Country at the Crossroads (Will the Devil Never Tire?)

by Alice DuBois

Part I - Bleached

In 1980, when I was 9 years old, I went with my family to see "The Blues Brothers." I wasn't normally allowed to see 'R' rated films, but we had really gone to see "The Empire Strikes Back", which was sold out; "The Blues Brothers" was the only other plausible choice, I guess. I remember the scene where the Blues Brothers wander aimlessly looking for a gig and end up in central Indiana, at Bob's Country Bunker. They go in and lie to the owners, saying they are the "Good Ol' Boys"-the candy-ass, fluffy, C&W band that hasn't shown up yet. The Bunker fills to capacity and the urban R&B ensemble get ready to start playing. They open with Steve Winwood's "Give Me Some Lovin'" which inspires vicious booing and bottle throwing. They nearly get 86ed from the joint - the owners turn out the lights on them, but then they save their hides by quickly brainstorming and launching into the theme from the T.V. show "Rawhide." The crowd is whipped into an adoring frenzy, which continues as the band then starts in on "Stand By Your Man" (with gestures). The joke is fairly obvious: a R&B band get stuck in a roomfull of country music fans, expected to entertain them. The country fans, of course, don't dig the hard-driving blues-based sound, but the comically over-the-top country tunes are a big hit. I thought that was very funny-the ridiculousness of a blues band playing for a country audience. But what has become obvious to me only recently is that there's more to this scene than meets the eye… The very first performer on the Grand Ol' Opry was a black man. Deford Bailey was born in 1899 in Bellwood Tennessee. He performed on the Opry, playing his harmonica, from its beginning in 1928 to 1941. It's never really been revealed why he left. Deford was a beloved member of the show, but he still faced the overwhelming racial prejudice that Americans of African descent dealt with. His leaving the show was mixed with confusion and most likely was rooted in racism - he was told by George Hay, who ran the Opry, that he had to revamp his entire repertoire in order to avoid playing songs which he had already recorded. Deford, for whatever reason, refused. No one really knows why he left- surely he could have increased his list of songs, but perhaps the issues ran deeper and had more sinister truths within them. Maybe it was the last straw in a life of being treated as a mascot and a second-class member of a group. George Hay wrote of Deford: "Like some members of his race, DeFord was lazy. He knew about a dozen numbers, which he put on the air and recorded for a major company, but he refused to learn any more." Not all the members of the Opry thought of Deford merely as a mascot - Bill Monroe, Sam and Kirk McGee and the Delmore brothers all had immense respect for Deford's musical ability. Sam McGee even mentions Deford in "Train Blues" saying "here comes Deford Bailey now with his harmonica." And it makes sense, too, that these particular country musicians loved Deford and his music: all of them loved and respected the blues. They had learned much of what they infused in their music from black musicians. The list of early country performers who were influenced by, and even many times taught by, black men is impressive. Hank Williams, Bill Monroe, Jimmie Rodgers, Bob Wills and countless lesser-known names filled out their anglo-influenced folk core with the more exotic and foreign grit of blues and even jazz. Bill Monroe's Bluegrass boys styled their fiddle breakdowns in the format of jazz; improvising on banjoes and mandolin, spiraling away from the constraints of melody at breakneck speeds in turn, like a jazz ensemble. The blues can be easily heard in much of Monroe's music- a scorching, aching riff entwined in a mountain stringband's plaintive ballad. Bob Wills, western swing pioneer, claims he rode over 50 miles on horseback to see Bessie Smith, the "Empress of the Blues", sing. His music, and other western swing outfits, were heavily influenced by both blues and jazz. Western swing is even sometimes called Hillbilly Jazz. So, if these were the inventors of country music and they were influenced so greatly by African styles, where is that influence now? I hear very little blues or jazz in the vapid Pop-country that dominates the airwaves. Precious few black performers have made a place for themselves in country music. It's not as if this influence was exactly celebrated by the white musicians of the time-they did indeed express great admiration and emulation of black musical styles, but the prejudice that was so strong in the South discouraged much more than a covert connection. There's a story that Bob Wills once hired a black trumpet player while in a drunken condition, then upon sobering up realized his gaffe and quickly dismissed the player. Whether or not this really occurred, the sentiment was real- blacks and whites played together in the urban North, but in the South there was still too much of a taboo to admit that perhaps these African descendents had as much, or sometimes even more, capability than whites. Bill Monroe didn't speak readily of the influence that Arnold Schultz, a black blues guitarist and fiddler, had on him until very late in his career when the barriers of taboo had been dismantled a bit. Regardless of how openly it was admitted, the influence of black music upon country was huge. It was also a key element in the creation of rock 'n' roll; when Scots-Irish ballads and string music met with the blues, the foundations were laid for the modified boogie/blues/country that was the infantile rock 'n' roll. Simple European story-songs and melodies soothed and calmed the ancient, intense rhythms of Africa and a new style of music was born. The hard-core blues of Charley Patton and the Carter Family's wavering, modal ballads are connected to, but also deeply removed from what came decades later. But perhaps the intensity of Patton and the Carter family is what's lacking in today's music in general, and most acutely in country. Of course there are bands that haven't severed the link between country in its heyday and what they play now. Bands that haven't forsaken the rawness of the early folk tradition and the black influence that so immensely shaped the original country sound. But they are in the background-seldom heard, seldom seen and seldom given a chance at a widespread audience. What is heard - mainstream country - is a watered-down, vapid, hollow shadow of what it is supposedly derived from. It is an imitation of an imitation. How did that happen? The fact that country music is considered a purely white idiom (what spells pearly white more succinctly than country music? Remember, in "The Blues Brothers", the Nazis pursuing the band are aligned with the Good Ol' Boys {and the police}) is just one symptom of a larger decline in quality of an under-appreciated, mocked, but precious art form: country music. Deford Bailey never revisited the Opry, except once, I think. He had a fond love for many of his fellow performers and I think he was deeply hurt by what transpired upon his leaving the show, for he never revealed what had really happened and he gave up on performing forever afterwards. Sadly, Deford has never been added to the Country Music Hall of Fame, although non-musician Minnie Pearl has long been a member. That, by itself, is more telling than any amount of words on the subject. The first performer on the Grand Ol' Opry, who was hugely popular and beloved by fans, isn't even considered worthy enough to be added to a hall of fame. So when the Blues Brothers' R&B is rejected by the country crowd, perhaps there is more to it than that simple soul-music-for-country-fans joke. I think the scene is ironic. The two races once commonly mixed musical styles and ideas, but somewhere along the line black music got blacker and white music got whiter and country music lost a magic that had infused it throughout the first half of the 20th century. A big piece of the magic that was lost was a soulfulness that was a distinct contribution of the African influence- The Stanley Brother's bluesy riffs, the swirling jazz of western swing, the boogie of the Maddox Brothers and Rose. A residual smattering of these elements may still be in popular modern country, but somehow it's been shorn of all distinction.

Part II - Leeched

Was the bleaching-out of the black element in country music a symptom or a cause of the decline in quality? Today's country music is bland, over-similar, unimaginative, corporate, and over-all soul-less. How did this occur? Over the decades, country lost much more than the evidence of its black influence. After the birth of rock & roll, country music lost a kind of purity. Many writers have gone to great lengths to point out that much of the country that we've grown to think of as "traditional" is, in reality, quite sophisticated and modern. In "Bluegrass Breakdown", Robert Cantwell points out that Bluegrass was derived from, but not pure form of, rural folk music. As he points out, it was infused with blues, jazz, but also a modern speed and sophistication - Sam McGee, long-time Opry denizen, said he liked Bill Monroe personally, but to him Bluegrass was just stringband music played too fast. Nevertheless, throughout the first few decades of country, the link with the original types of rural music was much stronger and solid. Over the years that link has become almost non-existent in mainstream country. The loss of connection to the traditional sounds cannot be attributed solely to the passage of time. Nor is a resistance to change and advancement the key to good music. As a matter of fact, the façade of bucolic purity that country promoters have built around country music has rankled many a musician and hasn't necessarily kept the important bonds strong. Many early musicians were forced to dress and act like clover-kickers for the sake of presenting a "country" image. They were given names like the Fruit Jar Drinkers, the Gully Jumpers and the Skillet Lickers. They were made to go barefoot and wear overalls, when in reality they would have preferred to wear their Sunday best when performing. In the world of country and folk there was an image that the producers wanted to convey and that the audience came to expect. The important purity that was lost wasn't image, it was aural - not a slavish imitation of the past, but an essence of what made the music vital and exciting in the first place. To avoid change doesn't make great music, but to lose hold of the important key elements can effectively sever a tradition. The main culprit in the cutting-off of country from its key traditional link was and is commerce. In a perfect world, supply and demand would have a pure connection in music: the musicians would play what they want and if people liked it, they would listen to it. But the whole process has been whacked way out of shape by recording, radio, and a whole culture that has sprung up around them of executives, A&R people and other non-musical pests. The "bottom line" has sway over much of the music "industry" and quality often gets lost in the shuffle. Many writers have also gone to great lengths to blame the birth of rock & roll for the death of the golden era of country music. They say that the popularity of rock eclipsed the demand for all types of country and also forced country music itself to assimilate. Some traditional bands like the Osborne Brothers started using drums and amplifying their instruments. Others, who refused to compromise their sound, simply had to give up music and turn to other types of employment; western swing genius Johnny Gimble became a barber and worked in a hospital throughout the 60's because he couldn't make a living anymore. Genres of country such as Bluegrass, Western Swing, Cajun and Honky Tonk didn't fade in popularity due to lack of innovation and willingness to diversify on the part of the musicians. Indeed, these genres' genesis was based on diversity and innovation. If they had had a natural atmosphere, unhindered by commerce, they would have evolved into new realms of great music. But they weren't able to progress organically- the business end of country was busy making sure it would stay profitable and competitive. Rock & roll probably did lead to some decline in the popularity of country, but the shortsightedness of executives surely exacerbated the situation. They saw that rock & roll was immensely popular, so they focused on that sound, on that music-and anything not following the exact format was dismissed as passe (i.e. unprofitable). What began to evolve in the 50's was a new genre of country music. A generalized, watered-down, vapid, homogenized conglomerate. A style that embraced the least important aspects of country music: a general notion of culture and past, but no specific regional aspects; certain instruments like steel guitar which evoked a false feeling of kinship with a previous tradition; and, most importantly, a singer with a twangy southern accent which helps create the illusion of connection. Of course, there were those who followed a different path. Those who progressed organically as if the commerce and greed hadn't bastardized the way. But the route for these individuals wasn't easy - they were labeled "outlaws", considered marginal much of the time, rejected by Nashville. They had ties with rock, but they didn't use it as a means to blend in - they were forging new pathways in spite of the pressure to stay monotonous. Willy Nelson has great love and respect for western swing and merged the boogie, funk and soul of it into his own music. Perhaps if Gram Parsons hadn't been independently wealthy we wouldn't have had his inspired mixture of traditional country and rock. Steve Earle, Lucinda Williams, Dwight Yoakam and others have, against all odds, carved a place for a non-corporate country sound in the sinister and self-serving music industry. Others, many others, are not so lucky. Not heard, not seen, rarely played on the radio - the plucky bands who maintain the link to the past and want to also plunge ahead are not at all respected in the money-conscious world of country music. They must find loopholes, alternative resources, and struggle to stay afloat while the most vile, vapid, listless music gets multi-million dollar record deals and all the airplay.

Part III - Beseeched

I asked a few people well-versed in the loophole world of alternative country what their opinions were on why and how mainstream country has become so dire. Jon Langford, who has played with the Mekons, the Waco Brothers and the Pine Valley Cosmonauts - all ensembles who have delved into the essence of country music - put it simply: "…Neglect, greed, indifference-take your pick…" He also says that he has a feeling that "Interesting music is only made out on the frontiers - sometimes it storms into town and has a string of hits, gets copied and assimilated etc. Your observant industry guy knows this pattern now and we can see plenty of manufactured, controlled rebellion dominating the youth market." He sees the decline as due to America's corporate monopolizing - nothing faintly unsalable has a chance to get heard. He says "Now the lid is on tight and the best talent from the fringes who deserve a moment in the spotlight are denied this by cynical corporate biz freaks who might as well be selling underwear down the open market." This man's been in the music business for 25 years, he knows whereof he speaks. Jeb Bonansinga, singer and guitarist for the Riptones, feels that country music radio shoulders a big deal of the blame. He notes that radio is a commercial endeavor and isn't there to promote good music. "They are always going to defer to the safest, most inoffensive, bland music." He also thinks the decline of live music has aided the demise of quality in country. Because of all the broadcast technology, people go to see live music less and less; this promotes a decline of the sound. He also thinks that country music has always had an inferiority complex because of its clover-kicker image and when, around the late 50's, the opportunity to spruce up their image with slick production value and more urbane influence cropped up, many jumped on the bandwagon. But this eventually paved the way for people like Garth Brooks, Sylvia and Shania Twain to become mega-stars. The music became sterilized and "…gained respect from the populace, but lost a piece of its rural, working man roots." Currently, Chicago is one of the hotbeds of non-corporate country. It makes sense - Chicago, and other Midwestern cities, were magnets for the down-and-out Southerners who were looking for better jobs during the Depression; many outstanding blues and country musicians and fans found their way to Chicago. Shows like Chicago's WLS Barndance were popular throughout the Midwest. Serving as a non-Nashville option, as Austin, TX. and Bakersfield, CA. have, Chicago's seen clubs like Schubas, the Hideout and the Abby Pub catering to and coinciding with a burgeoning alternative country scene. Bloodshot records (bloodshotrecords.com) provides a spiritual and physical center for this scene-recording many sterling alternative country bands and serving as a focal point for practitioners and listeners alike. Their artists are impressive and diverse, and they are all joined by the common thread of being exceptional. You can see why the level of quality is so high - Rob Miller, co-owner of Bloodshot, says " I could not promote music I do not love passionately." It seems a simple statement, but how many mainstream music executives could sincerely say it? Bloodshot is close-knit, sincere and focused on quality (as opposed to $$$), therefore every record is a gem, every band on the label is worth seeing. Unfortunately, the flip side of going the alternative route is that it's a struggle. I asked Rob if he felt satisfied with the position he and his label are in and he honestly answered "I feel satisfied that we are in business still. I say that not to be glib, but this is a tough racket." He makes it clear that although he'd like more acceptance, more airplay and more financial gain for his artists, it's not worth compromising their standards to achieve that. I asked Rob if he could foresee a time when the internet and self-promotion would get enough of a foothold to eliminate the need for the corporate middle men: "Not for a long time. There will always be a need for the clout to get stuff into the mainstream consciousness. The music racket is not a meritocracy, and the people with lots of money and lots of power will always be able to keep their artists in the forefront of media." But perhaps with labels like Bloodshot- small scale, manageable, sincere- more quality bands will get a chance to be recorded and heard. The problem is, though, that even though a record gets made, it's not necessarily going to be heard. It's dizzying to ponder a method to reinstate quality country music in its rightful position. The vapid drivel that passes for "country" maintains its dominance while the good stuff is tucked away in hidden corners. The general public is usually consistent - I don't believe that people had better taste 60 or 70 years ago, yet the quality of mainstream country was far superior at that time. I believe, rather, that the strain of commerce has caused most of the decline. We live in a vastly different world today from 100 years ago - there is not much wilderness left, not many pockets of people living in remote areas, untouched by technology and the industrial culture. The situation could only be just right once for the genesis of our American music - a time when cultures came together, the ability to record sound was invented, when the climate was just right for the birth of a particular kind of music. Unfortunately, this perfect climate morphed into something dark, greedy, diffused, and utterly predictable. When one grows accustomed to mediocrity, it seems acceptable - especially when no other options are known. Put the word in the street: there is still a good country sound, there are still those who believe that good music transcends all monetary influence. Around the corner, in the street (literally, I discovered one of my favorite bands, Twang Bang, playing in the street. They evoke Carl Perkins, the Hoosier Hot Shots and They Might Be Giants all at once), on college and public radio, at South By Southwest (the growing, spectacular music conference in Austin), at small clubs and bars-where ever good music is played, go SEE it, pay for it, demand it. Like Jon Langford points out, the suits in the music industry are dense about a lot of things, but not about supply and demand; if we stop accepting crap music and only settle for the best, that is what we will get. Of course, some people do just have bad taste-how else can you explain the popularity of Michael Bolton? But I think it's possible to reclaim the type of fans that danced to Bob Wills, hummed along to Bill Monroe and boogied to the Maddox Brothers and Rose. When the standard is raised, the bands that deserve to make a decent living off of their talents will flourish, and no-talent hacks who can't play, write or sing will be the ones having to look for work as barbers and waitresses. Until then, give thanks to the hearty souls who continue to embrace the soul of country music, in spite of diminishing financial returns. The tide can be turned, and the success of bands like Uncle Tupelo, the Old 97's, Lucinda Williams, Dwight Yoakam, the Bottle Rockets and others proves that it is possible that logic can prevail and the best music will be supported and heard.

Resources:

No Depression, a bimonthly magazine covering alternative country, is a good source of information and resources. www.bloodshotrecords.com www.twangbang.com David C. Morton, "Deford Bailey: A Black Star in Early Country Music" "The Encyclopedia of Country Music" Edited by Paul Kingsbury Douglas B. Green, "Country Roots: The Origins of Country Music" Nick Tosches, "Country" Bill C. Malone, "Country Music U.S.A" Duncan McLean, "Lone Star Swing" The incredible documentary "High Lonesome" (available on video) by Rachel Liebling. The story of Bluegrass music. My thanks to Rob Miller, Jeb Bonansinga and Jon Langford for their thoughtful and helpful input.

- Alice DuBois

- beefheart.com, March 2002

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Dan West
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Ed Biggs
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Though many American rock fans are familiar with T. Rex's "Bang A Gong (Get It On)," which made it to Number Ten in the winter of 1972, relatively few know that in Britain in the early '70s, the popularity of T. Rex was often compared to that of The Beatles in their heyday-they had the sold-out stadiums, the screaming/panting girls and the long string of chart-topping hits. T. Rex leader Marc Bolan was a bonafide rock idol in Britain for several years, yet the band never quite caught on in the U.S. in a big way; perhaps there was something too innately British in the group's sound to really capture the hearts of Americans, and Bolan was a bit precious and strange for American tastes.

The performing career of Marc Bolan (born Mark Feld in 1947) dates back to the mid-'60s, when as a teenager he worked as a male model and also cut three singles for three different labels, without much success. Bolan had a brief stint as a guitarist and singer in the psychedelic band John's Children, then in September 1967, formed a duo called Tyrannosaurus Rex, with percussionist Steve Peregrine Took. From the outset, the "group" was a vehicle for Bolan's slightly eccentric songwriting, which tended towards folkish fantasy stories, odd characters and cryptic word puzzles, all delivered in a wispy, breathy style that seemed to perfectly match his looks-with his cascading curls, slight frame and boyishly handsome face. In early '68 the duo was discovered by Tony Visconti, a young arranger/musician/engineer from Brooklyn who'd moved to England during 1967 and hooked up doing work with producer Denny Cordell. Visconti helped the group land a deal with EMI's Regal Zonophone label and then took them into the studio to produce the first Tyrannosaurus Rex LP-the fancifully titled My People Were Fair and Had Sky in Their Hair, But Now They're Content to Wear Stars on Their Brows. This was the beginning of an association that would eventually produce ten studio albums.

Took departed in the fall of 1969 and was replaced by Mickey Finn, and by mid-1970, Bolan was playing more electric guitar and had gone for a slightly harder sound. In the fall of 1970, other musicians were added to the lineup, the group's name was shortened to T. Rex (at Visconti's urging). In the studio, the partnership between Visconti and Bolan was maturing. The T. Rex album contained Bolan's first big hit, "Ride A White Swan," which contained certain elements that would become integral to the group's identity: ethereal backup vocals by former Turtles leaders (and occasional Frank Zappa bandmates) Flo & Eddie (Howard Kaylan and Mark Volman), inventive string arrangements by Visconti, and strong Bolan riffs. T. Rex was on the British charts for six months, while "Ride A White Swan" made it to Number Two. The follow-up, "Hot Love," recorded at the original Air Studios in London, topped the UK charts for seven weeks in early 1971. Both tunes cracked the lower regions of U.S. singles charts, priming the group for its conquest later that year.

According to Visconti, after the band cut "Hot Love" in January, they traveled to America for a short tour, and "I followed them there with the excuse to visit my parents in New York. When we met up in New York, Marc suggested we start recording the next album; this was late April. We booked Media Sound Studios on 57th Street and recorded 'Jeepster' and possibly 'The Motivator' for the Electric Warrior album. Bob Margouleff was the engineer.

"Then the group flew to Los Angeles for a gig at the Whisky-a-Go-Go," Visconti continues. "We hooked up with Mark Volman and Howard Kaylan, and I remember us having a lovely jam up at Howard's house in Laurel Canyon. We made plans to book Wally Heider's studio to cut a few tracks, including 'Get It On.' [This was the original title of the song. It became known as "Bang A Gong" in America after a group called Chase had a huge hit with a song called "Get It On" the same year.] Marc was a prolific songwriter. He had a lined schoolbook chock-full of lyrics and chord symbols. He would open the book at the beginning of an album, and then when we had enough tracks recorded-say, about 17-he'd close the book. 'Get It On' was just one of about 50 or 60 he had in the book at the time. When I first heard it, only the day before we recorded it, it sounded like a hit to me. At Howard's house, we were singing it for hours and banging things for percussion. We were totally vibed to record it the next day. I can still remember driving in a van with the band to Wally Heider's through freeways and unbearable sunshine-we all had the complexions of maggots, coming directly from gray London.

"The session was like any other T. Rex session. We had an engineer called Rick [Pekkonen] who was a very nice guy. Flo & Eddie recommended him and the studio. The drums were quickly set up, and we got sounds immediately. I was impressed with the speed of American engineers at that time; it was a much slower process in England. The recording started sometime in the middle of the afternoon. We cut 'Get It On' and two other tracks in a few hours. The group already knew the songs, and we had rehearsed backing vocals with Mark and Howard the previous day at Howard's. By 10 p.m., we were cutting the backing vocals. Flo & Eddie were self-starters-they could harmonize the phone book! My job with them was mainly to have enough tracks for them and to make sure we covered all the harmonic possibilities before they left. But everything was always done fairly quickly on T. Rex albums, because Marc wanted to keep costs down, an old habit from the days when we hardly had a decent budget to record.

At the time, Heider's was equipped with a custom console, a 16-track recorder, and "they had all my favorite mics," Visconti recalls, "dynamics for the drums, but U87s for the toms; I used to insist on that. We recorded the drums over three tracks. In those days, it was such a dilemma-do we record the kick on a separate track and the rest of the kit in stereo? Or should we record the snare on a separate track and record the kick in with the stereo kit? Should we record the kick and snare on separate tracks? I tried everything for Electric Warrior. Since we needed tracks for backing vocals, strings, horns and percussion, the drum configuration was a very important decision. In the end, we went with keeping the kick separate with the snare and the rest of the kit in stereo on 'Get It On.'

"From memory I can say that the bass guitar was probably coming off just the amp stack to one track," Visconti continues. "Marc's live guitar was recorded to one track from a mic in front of his Marshall. This track was used and not replaced, so the live groove was preserved. He overdubbed a second guitar playing groove parts and the short solos. Mickey Finn's two conga mics were mixed to one track. There was an open vocal mic in the room during tracking. Marc sang on some takes but didn't on the master take. We used this vocal mic for the final mix as an ambience mic. We used about four or five tracks for Flo & Eddie, with Marc joining them. I always used a U87 on vocals and backing vocals."

After the Heider's sessions, the group returned to England, and work on the song (and album) continued at Trident Studios, with Roy Thomas Baker engineering. Blue Weaver played grand piano on the track, and King Crimson's Ian McDonald is responsible for the honking sax line. "He played all the saxes, one baritone and two altos," Visconti says. "I kept the baritone separate but bounced the altos to one track. I bounced the backup vocals to two tracks, making an interesting stereo image."

Though Visconti usually plotted out his always-creative string arrangements well in advance of orchestral sessions, the simple-but-effective string part for "Bang A Gong" was an afterthought: "We didn't intend to put strings on 'Get It On,' but when I was writing arrangements for 'Cosmic Dancer' and the other titles with strings, I felt maybe I should have something ready for 'Get It On,' just in case. At the session, I reminded Marc that our first two hits had strings on them and maybe we should continue the trend. Superstitiously, he agreed. All I had written out were the notes G-A-E, as whole notes over the chords of the chorus. We did those first and realized it was icing on the cake! There was no need to write any more for an already dense track. It took about ten minutes."

As for outboard effects on the record, Visconti notes that "Trident had the usual effects available in those days-basically a bank of compressors and two EMT plates. We did our tight slapbacks and phasing with three tape recorders at the mixing stage, with someone in the band or the tape assistant slowly sweeping the VCO. There will never be a digital box that phases and flanges as well as the original method, because that method would technically process before and after the signal, crossing the 'node,' whereas a modern phase program only processes after the signal. There are many instruments treated this way on Electric Warrior. Ambience was our only other 'effect.' I'd often record guitars and hand claps from a microphone about 10 feet from the source, aimed at the studio window, in cardioid mode. I was never a fan of hitting analog tape very hard-to me it always sounded better live; the playback was always a disappointment."

Electric Warrior was released in October 1971 and quickly shot to the top of the British album charts. In the U.S., it made it up to Number 32, thanks largely to the success of "Bang A Gong." In England, "T-Rextacy" was in full bloom by the spring of '72-the group sold out two 10,000-seat shows at the Empire Pool in Wembley and Ringo Starr (of all people!) made a documentary about the T. Rex phenomenon called Born to Boogie around those concerts. Actually, the band's next (and better) album, The Slider, turned out to be the group's biggest seller in the U.S., though it produced just a minor hit in "Telegram Sam."

From there, T. Rex begins to unravel a bit, the hits become more scarce, and by 1975, Bolan has essentially dissolved the group. He was killed in an automobile accident on September 16, 1977, two weeks shy of his 30th birthday. Not surprisingly, this touched off a flurry of interest in Bolan and T. Rex. In the UK, five posthumous singles and five albums charted in the early and mid-'80s, and to this day, previously unreleased session tapes are being issued to hungry collectors around the world.

For more information on Tony Visconti, visit his web site at www.tonyvisconti.com.

-- Best regards,
Dan West
"It Takes A Love Of Music To Put A MIDI Together."
Ed Biggs
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MIDKAR
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WILD WEST'S MUSIC HOTEL ========================================|
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http://listen.to/Wild-West-Music-Hotel
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THE ABBA STORY

The ABBA story began in June 1966 when Björn Ulvaeus (born 1945) met Benny Andersson (born 1946) for the first time. Björn was a member of the Hootenanny Singers, a very popular folk music group, while Benny played keyboards in Sweden’s biggest pop group of the 1960s, The Hep Stars.

The pair wrote their first song together later that year, and by the end of the decade they had established a regular partnership as composers. By that time, Benny had left The Hep Stars, while the Hootenanny Singers only existed in the recording studio. The Hootenanny Singers released their records on the Polar Music record label, owned by Stig Anderson (1931-1997), who was to become ABBA’s manager. Stig also contributed lyrics to many ABBA hits during the first years of the group’s career.

In the spring of 1969, Björn and Benny met the two women who were to become not only their fiancées but also the other half of ABBA. Agnetha Fältskog (born 1950) had been a successful solo singer since releasing her first single in 1967. She and Björn were married in July 1971. Anni-Frid Lyngstad (born 1945), also known as Frida, started her recording career shortly before Agnetha. Frida was of Norwegian origin, but had moved to Sweden at a very early age. Benny and Frida didn’t get married until October 1978.

At first, the four members collaborated musically mainly by contributing songs, instrumental backing, production work or backing vocals to the recordings they each made as solo or duo acts. In 1970, the attractive sound of their four voices combined gave them the idea to put together the cabaret act Festfolk (which had the double meaning "engaged couples" and "party people"). This first attempt failed, but in the spring of 1972 they recorded a song called ’People Need Love’, garnering a medium-sized hit in Sweden. At this time they called themselves Björn and Benny, Agnetha and Anni-Frid.
Encouraged by this success, they entered the 1973 Swedish selections for the Eurovision Song Contest with the song ’Ring Ring’. They finished third, but the single and the album of the same name competed for the top positions on the Swedish chart. ’Ring Ring’ also became a hit in several other European countries.

The group entered the selections again in 1974, this time with ’Waterloo’, which took them all the way to the finals in Brighton, England. By this time they had changed their name to ABBA, an acronym of their first names. ABBA was also the name of a Swedish canned fish company, which luckily agreed to lending their name to a pop group. The Eurovision Song Contest on April 6, 1974 turned out to be the most famous moment in ABBA history, when the group won the international juries over with ’Waterloo’.

Soon after this triumph, ’Waterloo’ was Number One on the charts all over Europe, and even reached the US Top Ten. The album of the same name was also a huge hit in Sweden. However, the "stigma" of being winners of the Eurovision Song Contest made it difficult for ABBA to be taken seriously when they tried to follow this first success. It was not until some 18 months later that they got a major worldwide hit again with ’SOS’, taken off their third album, simply titled ABBA.

’Mamma Mia’, also taken from ABBA, returned the group to the UK Number One spot, which they occupied a total of nine times between 1974 and 1980. ’Mamma Mia’ was also a Number One hit in Australia, which was the first territory to release it as a single in August 1975. Over the next few years, Australia would be caught up in a virtual ABBA fever, giving the group a total of six Number One hits.
Soon after this triumph, ’Waterloo’ was Number One on the charts all over Europe, and even reached the US Top Ten. The album of the same name was also a huge hit in Sweden. However, the "stigma" of being winners of the Eurovision Song Contest made it difficult for ABBA to be taken seriously when they tried to follow this first success. It was not until some 18 months later that they got a major worldwide hit again with ’SOS’, taken off their third album, simply titled ABBA.

’Mamma Mia’, also taken from ABBA, returned the group to the UK Number One spot, which they occupied a total of nine times between 1974 and 1980. ’Mamma Mia’ was also a Number One hit in Australia, which was the first territory to release it as a single in August 1975. Over the next few years, Australia would be caught up in a virtual ABBA fever, giving the group a total of six Number One hits.

1976 was the year when ABBA finally and firmly established themselves as one of the most popular groups in the world. The different greatest hits compilations released in the UK and Australia this year (Greatest Hits and The Best Of ABBA respectively) are still among the best-selling albums of all time in those territories. Classic single releases such as ’Fernando’ and ’Dancing Queen’ topped the charts all over the world. In April 1977, ’Dancing Queen’ became ABBA’s only US Number One.
In late 1976 ABBA’s fourth album, Arrival, was released. The album stormed up the charts and spawned hits such as ’Money, Money, Money’ and ’Knowing Me, Knowing You’. This was followed by a concert tour of Europe and Australia between January and March 1977. The tour was a complete success with capacity houses everywhere. When the tour reached Australia, work was also begun on the feature film ABBA - The Movie. The première of the film in December 1977 coincided with the release of ABBA - The Album. Hits from the album included ’The Name Of The Game’ and ’Take A Chance On Me’.

The spring of 1978 saw the group embarking on a major promotional campaign in the USA, leading to a Top Three single with ’Take A Chance On Me’ and a Top Twenty entry for ABBA - The Album. The hit singles ’Summer Night City’ and ’Chiquitita’ were followed by ABBA’s sixth album, Voulez-Vous, released in April 1979. Earlier that year, Björn and Agnetha announced their divorce. This did not mean the end of ABBA, but it did overthrow their image of two happy, music-making couples.

ABBA’s single ’Gimme! Gimme! Gimme! (A Man After Midnight)’ was released in the autumn of 1979, coinciding with a major tour of Canada, the United States and Europe. Around the same time a second compilation album, Greatest Hits Vol.2, became an international success.

In March 1980, ABBA took their tour to Japan for what turned out to be their very last live concerts. The rest of the year was devoted to the recording of ABBA’s next album, Super Trouper, containing classic hits like ’The Winner Takes It All’ and the title track.
In March 1980, ABBA took their tour to Japan for what turned out to be their very last live concerts. The rest of the year was devoted to the recording of ABBA’s next album, Super Trouper, containing classic hits like ’The Winner Takes It All’ and the title track.

In February 1981 the final blow was dealt to ABBA’s happy-couples image of the 1970s, when Benny and Frida announced their divorce. This event still didn’t stop the foursome from working together. At the end of the year, ABBA’s eighth album, The Visitors, was released. ’One Of Us’ was the biggest hit off the album.

1982 saw the energy gradually running out of the group, as Björn and Benny set their sights on writing the musical Chess and Agnetha and Frida were reviving their solo careers. The only ABBA LP release this year was a compilation double album of their hit singles, entitled The Singles - The First Ten Years, including two new songs. Although the single ’The Day Before You Came’ was one of the group’s most accomplished recordings it failed to become a worldwide hit on the scale that they had been used to. At the end of 1982, ABBA decided to take a break. If they wanted to they could always get back together after a few years, they reasoned.


THE ABBA REVIVAL

More than two decades after ABBA’s "temporary break", there still has been no ABBA reunion. But the group’s music lives on: the 1990s saw the beginning of a major revival, with successful cover versions and high-profile movies using ABBA songs on their soundtracks attracting a great deal of attention. The compilation CD ABBA Gold, released in 1992, has sold 26 million copies to date.
The 1993 companion album, More ABBA Gold, went on to sell 2.5 million copies. The box set Thank You For The Music followed in 1994, containing all the hits, selected album tracks, plus rare and previously unreleased recordings.

1999 saw the London première of the hugely successful musical Mamma Mia!, based on the songs of ABBA. The musical opened on Broadway two years later, and today it is the world’s most popular show. Mamma Mia! has been seen by more than 17 million people and is currently playing to 15,000 people across four continents every night. On the fifth anniversary of the musical, it shows no signs of slowing down. Mamma Mia! opened in Korea in January 2004, while the Australian production goes on a tour of South-East Asia and Australasia, starting in New Zealand in March. An International Tour will commence in Dublin, Ireland in September. The musical is staged in ABBA’s home country of Sweden in February 2005.

2004 sees the 30th Anniversary of ABBA’s victory in the Eurovision Song Contest, and naturally, Universal Music will continue the catalogue upgrading programme that has been going over the past few years. So far, ABBA’s eight original studio albums have been reissued with additional bonus tracks, revised artwork and expanded booklets. The compilation albums ABBA Gold and ABBA Oro have been reissued with revised booklets and updated liner notes, and a double-CD compiling all ABBA singles, The Definitive Collection, has sold more than 1 million copies. Recently, The Definitive Collection featured on Rolling Stone Magazine’s list of the 500 best albums of all time. ABBA’s videos have been collected on two different DVD releases: The Definitive Collection and ABBA Gold, featuring the cleaned-up and remastered original film clips. There was also a relaunch of the official website, ABBA - The Site, an acclaimed resource for authoritative information about the group, and also the Internet’s most popular meeting place for ABBA fans.
http://www.abbasite.com/start/

Many different releases are planned for the 30th Anniversary year of 2004. First up is the DVD release of the television special ABBA In Concert, made during ABBA’s 1979 tour of North America and Europe. ABBA In Concert comes with several bonus selections, including a never-before-seen performance of ’Thank You For The Music’. In April, ABBA’s Waterloo album is released in a 30th Anniversary Deluxe Edition, featuring additional bonus tracks and a DVD of previously unissued television performances.

-- Best regards,
Dan West
"It Takes A Love Of Music To Put A MIDI Together."
Ed Biggs
========================================|
MIDKAR
You Can Upload And Download Files Here!
http://groups.yahoo.com/group/midkar/
========================================|
WILD WEST'S MUSIC HOTEL ========================================|
http://wild-west.cjb.net
http://musichotel.cjb.net
http://home.att.net/~wild-west/index.htm
http://listen.to/Wild-West-Music-Hotel
========================================|

Only The Best!  

1954

Radio personality Alan Freed begins broadcasting on New York's WINS. Although the phrase "rock and roll" had been around for a while, Freed is generally given credit for making it popular.

Johnny Cash was in the audience to see Elvis Presley perform at the grand opening of Katz Drug Store in Memphis.

1955

The J.P. Seeburg Corporation introduces its new Dual Music System Jukebox, the first ever equipped to hold a hundred singles and two song per side Extended Play discs.

1956

Elvis Presley made his first appearance on The Ed Sullivan Show in front of 54 million TV viewers. Elvis sang "Don’t Be Cruel", "Love Me Tender", "Hound Dog" and "Ready Teddy" for host Charles Laughton who was filling in for Sullivan who was recovering from a recent car accident. The next day, record stores were swamped with requests for "Love Me Tender", although its release date was weeks away.

The Johnny Burnette Trio appear on Ted Mack's Amateur Hour TV show. With Johnny on lead vocals and guitar, his brother Dorsey on stand-up bass and Paul Burlison on lead guitar, they won three weeks in a row, earning them a string of tour dates. It would take Johnny four more years to reach the US charts with "Dreamin" and "You're Sixteen".

1957

A 16 year old Canadian lad named Paul Anka had the number one song in America with "Diana". The year before, Paul had a crush on his younger brother and sister's babysitter who wanted nothing to do with him. He wrote a poem for her and later set it to music. The record became an international hit that stayed at the top of the UK chart for nine weeks.

The Buddy Deane Bandstand debuts on WJZ-TV in Baltimore. The two hour rock and roll show gave viewers a chance to call in and talk to celebrity performers, which tied up lines so badly, the phone company was forced to ask Deane to desist.

1958

Georgia Gibbs performs "The Hula-Hoop Song" on the Ed Sullivan Show, boosting the craze that is sweeping North America. The song would be the last of nine Top-40 hits for Gibbs.

1959

Following the stabbing deaths of two teenagers by a 17 year old and other similar incidents of violence in New York City, WCBS radio in the Big Apple bans all versions of "Mack the Knife".

1960

In Britain, the director of public prosecution is called upon to ban the American hit "Tell Laura I Love Her" by Ray Peterson. The song was being denounced in the press as likely to inspire a teen-age "glorious death cult." The song tells of a lovesick youngster who drives in a stock car race to win the hand of his sweetheart. He crashes and just before dying, groans out the words of the title.

Annette Funicello's "Pineapple Princess" entered the Billboard Pop chart, where it will eventually reach #11.

1961

Sitting at the top of the Billboard Hot 100 was The Highwaymen's "Michael" (row the boat ashore). The traditional song can be traced back to the 19th century, when it was sung by slaves who lived on islands off the coast of Georgia.

1962

September 4th sees John Lennon, Paul McCartney, George Harrison and Ringo Starr begin recording together for the first time at EMI's St. John Studio. They record 6 songs including "Love Me Do", "How Do You Do It" and "P.S., I Love You".

Britain's BBC banned Bobby 'Boris' Pickett's single, "Monster Mash", saying it was offensive. The single still became a UK #3 hit in 1973.

1963

The Beatles' "She Loves You" hits #1 in England.

Cilla Black signed a management contract with Beatles' manager Brian Epstein. She changed her name to Black, from her real name, Cilla White, after a misprint in the music paper Mersey Beat.

1964

The Animals had their only number one hit on Billboard's Hot 100, when "House of the Rising Sun" reached the top. The band would continue to turn out hits like "We Gotta Get Out of This Place", "It’s My Life", "Don’t Bring Me Down", "Don’t Let Me Be Misunderstood", "Monterey" and "San Franciscan Nights" before splitting up at the end of the decade.

"And I Love Her" by The Beatles peaks at #12 on the US singles chart while "If I Fell" stalled at #53.

Rod Stewart cuts his first record, "Good Morning Little Schoolgirl". He will go on to sing with the Jeff Beck group before embarking on a solo career.

1965

The Who have their equipment van stolen outside the Battersea Dog's Home in England while they are inside purchasing a guard dog.

The Rolling Stones fly to Los Angeles to record "Get Off My Cloud".

The Byrds begin recording "Turn! Turn! Turn!".

1966

The Rolling Stones appear on The Ed Sullivan Show in New York. Guitarist Brian Jones performs despite a cast on his right hand which he broke in a fall in Tangier.

The Monkees' "The Last Train To Clarksville" is released.

After having his Beatle haircut chopped off, John Lennon started work in Germany on his role as Private Gripweed in the film How I Won The War.

The Supremes achieve their ninth US number one record when "You Can't Hurry Love" tops the Billboard chart.

1967

Sam & Dave's classic, "Soul Man" is released.

Engelbert Humperdinck had his second and final UK #1 single with "The Last Waltz".

1968

The Rascals are presented with two gold albums. The first was for their two year old debut disc, "The Young Rascals" and the second for their greatest hits collection, "Time Peace".

Tiny Tim, whose real name was Herbert Khaury, sues Bouguet Records for $1 million in damages when the record label releases some early recordings of Khaury without his permission.

Eric Clapton records the guitar solo for the Beatles' "While My Guitar Gently weeps".

Iron Butterfly's LP, "In-A-Gadda-Da-Vida" enters Billboard's album chart.

The Rolling Stones latest single, "Street Fighting Man" is banned in Chicago and several other American cities because authorities say they fear the song might "incite riots and other forms of public disorder."

1969

The Youngbloods do not appear on The Tonight Show as scheduled. Johnny Carson says in his monologue, "They complained about the set, the lighting, the sound, the show...everything. So we wiped their noses, told them they'd been in show business a day and a half and sent them home." Youngblood's guitarist / pianist Lowell Levinger retorted, "We weren't treated like guests..."

After a show in the Memphis Mid-Southern Coliseum, James Brown announces his retirement from live performing, effective July 4, 1970. The God-father of Soul says he's tired. At the same time, he's fighting a paternity suit filed by a one-time president of the local James Brown fan club.

Bob Dylan's "Lay Lady Lay" peaks at #7 on the Billboard singles chart.

1970

Stevie Wonder marries Syreeta Wright. They would split two years later.

On September 6th, Jimi Hendrix makes his last major concert appearance at the Love and Peace Festival in Puttgarden, Germany.

1971

The New York Times says that Sylvester Stewart's West Hollywood landlord is suing the rock star for $3 million, complaining that his building is inundated with "loud, noisy, boisterous persons," and wants Stewart out.

John Lennon's "Imagine" LP is released.

The National Academy of Recording Arts and Sciences presents Elvis Presley with the Bing Crosby Award, given to performers who have "during their lifetimes, have made creative contributions of outstanding artistic or scientific significance to the field of phonograph records."

The Undisputed Truth had their only hit on Billboard's Pop chart, when "Smiling Faces Sometimes" peaks at number 3.

Paul McCartney scores his second solo number one hit in the US with "Uncle Albert / Admiral Halsey".

1972

Actress Carrie Snodgrass gives birth to Neil Young's son, Zeke.

The Eagles' "Witchy Woman" is released. It will crack the Billboard Hot 100 by the end of September and eventually rise to #9.

John Lennon and Yoko Ono appear on Jerry Lewis' Muscular Dystrophy Telethon.

Curtis Mayfield's LP, "Super Fly" goes gold as it tops the Billboard Hot 200 album chart.

1973

The Rolling Stones single "Star Star", from the "Goat's Head Soup" album, was banned from airplay on England's BBC because it contained the word "Star-fucker" in the chorus. It's not just sung once, but the word is repeated a dozen times.

The Allman Brothers started a five week run at the top of the US album chart with "Brothers And Sisters", the group's only US #1 LP.

Marvin Gaye enjoyed his second #1 hit on the Billboard Pop chart with "Let's Get It On". He would place 7 more records on the list by 1982, giving him a total of 40.

1974

Elton John is awarded a gold record for "Don't Let The Sun Go Down On Me".

1975

The Guess Who play their final concert at a show in Montreal. Core members Burton Cummings and Randy Bachman would return for another tour in 1987.

Elton John's "Someone Saved My Life Tonight" is certified gold.

Glen Campbell achieved his first US number one pop hit with "Rhinestone Cowboy". In the UK, the record reached #4. Glen had cracked the US top ten twice before with "Wichita Lineman" in 1968 and "Galveston" in 1969.

1976

Disco band Wild Cherry's self-titled album, which includes their number one single, "Play that Funky Music", is certified gold.

"You Should Be Dancing" becomes the Bee Gees third US number one single.

Kiss releases the soft rock ballad, "Beth". It will rise to #7 and become their only US Top 10 hit.

Dean Martin surprises his former partner Jerry Lewis by walking on stage during Jerry's Labour Day muscular dystrophy telethon, ending a 20-year separation.

1977

Guitarist Jimmy McCulloch quits Paul McCartney & Wings to join a reformed line-up of the Small Faces.

Rita Coolidge has the best selling single on the Cashbox chart with "Higher and Higher", a song that Jackie Wilson used to reach number 6 in 1967.

1978

The Who's drummer, Keith Moon died September 7th of an overdose of a sedative called Heminevrin, that had been prescribed to prevent seizures induced by alcohol withdrawal. The 31 year old Moon died in the same apartment that had previously belonged to Harry Nilsson and earlier, Mama Cass Elliot. He is eventually replaced in The Who by ex-Faces drummer Kenney Jones.

The Rolling Stones' "Beast Of Burden" is released in the US where it will reach #8.

1979

ABBA began their first North American tour, more than five years after first reaching the Top Ten in the US with "Waterloo". The group split up in 1980, but received a $1 billion offer in February, 2000, from an American-British consortium to re-unite for 100 concerts. They turned it down.

1980

"Upside Down" by Diana Ross goes to number one on the Billboard Hot 100 where it will stay for four weeks, becoming her biggest solo hit.

A new version of Yes, with Chris Squire, Steve Howe, Alan White, Geoff Downes and Trevor Horn sell out a three night stand at New York's 19,000 seat Madison Square Garden.

1981

Stevie Nick's solo LP, "Bella Donna", reached the top of Billboard's album chart with the help of a pair of duet singles, "Stop Draggin’ My Heart Around" with Tom Petty and "Leather and Lace" with Eagles' drummer, Don Henley.

1984

Stevie Wonder had his first UK #1 with "I Just Called To Say I Love You", 18 years after his chart debut in 1966. The song stayed at the top for six weeks.

1985

David Bowie and Mick Jagger's version of "Dancing In The Streets" hits #1 on the UK pop chart.

Ringo Starr became the first Beatle to become a grandfather when son Zak and his wife Sarah had a daughter, Tatia Jayne.

1986

After just getting his license back after a five-year suspension, Gregg Allman is arrested in Florida for drunk driving.

Michael Nesmith joins the other three Monkees on stage for the first time since they disbanded in 1970.

1987

The US rock and roll TV show American Bandstand was officially cancelled after 30 years on ABC-TV.

Despite threats from former member Roger Waters to sue promoters if the show goes on, Pink Floyd kicks off their "A Momentary Lapse Of Reason" tour in Ottawa, Canada.

1988

Guns N’ Roses enjoyed a number one single with "Sweet Child O’ Mine" written for Axl Rose's then girlfriend, Erin Everly, the daughter of The Everly Brothers' eldest sibling, Don Everly.

Elton John holds an auction of his stage costumes in London, England and nets $6.2 million.

On September 7th, Barry Sadler, who scored a huge 1966 hit with "Ballad Of The Green Berets", is shot while riding in a Guatemala City taxi. Whether someone shot him or the pistol he carried accidentally discharged, will probably never be known. Sadler was hospitalised for 14 months before dying of his injuries.

1989

Neil Young's "This Note's For You" was named Best Video of the Year at the sixth annual MTV Rock Video Awards. The video had been initially banned by the music video station because it mentioned corporate sponsors by name.

The Pittsburgh Steelers are stopped from practicing on their own field, Three Rivers Stadium, because The Rolling Stones are rehearsing for their upcoming concert.

1990

48 year old Tom Fogerty of Creedence Clearwater Revival dies of respiratory failure on September 6th.

1991

Eagles' drummer Don Henley was a bright spot at the MTV Video Music Awards when he performed his solo hit "The Heart Of The Matter". The rest of the show was mostly rap and metal.

1992

Eric Clapton's "Tears in Heaven" was named best male video at the ninth annual MTV Video Music Awards.

1994

Rod Stewart and his wife Rachael Hunter become parents to son Liam McAllister.

Session rock pianist Nicky Hopkins passed away on September 6th. He had worked with The Rolling Stones, Jeff Beck, The Beatles, The Who, Small Faces and many others. Hopkins was just 50 years old.

1995

Cyndi Lauper (Girls Just Wanna Have Fun) wins an Emmy Award for her guest appearance on Mad About You.

1996

Cat Stevens emerges from seclusion in London, England to sign copies of his first album in 18 years. The LP, titled "The Life of the Last Prophet" was mostly spoken-word and was released under his Muslim name, Yusuf Islam. Cat Stevens real name is Steven Demetre Georgiou and people close to him during his career always referred to him as Steve, not Cat.

Tom Petty's wife of 22 years, Jane, files for divorce, citing, "irreconcilable differences."

1997

Elton John sings a re-worked version of "Candle In The Wind" at the September 6th funeral of England's Princess Diana.

1998

An episode of the American TV show Judge Judy airs in which Sex Pistol Johnny Rotten (nee Lydon) appears as the defendant in a case involving drummer, Robbie Williams, who sues Rotten for wrongful termination from a recent tour. Williams had claimed that the Sex Pistols owed him $7,000. Rotten said Williams quit and was owed nothing. Judge Judy apparently found Rotten was most credible and ruled in his favour.

2002

Gordon Lightfoot undergoes an emergency stomach operation in a suburban Toronto hospital. He would eventually recover.

Paul McCartney's wife, Heather Mills, accepted £50,000 libel damages over an article in the Sunday Mirror, which had suggested that Mills had acted dishonestly over cash collected for an earthquake appeal.

2003

Nearly 26 years after the death of Elvis Presley, BMG/RCA, unearthed a never-before-heard song called "I'm A Roustabout". The song was originally commissioned and written for the film "Roustabout" (1964) by long-time Presley collaborators Winfield Scott and Otis Blackwell, but was never used. Instead, a completely different song written by the team Giant/Baum/Kaye was recorded for the film and eventually became the title song for both the movie and the album. Winfield Scott found the original acetate in the basement of his New Jersey home and BMG/RCA has said they will add the track to the album "Elvis, 2nd to None".

Warren Zevon, singer / songwriter best remembered for his 1978 breakthrough album "Excitable Boy", which contained his only hit single, "Werewolves Of London", died of lung cancer on September 7th, at the age of 56.

---

<img>

Classic Rockers In The News     Fats Domino rescued from flood     Another Pot Charge For Art Garfunkel     Springsteen Adds Dates     Elton John's Agenda: Sitcoms, Sequels, Musicals     Steve Winwood Gearing Up For Fall Tour     Buddy Guy Brings 'Em

Rock and Roll Birthdays September 4th 1942 - Merald "Bubba" Knight of Gladys Knight and The Pips ("Midnight Train To Georgia") 1946 - Gary Duncan - guitarist for Quicksilver Messenger Service 1946 - Greg Elmore - drummer for Quicksilver Messenger Service 1950 - Ronald LaPread - bassist for The Commodores ("Brickhouse") September 5th 1945 - Al Stewart ("The Year Of The Cat") 1946 - Buddy Miles - drummer for The Electric Flag ("Killing Floor") 1946 - Freddie Mercury of Queen ("Crazy Little Thing Called Love") 1946 - Loudon Wainwright III ("Dead Skunk") September 6th 1944 - Roger Waters - bassist for Pink Floyd ("The Wall") September 7th 1936 - Buddy Holly ("That'll Be The Day") 1949 - Gloria Gaynor ("I Will Survive") 1951 - Morris Albert ("Feelings") September 8th 1932 - Patsy Cline ("Crazy") 1942 - Sal Valentino - vocalist for The Beau Brummels ("Laugh, Laugh") 1942 - Brian Cole - bassist for The Association ("Along Comes Mary") 1945 - Ron "Pigpen" McKernan - harmonica / vocals for the Grateful Dead September 9th 1941 - Otis Redding ("Sittin' On The Dock Of The Bay") 1945 - Dee Dee Sharp ("Mashed Potato") 1946 - Billy Preston ("Will It Go Round in Circles") 1946 - Doug Ingle - keyboards for Iron Butterfly ("In-A-Gadda-Da-Vida") 1947 - Freddy Weller - guitarist for Paul Revere and The Raiders ("Mr Sun, Mr Moon") September 10th 1942 - Danny Hutton - singer for Three Dog Night ("Liar") 1945 - Jose Feliciano ("Light My Fire")

  In The USA  

September 4^th to September 10^th

Year	Song	Artist
1956	Hound Dog	Elvis Presley
1957	Tammy	Debbie Reynolds
1958	Volare	Domenico Modugno
1959	The Three Bells	The Browns
1960	The Twist	Chubby Checker
1961	Take Good Care Of My Baby	Bobby Vee
1962	Sherry	The Four Seasons
1963	My Boyfriend's Back	The Angels
1964	The House Of The Rising Sun	The Animals
1965	Help!	The Beatles
1966	Yellow Submarine	The Beatles
1967	Ode To Billie Joe	Bobbie Gentry
1968	People Got To Be Free	The Rascals
1969	Honky Tonk Women	The Rolling Stones
1970	War	Edwin Starr
1971	Take Me Home, Country Roads	John Denver
1972	I'm Still In Love With You	Al Green
1973	Delta Dawn	Helen Reddy
1974	I Shot The Sheriff	Eric Clapton
1975	Fallin' In Love	Hamilton, Joe Frank and Reynolds
1976	You Should Be Dancing	The Bee Gees
1977	Higher and Higher	Rita Coolidge
1978	Grease	Frankie Valli
1979	My Sharona	The Knack
1980	Sailing	Christopher Cross

  In The United Kingdom  

September 4^th to September 10^th

Year	Song	Artist
1956	Whatever Will Be Will Be	Doris Day
1957	Diana	Paul Anka
1958	When	The Kalin Twins
1959	Only Sixteen	Craig Douglas
1960	Apache	The Shadows
1961	Johnny Remember Me	John Leyton
1962	I Remember You	Frank Ifield
1963	Bad To Me	Billy J Kramer & The Dakotas
1964	You Really Got Me	The Kinks
1965	(I Can't Get No) Satisfaction	The Rolling Stones
1966	All Or Nothing	The Small Faces
1967	The Last Waltz	Engelbert Humperdinck
1968	I've Gotta Get A Message To You	The Bee Gees
1969	Bad Moon Rising	Creedence Clearwater Revival
1970	Tears Of A Clown	Smokey Robinson & The Miracles
1971	I'm Still Waiting	Diana Ross
1972	Mama Weer All Crazee Now	Slade
1973	Young Love	Donny Osmond
1974	Love Me For A Reason	The Osmonds
1975	Sailing	Rod Stewart
1976	Dancing Queen	ABBA
1977	Way Down	Elvis Presley
1978	Three Times A Lady	The Commodores
1979	We Don't Talk Anymore	Cliff Richard
1980	Feels Like I'm In Love	Kelly Marie

These charts are provided for entertainment and academic purposes only.
The listings are a combination of the most popular record charts in each country.

