David Allen Coe Longhaired Redneck

David Allen Coe, born in Akron, Ohio, in 1939, along with Waylon Jennings and Merle Haggard, helped to pave the way for a country subgenre of music called “outlaw country.” The subgenre featured longhaired, denim-wearing heroes like Coe who embraced and expressed a rule-breaking philosophy of life.

Coe, like Merle Haggard, came by his outlaw image honestly. Both Coe and Haggard did lengthy stretches in prison prior to the start of their music careers. Coe’s debut album, released shortly after his release from prison, is a bluesy masterpiece. The album was titled, “Penitentiary Blues.” With songs like “Cell 33,” Dear Warden,” and “Death Row,” the album is musically and lyrically riveting.

Coe released many fine country albums during the Seventies including, “The Mysterious Rhinestone Cowboy” (1974), “Longhaired Redneck” (1976), “Texas Moon” (1977), and “Tattoo” (1978). In 1975, Coe scored a major country hit with a cover version of Steve Goodman’s, “You Never Even Call Me by My Name.”

Coe is still alive and well and active in music.

David Allen Coe-Photo by Matthew Woitunski

Beatles Songs and Albums

The Beatles are almost universally regarded as the greatest act in the history of post-war popular music, and that claim is hard to deny when one considers their status as the biggest selling musical act in history, their universal critical acclaim, and the never duplicated hysteria that surrounded the band during the height of “Beatlemania” in the Sixties. The cult of the Beatles is alive and well around the world more than 40 years after the band’s demise.

The group got its start in Liverpool, in the Fifties, as a John Lennon-led skiffle band called the “Quarryman.” Lennon was a rebellious Liverpool youth who had been introduced to rock and roll music from the recordings brought across the Atlantic and into Liverpool by English merchant sailors. It was from these recordings that Lennon and his generation in England were first introduced to the likes of Elvis Presley, Carl Perkins, Little Richard, Fats Domino, and other early fathers of the music. Eager to emulate his new heroes and make a name for himself, Lennon recruited some schoolmates to join him in his new band. Members would come and go until the band settled with a lineup of Lennon, Paul McCartney, George Harrison, Stuart Sutcliffe, and Pete Best, a drummer.

The band changed their name to the Silver Beetles for a time and then finally settled on “The Beatles.” The band acquired an avid local following in Liverpool and became a fixture at the Cavern Club, where they performed inspired sets on a regular basis. While the band was playing clubs in Hamburg, Germany, Sutcliffe fell in love with a German girl and decided to stay behind, leaving the Beatles a four man outfit. Sutcliffe would die of a brain hemorrhage at age 21 in 1962.

The group made its first recording as the backing band for singer Tony Sheridan on the single, “My Bonnie,” which received airplay in Liverpool area. The popularity of this record inspired Liverpool record shop owner Brian Epstein to attend one of the Beatles’ Cavern shows, and when Epstein witnessed the wild reaction of the audience, he convinced the group to take him on as their manager. Epstein convinced the band to drop drummer Pete Best from the group in favor of Ringo Starr from a rival Liverpool band, Rory Storm and the Hurricanes. The final roster of the Beatles was set with Lennon and Harrison on guitar, Paul McCartney on bass, and Ringo Starr on drums. The group would record the moderately successful single, “Love Me Do,” before the end of 1962.

Epstein then began to search for a record label to sign his band. After numerous rejections, the band was finally signed by the Parlophone label. The Beatles recorded their first album for the label, “Please Please Me,” in 1963. The album was recorded in a single day, apparently to capture as close as possible the immediacy of their live shows. Although Epstein had trouble finding a U.S. label to sign the band, he managed to get the Beatles booked on the Ed Sullivan TV Show in April, 1964. New York disc jockey, Murray the K, hyped the Beatles upcoming TV appearance, setting the stage for the birth of Beatlemania. The Beatles appearance on the Sullivan show was a sensation seen by millions of Americans, and the Beatles become international superstars overnight.

The Beatles thus began an exhausting two years of near constant recording and touring. The early Beatles records were released separately in the U.S. and U.K., sometimes with different titles. For example, “Please, Please Me,” the band’s first U.K. album was released in the U.S. as “Meet the Beatles.” The names of the albums don’t matter much as everything this band recorded is essential, and any collection of Beatles music is guaranteed to be of high quality. Titles to look for from the 1964 albums are:” With the Beatles,” “Twist and Shout,” “A Hard Days Night,” “Beatles for Sale,” and “Beatles 65.” The Beatles’ music would soon change from light poppy love songs to darker and more introspective fare as the group attempted to expand its musical horizons.

With the release of the album, “Help” (1965), the Beatles began the process of reinventing themselves. The title track, “Help,”  “Yesterday,” and the very Dylanesque, “You’ve Got to Hide Your Love Away,” saw the group moving into previously uncharted territory. Their songs were still just as catchy, the harmonies still as sweet, but the material had become darker and more intriguing.

This artistic growth continued on the next album, “Rubber Soul” (1965), and for the next five albums. This string of albums represents the Beatles’ best work and some of the best albums of popular music ever recorded. On Rubber Soul, the band begins to experiment musically with the inclusion of sitar on “Norwegian Wood,” and several songs such as “Michelle,” “If I Needed Someone,” and “In My Life” which could easily be classified as “folk rock.” 

The Beatles’ following studio release, “Revolver” (1966), sees the Beatles at the peak of their powers. Revolver is an astonishing collection of songs representing a myriad of styles from the art rock of “Eleanor Rigby” and “Good Day Sunshine” to the hard rock of “Taxman” and full blown psychedelic experimentation in “Tomorrow Never Knows.”

The release of Revolver coincided with the band’s retirement from live performances. Freed of life on the road, the Beatles would dedicate themselves to experimentation in the recording studio. With the able support of their producer, George Martin, the group would again reach new heights of creativity in the studio with “Sgt. Pepper’s Lonely Hearts Club Band” (1967). This album’s overt experimentation was an attempt by John Lennon and Paul McCartney to outdo the Beach Boys’ Brian Wilson who had raised the studio bar with his work on the Beach Boys’ classic recording, “Pet Sounds,” during the previous year. “Sgt. Pepper,” which is often cited as the Beatles’ magnum opus, is every bit as thrilling as Revolver with epic songs such as “Lovely Rita,” “For the Benefit of Mr. Kite,” “She’s Leaving Home,” and ‘A Day in the Life.”

The Beatles kept rolling with the double album simply titled, “The Beatles” (1968). Its unadorned, solid white cover earned it the nickname, “The White Album,” among fans. The album is amazingly eclectic and contains nary a bad tune amid its myriad of tracks. Among the album’s classic tunes are, “Blackbird,” “Mother Nature’s Son,” “Revolution,” “Back in The USSR,” and “While My Guitar Gently Weeps.”

In 1969, The Beatles would release their last true studio album, “Abbey Road.” Group in-fighting that had lasted for several years was becoming intolerable and Paul McCartney was tiring of holding things together. McCartney would later signal the demise of the band by releasing his first solo album in 1970. Abbey Road was another brilliant effort that contained classic tracks such as “Come Together,” “Here Comes the Sun,” and most impressively, the medley of short, connected songs that finishes the album.

“Let It Be,” which was recorded prior to Abbey Road, would be released in 1970 with the title track, “Let it Be,” and Lennon’s “Across the Universe” as standout tracks.

“A Guide to Essential Popular Music”

The Bobby Fuller Four: I Fought the Law

The Bobby Fuller Four was one of the best American rock and roll bands from the early to mid-Sixties-a time when good rave-up rock and roll was in short supply. The band formed in Baytown, Texas, in 1961, with Bobby Fuller on guitar and lead vocals. Fuller’s brother Randy served as the band’s bassist.

The band started its recording career as a surf rock combo and had the song, “King of the Beach” as its first single. The band found its sound with the fine hit single, “Let Her Dance” in 1965. The band’s next single, “I Fought the Law,” was an instant classic and stands today as one of the all-time greatest rock and roll singles. 

Both of the aforementioned hit singles can be found on the album, “I Fought the Law” (1966). This album and a number of compilation albums are recommended.

Bobby Fuller was found dead in his car outside his Hollywood home during the summer of 1966.Foul play has always been rumoured in Fuller's demise, but no solid evidence has ever come to the fore.

Randy Fuller tried to continue the band after Bobby’s death, but ultimately failed.

Fats Domino: The Fat Man

Fats Domino was one of the most successful of the founding fathers of rock and roll. Domino hailed from New Orleans and started his career as a New Orleans R&B performer. He is forever remembered for the early rock and roll hits, “Blueberry Hill,” “The Fat Man,” I Want to Walk You Home,” “Walking to New Orleans,” “Ain’t it a Shame,” “Blue Monday,” and “I’m in Love Again.” The man was one of the giants of the Fifties, scoring almost three times as many hits as either Chuck Berry or Little Richard.

Domino was born Antoine Dominique Domino Jr. in New Orleans, in 1928. After spending time in the Dave Bartholomew band as pianist, he made his first recordings in 1950 with “The Fat Man” and “Detroit City Blues.” “The Fat Man” was an important recording in the development of what was to become rock and roll. The song was co-written, as were most of Fats' big hits, with trumpeter, Bartholomew. The song became a huge R&B hit, and it is one of the most successful debut singles in pop music history.

By the time rock and roll emerged in the mid-1950s, