On This Day In Music History: Les Paul

Les Paul, guitarist and inventor, was born Lester William Polsfuss on this day, June 9, in 1915 in Waukesha, Wisconsin.

When I hear the name Les Paul, the first thing I think of is the Gibson guitar that bears his name. I picture a solid body electric with a small, round-ish shaped body, yellow/orange- colored sunburst top, two humbucking pickups, a tune-o-matic bridge that is seperate from the “stop” tailpiece and the neck, capped with a black headstock, three tuning pegs on each side and the trademark white Gibson logo, top and center. Also, having played one once, I know that the guitar is heavy: the body being made of mahogany and maple. 

The original “Les Paul” guitar was designed mostly by Gibson’s Ted McCarty with a debateable amount of input from Les, but definitely inspired by an instrument that Les invented in 1941 called “The Log.” This instrument, according to Les himself, was called “The Log” because: “It was made from a solid 4 x 4 inch piece of wood with a neck, and to make it look like a guitar we clamped on a pair of wings cut from the side of an old guitar.” (Guitar Player Magazine, May 1973) When Les presented this prototype to Gibson in 1946, “They politely ushered me out the door.” In 1950, with Les near the peak of his recording career, Gibson not only sought his input in the design of the new guitar but an endorsement deal that resulted in the instrument bearing his name.  

The reason behind the solid wood, by the way, is to increase the sustain of the guitar’s notes. With “The Log,” Les once said: “You could go out and eat and come back and the note would still be sounding.”

The “Les Paul” guitar was first marketed in 1952 by Gibson Guitars to compete with the “Telecaster,” a solid body electric that had been introduced by the Fender Electric Instrument Co. the year before. The “Les Paul” is still being made and is Gibson’s most popular model.

The guitar players that I connect with the “Les Paul” and who definitely took advantage of its sustain and distinctive tone are Jimmy Page, Duane Allman and Keith Richards. Keith was the first famous British guitarist to buy and use a “Les Paul,” doing so in 1964. 

The other thing I think of when I hear the name Les Paul is an album I own entitled: Chester & Lester. Recorded and released in 1976, it features country guitarist Chet Atkins and Les Paul playing wonderful, casual-sounding arrangements of 10 jazz standards. It also marked the coming-out-of-retirement of Les, who had had a very successful recording career from 1945-1964. Chester & Lester won the Grammy Award in 1976 for “Best Country Instrumental Performance.” Les told Guitar Player Magazine in December 1977: “You could have knocked me over. I don’t know why they called it country, though. Hell, there wasn’t a country cut on it.”

Les Paul passed away on August 14, 2009 in White Plains, NY.

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Once & Again: Dave Rawlings Machine

Last summer, on Sunday, August 2, 2009, to be precise, Dave Rawlings Machine kicked off the day’s music at George Wein’s Folk Festival 50 in Newport, RI, with “Diamond Joe.”

It was 11:30 in the morning under the tent that covered the Harbor Stage. The duo: singers/acoustic guitarists/banjo players/songwriters David Rawlings and Gillian Welch, had performed the day before on the main (and much larger) Fort Stage as the “two-piece band called Gillian Welch.”  This hour-long set featured David on lead vocals, more songs by him and lots of his incredible guitar solos, played on his trademark 1935 Epiphone Olympic guitar.

Some of the highlights of this performance (which was, to me, one of the highest-lights of the two day festival) were the songs “I Hear Them All,” “The Bells of Harlem,” “Method Acting/Cortez the Killer” and a long and mesmerizing version of Bob Dylan’s  “Queen Jane Approximately.” The stunningly-pure beauty of the blend of their voices and their perfectly played guitars was at times nearly overwhelming.

Thanks to NPR being on hand to broadcast, record and archive the festival, I was able to download the show when I got home and burn it to a CD. Listening to and reliving that Sunday morning concert has been one of the most dependable joys of the past year.

Last night, Friday, June 4, 2010, to be precise, Dave Rawlings Machine kicked off the show at the Music Hall in Portsmouth, NH with “Monkey and the Engineer.”

The duo has become a quintet, augmented for most of the night by the addition of Ketch Secor on harmonica, fiddle and vocals, Morgan Jahnig on upright bass (both from the band Old Crow Medicine Show) and Gabe Witcher on acoustic guitar, fiddle and vocals.

Some of the highlights of this two-set, two-and-one-half hour show were the same as the Newport Show and it was such a thrill to again hear equally-awesome versions of “Method Acting/Cortez the Killer” and “Queen Jane Approximately.” But the first chills of the night came when “I Hear Them All” segued into “This Land Is Your Land.” And there were others: the unrecorded David/Gillian duet “That’s The Way It Will Be,” the full quintet versions of “Sweet Tooth” and “To Be Young (Is To Be Sad, Is To Be High)” and Gillian’s featured number “Look at Miss Ohio” that continued the string of shivers down my spine.

But saving the best for last, “The Weight” (by Robbie Robertson and the Band) was an inspired choice for an encore and featured the finest ensemble playing and singing of the night. Each of the four singers had their turn at a verse and then joined together on the classic chorus and the last (“Catch a cannonball…”) verse in absolutely heavenly harmony.

There is nothing like live music, especially music played and sung like this. The recorded music by these artists is pretty good, too. Highly Recommended.

What a way to start the summer!

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Summer’s Here

Summer, the season, may still be sixsteen days away, but my summer vacation started yesterday. And, after seventeen years of school (starting with Mrs. Nixon’s Kindergarten in Newfields, NH) and thirty-five years of teaching, I don’t know what summer without a vacation is like. Poor me, huh?

This summer will be up to its “same old tricks,” but it does feature something new: this blog. With time to explore the possibilities of WordPress and figure out how to use them, I’m hoping to expand my offerings. I will keep you posted on all the anniversaries of birthdates, recording dates, release dates and major historical events in the world of folk, blues, country, rock & roll and jazz that I am privy to. Looking over the “calendar” that I have assembled and continually add to, June and August look good but July is overflowing with cool stuff. It’s gonna be fun.

So, I hope you keep checking in on sixstr stories over the months ahead. Please post a comment when you are so inspired (big thanks to all of you who already have!) and feel free to pass the link on to your friends.

“Good music doesn’t get old”

Talk to you soon.

P.S.: The title of this post comes from a song I wrote and recorded on my CD “There Are (Songs To Be Sung).” Listen: “Summer’s Here” by Eric Sinclair. I hope you enjoy it.

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A Splendid Time Is Guaranteed For All

On June 1, 1967, I was in eighth grade at St. Michael’s Parochial School in Exeter, NH. I might have been thinking about graduation, but more than likely most of my thoughts were more about  Alice, a girl in my class that I was kind of starting to like.

I was not thinking about the new Beatles’ album.

I’d moved past the Beatles by then. I had several singles I’d bought back in 1964 after seeing them on Ed Sullivan and I had the albums Something New, Something New and Beatles ’65. (These were American Beatles albums, having no relation to the albums that the band was releasing in England. This was something I didn’t realize for many years.) My new favorite group was the Rolling Stones, the bad boys of rock & roll. I’d bought the albums Big Hits: High Tide and Green Grass and Aftermath. Later in June of ’67, I bought Flowers and brought it over to Alice’s house so that she could hear all these great songs that I was really excited about and… she mostly just giggled. In retrospect, she was probably justified because I now know that the rest of the world was listening to Sgt. Pepper’s Lonely Hearts Club Band.

I did finally buy a (vinyl) copy of Sgt. Pepper, but I don’t remember when. (It has the Apple label, so it must have been in the ’70’s sometime.) The song “With A Little Help From My Friends” became a staple of my performing repertoire all through the 1980’s and when I was a member of Merseyside, a Beatles cover band in the early ’90’s, we did the whole triptych of  “Sgt. Pepper/Little Help/Lucy In The Sky.” (And we rocked.) Finally, on 09/09/09 I was at Bullmoose Records in Portsmouth bright and early to buy my (remastered and repackaged) first CD copy. It sounds amazingly fantastic, revealing even more of the remarkable detail of this incredible work of art. Highly recommended.

Sgt. Pepper’s Lonely Hearts Club Band was the eighth album that the band released in the four years and eight months of their recording career. According to the book The Beatles: Recording Sessions (1988), December 6, 1966 was the day that recording started on a song for the album. That was: “When I’m Sixty-Four,” a song that they’d written years before and used to perform at gigs to fill in when their equipment broke down. The last recording for the album was on April 21, 1967 when they recorded the spoken gibberish that was meant to be heard after the huge piano chord ending of “A Day In The Life” as the record player tone arm tracked the record’s groove right to the end. (It is on the CD.) While recording the songs for Sgt. Pepper, they also recorded “Penny Lane” and “Strawberry Fields Forever” which were released as a single.

So, they went from their first record, the single “Love Me Do”/”P.S. I Love You,” released in England on October 5, 1962, to the album “Sgt. Pepper’s Lonely Hearts Club Band,” released world-wide on June 1, 1967. As Mark Lewisohn wrote in the Recording Sessions book: “What surely stands out most of all is the Beatles’ sheer progression to this point in time.”

Happy first day of June.

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On This Day In Music History: T-Bone Walker

One of the first concerts I went to was an evening show of the Boston Globe Jazz Festival in early February, 1969. The artist on the bill that I was most excited about seeing was B.B.King. Though I was months away from purchasing my first B.B.King album (Live and Well, bought at 2:30 am in a Times Square record shop), I was an avid reader of Down Beat magazine and knew much about the King of the Blues.

In just about every interview of B.B.King I’ve ever read, especially those over the years in Guitar Player magazine, B.B. always mentioned the influence that T-Bone Walker had on him. That’s how I first heard about the Father of the Electric Blues Guitar.

Aaron Thibeaux Walker was born in Linden, Cass County, Texas on May 28, 1910. On December 5, 1929, under the name Oak Cliff T-Bone, he made his first recordings singing and playing acoustic guitar: “Trinity River Blues” and “Wichita Falls Blues” for Columbia Records. In the late 1930’s, he started performing with an electric guitar and in July of 1942 made his first recording singing and playing electric: “Mean Old World Blues,” this time for Capitol Records. His biggest hit came in 1947, “Call It Stormy Monday (But Tuesday Is Just As Bad),” recorded on September 13 in Hollywood, CA for the Black and White label.

B.B.King described the sound of T-Bone Walker’s guitar as “the prettiest sound I think I ever heard in my life.” He also said: “I can still hear T-Bone in my mind today, from the first record I heard. He was the first electric guitar player I heard on record…He made me so that I knew I just had to go out and get an electric guitar.” Chuck Berry and Jimi Hendrix also both owed much to T-Bone, not only in their playing but in their stage act and showmanship as well.

If you’ve never heard T-Bone Walker, may I recommend a few titles? First, of course, the hit, “Call It Stormy Monday,” and then try “T-Bone Shuffle” and “T-Bone Jumps Again,” the later a jumping-indeed, full band instrumental. The songs “I’m Gonna Find My Baby” and “That’s Better For Me” feature guitar solos in their introductions that are full of classic T-Bone guitar licks and that great sound.

In the All Music Guide to the Blues, Bill Dahl wrote: “No amount of written accolades can fully convey the monumental importance of what T-Bone Walker gave to the Blues.”

T-Bone Walker passed away on March 16, 1975 in Los Angeles, CA.

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Re: What Is Your Favorite Bob Dylan Song?

Besides the songs mentioned in the comments after the On This Day In Music History: Bob Dylan post, I heard and received several other titles in answer to the question above.

They were: “Tangled Up In Blue,” “A Hard Rain’s A Gonna Fall,” “The Times They Are A-Changin’,” “Blowing In The Wind,” “I Dreamed I Saw St. Augustine,” “Sad Eyed Lady of the Lowlands” and … none.

It’s not too late to add your choice to the list!

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On This Day In Music History: Bob Dylan

Today is Bob Dylan’s birthday.

He was born Robert Allen Zimmerman, the first born son of Abe and Beatty Zimmerman, on Saturday, May 24, 1941 in Duluth, Minnesota. (The family moved to Hibbing in 1946.) He became Bob Dillon in 1958 while a junior in high school and legally changed his name to Bob Dylan in 1962. He went on to become “the most prolific and influential singer/songwriter in the history of music.” (Bob Dylan Complete Discography 2006 by Brain Hinton)

In the vast ocean of all that has been said and written about Bob Dylan, including all that he has said and written about himself, it seems to me that the most important thing is his songs, all of those songs

So, what is your favorite Bob Dylan song?

I pose this question knowing that you might not like, maybe even can’t stand, Bob Dylan. But given that he is the most “covered” songwriter of all time, there’s a pretty good chance that you like, maybe even love, one of his songs. (For example: “Don’t Think Twice, It’s All Right” as done by Ramblin’ Jack Elliott, “My Back Pages” as done by the Byrds, “I Shall Be Released” as done by the Band, “Just Like Tom Thumb’s Blues” as done by Nina Simone, “Just Like A Woman” as done by Richie Havens… hmm… I think I have an idea for another blogpost!)

My initial response to the question is one of those question-to-answer-the-question answers: how can you pick just one?

My serious answer is: “Mr. Tambourine Man.”

I love this song. I’ve been playing it for many years, performed it dozens of times. At first, I played it capoed up around the fifth fret, fingering in the key of C and using Cotten-style fingerpicking patterns. Then I saw the Murray Lerner documentary film Festival about the 1963-65 Newport Folk Festivals and there was Bob playing the song, doing Carter-style strumming on a D major chord, capoed at the second fret and with a low bass note that signaled dropped-D tuning. From then on, that’s been the way for me.

I’ve never felt the need to play harmonica in the song. Just getting those words out there, those incredible, dazzling words, and letting that melody soar has been enough. (I’ve never understood why the Byrds only do the second verse in their electric version.) It’s one of those songs that I feel from the bottom of my feet right on through my fingers and seemingly out the top of my head. I’ll be playing and singing this song as long as my fingers and my voice allow.

Bob liked the song, too. In No Direction Home: The Life and Music of Bob Dylan (1986), Robert Shelton wrote: “In 1968, Dylan told Sing Out: ‘There was one thing I tried to do which wasn’t a good idea for me. I tried to write another ‘Mr. Tambourine Man.’ It’s the only song I tried to write ‘another one.’ I don’t do that anymore.’ ”

After trying to record it at two other sessions, Bob finally cut the version we know and love in the sixth take on January 15, 1965 at Columbia Records’ Studio A in New York City with Bruce Langhorne on second guitar.

“Yes, to dance beneath the diamond sky with one hand waving free…”

What is your favorite Bob Dylan song?

Happy Birthday, Bob. All the best.

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On This Day In Music History: “Maybellene”

On May 21, 1955, Chuck Berry was in Chicago, Illinois. Having been introduced to Leonard Chess, owner of Chess Records, by Muddy Waters, the St. Louis, MO based, singer, guitarist and songwriter was recording his first single.

1954 had seen popular releases by newcomers Bill Haley & His Comets [“(We’re Gonna) Rock Around The Clock”] and Elvis Presley (“That’s All Right” and “Good Rockin’ Tonight”), records that merged hillbilly (country) music with rhythm & blues and introduced something that came to be known as rockabilly. The song on Chuck’s demo tape that caught Leonard’s ear was his remake of a 1938 Bob Wills song called “Ida Red”. It too merged these two musically and racially disparate styles into a new and very infectious sound.

But besides Bob Wills, an R&B artist named Bumble Bee Slim had put out a song also called “Ida Red” in 1950, so a name change was called for. Chuck went to work and the rewritten number was given the title “Maybellene”. The track was cut, in 36 takes, with Chuck on lead vocals and electric guitar (a Gibson ES-350T with P-90 single-coil pickups), Johnnie Johnson on piano, Willie Dixon on bass, Jerome Green on maracas and Ebby Hardy on drums.

In A Brief History of Rock ‘n’ Roll, Nick Johnstone wrote: “Welding country and western guitar licks to a Chicago-influenced rhythm and blues beat while throwing over the top, cocky, rebellious, mischievous lyrics, packed with lusty innuendo and metaphor, Berry all but defined rock ‘n’ roll with “Maybellene.””

Yes, indeed.

If you’ve never heard “Maybellene”, find it and listen to it (more than once.) If you have heard it, more than likely it has been awhile. So, listen to it again. “As I was motivatin’ over the hill..”

Three months after being recorded, “Maybellene” reached #5 on the Hot 100 and #1 on the R&B chart.

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How do you calculate the influence of a song in your life?

Is there a song, a single song, that you can point to and say: “That song changed my life.”?

My answer would be: yes. The song? “Spirit In The Night” by Bruce Springsteen.

Like several songs, I can remember the first time I heard it. The year was 1973. It was in the evening and I was sitting alone in my parent’s station wagon in the parking lot of St. Michael’s church, waiting to pick up my then-girlfriend after choir practice. I had the radio tuned to WBCN-FM out of Boston and this song came on that was both unlike anything I’d ever heard and still somehow familiar. I heard the opening sax riff over drums, bass, keyboards and electric guitar. Then the scratchy male vocals: “Crazy Janey and her mission man were back in the alley tradin’ hands.” Whoa, what’s this? I was immediately drawn in and followed the story (a rock song that told a story!) of this group of friends and their trip up to Greasy Lake, armed with “a bottle of rose” and the dust that Wild Billy shook out of his coon-skin cap. There was the chorus with the call: “and they dance like spirits in the night” and the response: “all night” that I joined in on instantaneously. After the characters “said good-bye to gypsy angel row” and the last chorus ended, I turned up the volume a bit more and leaned in, hoping the DJ would say who I’d been listening to. He did: “That was Bruce Springsteen from his brand new album Greetings From Asbury Park, N.J.

The next day, I went shopping.

That album led to more than a dozen others: vinyl LPs (including the “live” box set), cassette tapes and CDs. I learned how to play and sing “Spirit In The Night” and it was one of the most popular songs in my repertoire when I started playing summer weekend nights at a little bar down on A Street in Hampton Beach, N.H. That call-and-response chorus got ’em every time. Two of his albums are on my short list of all-time favorites: The Wild, The Innocent and The E Street Shuffle and We Shall Overcome: the Seeger Sessions.

I’ve been to see Bruce and the E Street Band in concert four times (a paltry number compared to many of his fans) and all in Boston: twice at the Music Hall (now the Wang Center), once at the old Boston Garden and a few summers ago at Fenway Park. The first time my ticket cost $6.50. The Fenway show was a birthday present from my amazing wife – also a Bruce fan – and all she would tell me was that it was the only time in her life that she’d bought something and paid more than full price.

I’ve started playing “Spirit In The Night” again, giving it a folky, fingerpicked setting that, I think, works really well. As I get caught up in the song, I feel a sense of coming full circle, returning home to the spot where I started a long, fantastic journey.

So…

“How do you calculate the influence of a song in your life? We have songs that carry enormous meaning for us, songs we want played at our weddings or at our funerals, songs that every time we hear them, every single time, we pause, we remember, we smile, we sing, we ignite. And maybe even more that that. Maybe we have music that has changed or saved our lives.”

Louis P. Masur, from: Runaway Dream: Born To Run and Bruce Springsteen’s American Vision. 2009

How about you? What’s your song?

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The Big Bang of Country Music

The title of this post is taken from the title of a book put together by Charles K. Wolfe and Ted Olson called The Bristol Sessions: Writings About the Big Bang of Country Music, published in 2005. The information to follow is taken from some of the various fine articles in that book.

In his comment to my post of May 11 (Yesterday In Music History), Tom Savage wrote about listening to his father’s Jimmie Rodgers records and how he remembered a few tracks where Jimmie and the Carter Family “visited” and did a song together.

The original connection between Jimmie Rodgers and the Carter Family is that they were both “discovered” and made their first recordings at the same recording sessions held in Bristol, Tennessee, in the summer of 1927. Given the subsequent popularity and influence of these two acts, the term “Big Bang” is well deserved.

Ralph Peer, the man in charge of the sessions, arrived in Bristol with his wife, two recording engineers and their portable recording equipement on Friday, July 22. On Sunday, July 24, the Bristol Herald Courier newspaper ran an article, including an interview with Mr. Peer, that announced their arrival and served as an invitation to local musicians to come and audition.

Recording started on Monday, July 25 and ended on Friday, August 5. During that time, nineteen “hillbilly” bands and soloists were recorded. Artists such as Ernest Stoneman, Uncle Eck Dunford, The Johnson Brothers, Blind Alfred Reed, The Bull Mountain Moonshiners and The West Virginia Coon Hunters “cut sides” to be released on Victor Records.

The Carter Family auditioned in the morning on Monday, August 1 and recorded four songs that evening. Maybelle and Sara came back the next morning and recored two more songs, for some unknown reason, without A.P. In the afternoon on Thursday, August 4, Jimmie Rodgers recorded the two songs that would launch his career: The Soldier’s Sweetheart and Sleep, Baby, Sleep.

Victor Records released Jimmie Rodger’s record on October 7, 1927. The first Carter Family record: The Poor Orphan Child backed with The Wandering Boy was released on November 4. Their next release came on December 2 and the final release from this first session came out on January 20, 1928.

Johnny Cash once said: “These recordings in Bristol in 1927 are the single most important event in the history of country music.” I think it is safe to paraphrase this and say that these recordings are among the most important events in the history of American music.

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