-- Best regards,
Dan West
"It Takes A Love Of Music To Put A MIDI Together."
Ed Biggs
========================================|
MIDKAR
You Can Upload And Download Files Here!
http://groups.yahoo.com/group/midkar/
========================================|
WILD WEST'S MUSIC HOTEL ========================================|
http://wild-west.cjb.net
http://musichotel.cjb.net
http://home.att.net/~wild-west/index.htm
http://listen.to/Wild-West-Music-Hotel
========================================|

Come up to meet you, Tell you I’m sorry, You don’t know how lovely you are

I had to find you, Tell you I need you, Tell you I set you apart

Tell me your secrets, And ask me your questions, Aww let’s go back to the start

Runnin’ in circles, [sounds like] Comin’ our tails, Heads on the science apart

Nobody said it was easy
It’s such a shame for us to part
Nobody said it was easy
No one ever said it would be this hard
Aww take me back to the start

I was just guessin’, At numbers and figures, Pullin’ the puzzles apart

Questions of science, Science and progress, Do not speak as loud as my heart

Tell me you love me, Come back to haunt me, Oh when I rush to the start

Runnin’ in circles, [sounds like] Chasin’ our tails, Comin’ back as we are

Nobody said it was easy
Aww It’s such a shame for us to part
Nobody said it was easy
No one ever said it would be so hard
I’m goin’ back to the start

Ahhooooooooooooooooo
Ahhooooooooooooooooo
Ahhooooooooooooooooo
Ahhooooooooooooooooo

-- Best regards,
Dan West
"It Takes A Love Of Music To Put A MIDI Together."
Ed Biggs
========================================|
MIDKAR
You Can Upload And Download Files Here!
http://groups.yahoo.com/group/midkar/
========================================|
WILD WEST'S MUSIC HOTEL ========================================|
http://wild-west.cjb.net
http://musichotel.cjb.net
http://home.att.net/~wild-west/index.htm
http://listen.to/Wild-West-Music-Hotel
========================================|

1. Tank! -- The opening theme to COWBOY BEBOP, an incredible instrumental jazz piece utilizing the big band. Performed by SEATBELTS, the group that does a lot of the jazz/big-band BGM from the show.

Ah! The first Cowboy BeBop CD! If you're new to Cowboy BeBop, let me say that this soundtrack will only make you love the series more! Every time I listen to it, I can't help but picture the scene that the song is from. Yoko Kanno is quite possibly the best composer around, and it shows in this CD. I know that the price is a little steep, but you won't regret buying it.
1. Tank! 3:30 - This is one of my fav songs! As you may know, this is the longer opening song to the series. The jazzy melody definatly adds atmosphere to the show.
2. RUSH 3:34 - Here's another fast-paced jazz song. RUSH was played on sessions 0 and 1.
3. SPOKEY DOKEY 4:04 - Now it's getting a bit more laid back. SPOKEY DOKEY is the harmonica song that was played when Spike was training in session 1. I didn't care for it that much at first. But as I listened to it more, I grew to love it!
4. BAD DOG NO BISCUITS 4:09 - Now I know what you may be thinking, as I was thinking this when I first saw the title. "What the hell kind of name is that?!" When I heard it, it made more sense. This is another fast-paced song that was played during session 0 and 2. (Session 2 is the first one with Ein!)
5. CAT BLUES 2:35 - Getting more laid back again! This cool song was played in the beginning of session 10, when Ed was "attacking" the bounty. This song is also on the CD Box set.
6. COSMOS 1:36 - A song for Jet! This song was played in session 16 during Jet's flash-back.
7. SPACE LION 7:10 - I love this song so much! This is probably my favorite song on this CD! This was played as the ending song for session 13. Very moving! This song is also on the CD Box.
8. WALTZ for ZIZI 3:29 - ZIZI was sure played a lot during the series! You'll recognize it when you hear it. It was played during sessions 5, 10, 14, 21, 24, and 25. It's also on the CD Box.
9. PIANO BLACK 2:47 - Remember this song? It was played in session 3 when Faye called her ship in the casino. It's also on sessions 0 and 14, and it's on the CD Box.
10. POT CITY 2:14 - As my brother once said, "This is the perfect hobo music!" ... Ahem, I guess he's right... Anyway, it was played on sessions 2 and 14.
11. TOO GOOD TOO BAD 2:34 - Finally, some jazz again! This song was played in sessions 4 and 19, and is also on the CD Box.
12. CAR24 2:29 - An Ed song! This was played at the end of session 9 (has to do with Ed and the BeBop, that's all I'll say!)
13. The EGG and I 2:42 - I think the most memorable time this song was played was is session 19. You know, when Spike and Jet are looking for a VCR. It was also in sessions 7 and 9.
14. FELT TIP PEN 2:39 - This laid-back guitar song was played on sessions 1 and 8. It is also on the CD Box.
15. RAIN 3:23 - This was played in session 5, when Spike was walking to the church. Well, the version on the show was the FEMALE vocal version. For this version, it's Steve Conte singing. I personally like this one better, but the female version is on the CD Box.
16. DIGGING MY POTATO 2:24 - Ah, some harmonica blues... This song was played in 0 and 6. The longer version of this song is on the CD Box. I like the longer version better, but this one is still really good!
17. MEMORY 1:31 - Ms. Kanno did a great job making this song sound like a music box. It's haunting melody graced BeBop on seasons 1, 25, and 26.
That's about it! I hope you found my review helpful, and I hope that you will buy this CD!

I used to like anime. A lot. I used to think it was the greatest thing ever. That's around when I bought this album.

Then, the unthinkable happened. I grew up. Now I can't stand anime. It's insufferable and frankly so are the people who gobble it up like ambrosial nectar from Olympus.

But this album is undeniably AMAZING.

This is one of the most solid big-band style albums to come out in a long time. Yoko Kanno really knows how to write a song, and she's got quite a band to play in front of her. For example - longtime Zappaphile and Trigun's "HT" writer Tsuneo Imahori is one of the guitarists. He's awesome alone, but he's just another part of the team on this album, which should tell you something about the level of musicianship these guys have got. Talk about chops.

There really isn't a bad song on this record. Musical style runs the gamut, from wildly energetic to funky to bluesy to slow and careful. "Tank!", "Rush", "Piano Black", and "Car 24" just really blow me away. The only weak spot is "Rain", but how hard is it to hit the skip button?

I bought this several years ago and have not tired of it, ever. I can't stand the material this was written for, that god-darned anime, but this music stands very well on its own. Heck, my parents like this stuff. My little sister likes it. My brother won't own up to it, but he does too. Everybody likes it. It's just that good.

Get it. Highly recommended, even if you've never seen the series. Heck, even if you saw the series and hated it. The music is that worthwhile.

-- Best regards,
Dan West
"It Takes A Love Of Music To Put A MIDI Together."
Ed Biggs
========================================|
MIDKAR
You Can Upload And Download Files Here!
http://groups.yahoo.com/group/midkar/
========================================|
WILD WEST'S MUSIC HOTEL ========================================|
http://wild-west.cjb.net
http://musichotel.cjb.net
http://home.att.net/~wild-west/index.htm
http://listen.to/Wild-West-Music-Hotel
========================================|

Nobody on the road
Nobody on the beach
I feel it in the air
The summer's out of reach
Empty lake
Empty streets
The sun goes down alone
I'm driving by your house
Though I know
You're not home

But I can see you
Your brown skin shinin' in the sun
You got your hair combed back
and Sunglasses on, baby

(Chorus)
And I can tell you
my love for you will still be strong
after the
Boys of Summer
have gone

I never will forget those nights
I wonder if it was a dream
Remember how you made me crazy
Remember how I made you scream
Now I don't understand
What happened to our love
But babe, Im gonna get you back
Im gonna show you what I'm made of

I can see you
your brown skin shinin' in the sun
I see you walkin' real slow you're
Smilin' at everyone

And I can tell you
my love for you will still be strong
after the
Boys of Summer
have gone

Out on the road today
I saw a "Dead Head" sticker on a Cadillac
A little voice inside my head said
"don't look back, you can never look back."
I thought I knew what love was
what did I know?
Those days are gone forever
I should just let them go
But...

I can see you
Your brown skin shinin' in the sun
You got the top pulled down
and radio on baby

And I can tell you
my love for you will still be strong
after the
Boys of Summer
have gone

I can see you
Your brown skin shinin' in the sun
You got that hair slicked back
and those
wayfarers on baby

And I can tell you
my love for you will still be strong
after the
Boys of Summer
have gone

-- Best regards,
Dan West
"It Takes A Love Of Music To Put A MIDI Together."
Ed Biggs
========================================|
MIDKAR
You Can Upload And Download Files Here!
http://groups.yahoo.com/group/midkar/
========================================|
WILD WEST'S MUSIC HOTEL ========================================|
http://wild-west.cjb.net
http://musichotel.cjb.net
http://home.att.net/~wild-west/index.htm
http://listen.to/Wild-West-Music-Hotel
========================================|