S.: Do you, dear reader, have a favorite “Paul song?” Leave a comment!

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With The Help Of Many Friends…

Here’s something a bit different from my usual sixstr stories fare.

I was invited to participate in this project back in April by my friend and colleague, Bob Squires and one of his students, Oscar Dupuy d’Angeac. Oscar came up with the idea for this video/musical campus-wide collaboration as a senior project and Bob signed on as his adviser and collaborator. (Lucky Oscar.)

Oscar is the lead singer, the first one you see and hear.

Watch, listen and enjoy.

(That’s me at 1:00.)

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50 Years Ago Yesterday: The Audition At Abbey Road

It was 7:00 pm, on Wednesday, June 6, 1962.

The Liverpool rock & roll quartet known as “The Beatles” – John Lennon, Paul McCartney, George Harrison and Pete Best – were in Studio Two of EMI Studios, 3 Abbey Road, St. John’s Wood, London, England.

The band’s manager, Brian Epstein, after months of hard work and many rejections, had finally secured a live audition for The Beatles with EMI’s Parlaphone Records and producer George Martin. That evening, Martin assigned his assistant, Ron Richards, to initially take charge of the session. Balance engineer Norman Smith and second engineer/tape operator Chris Neal also worked in Studio Two on June 6.

Once a few problems with the band’s guitar amplifiers – equipment described as “duff” by engineer Smith – were fixed, The Beatles ran through a number of songs from their extensive performance repertoire and settled on four songs to be taped. First up was their cover version of “Besame Mucho” (released in 1960 by The Coasters) and then three Lennon & McCartney originals: “Love Me Do,” “P.S. I Love You” and “Ask Me Why.”

During the recording of “Love Me Do,” Smith thought George Martin should be hearing this for himself and sent Neal to “Go down and pick up George from the canteen.” Martin arrived and took over for the rest of the session. 

At the end of the evening, Martin called the four lads up to the control room to listen back to the recordings and “discuss technicalities.”

Norman Smith later recalled: “We gave them a long lecture about their equipment and what would have to be done about it if they were to become recording artists. They didn’t say a word back, not a word. When he finished, George Martin said ‘Look, I’ve just laid into you for quite a time, you haven’t responded. Is there anything you don’t like?’ I remember they all looked at each other for a long while, then George Harrison took a long look at Martin and said ‘Yeah, I don’t like your tie!'”

The Beatles returned to Abbey Road on September 4, 1962, for their first official recording session as Parlophone recording artists under contract with EMI. At George Martin’s request, drummer Pete Best had been replaced. Ringo Starr, “the best drummer in Liverpool,” had joined the band in August.

You know what they say about “the rest…”

All information and quotes for this post were found in two books, both by Mark Lewisohn: The Complete Beatles Chronicle (1992) and The Beatles: Recording Sessions (1988). Very Highly Recommended.

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Pancakes & Vivaldi

I don’t know which came first, but ever since the early years of parenthood, Sunday mornings in the Sinclair household have meant two things: pancakes and classical music.

The only connection that I know of between listening to classical music and eating a hearty breakfast (not always pancakes; waffles and french toast every now and then, too) is that I enjoy them both. The music of J.S.Bach and Antonio Vivaldi just seemed more appropriate to Sunday mornings than did the Jazz, ’60’s Rock or the songs of the many “old dead Blues guys” I would have playing on the stereo during the rest of the week for my own listening pleasure as well as in my on-going attempts to educate and enlighten my children.

I probably started this tradition with J.S.Bach’s “Brandenburg Concertos,” since they’re among my favorite classical works and, back in college, I bought a wonderful Nonesuch records 2-LP set of them recorded by Karl Ristenpart conducting the Chamber Orchestra of the Saar.

Over the years, I added Vivaldi’s “The Four Seasons” (by Itzhak Perlman and the Israel Philharmonic) and Franz Joseph Haydn’s Symphonies “No. 93 in D Major” and “No. 94 in G Major” (Leonard Bernstein and the NY Philharmonic) to the playlist. When my young daughter was learning to play the flute and my son, in elementary school, took up the clarinet; a Sony Classics CD of flute and clarinet concertos by W.A. Mozart was given a top spot in the rotation.

Even today, I had Bach’s “Suite No. 4 in D Major, BMV 1069” (as recorded by conductor Raymond Leppard and the English Chamber Orchestra) dancing in the background as I emptied the dishwasher, made the coffee and enjoyed a bowl of my special “enhanced” oatmeal. (No, believe it or not, I don’t always still have pancakes for Sunday breakfast.)

I know that both of my children enjoyed (sometimes, I’m sure, just tolerated) our musical Sunday morning tradition. My son has carried it with him into adulthood.

A few months after he started living and working in Virginia, I received a late-Sunday-morning text message from him.

“Guess what I listened to as I made/ate my breakfast this morning?”

“Hm… Classical music Sunday morning?” I replied.

“4 Seasons, indeed,” came his answer.

“That’s great, big guy. You made my day.”

“Awesome.”

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So Long, Doc

Arthel “Doc” Watson died yesterday, Tuesday, May 29, 2012, in Winston-Salem, North Carolina. He was 89 years old.

Doc Watson played acoustic guitar in both the flat-picking and fingerpicking style. Whether you called it Folk or Country or Bluegrass, the music he played and sang was, in my mind, simply the purest Music anyone ever made.

Doc Watson’s Music sparkled. It cascaded from his instrument like a sun-drenched stream of crystal-clear mountain water. Thanks to his dazzling technique and the humble grace that he brought to his performances, the notes of the old-time fiddle tunes he adapted and mastered bubbled, swirled and tumbled off the strings of his guitar like strands of the finest silver and gold.

See and hear for yourself.

That was flat-picking. This next one is played in the fingerpicking style.

There you go.

Doc Watson – March 2, 1923-May 29, 2012.

Long may his music live.

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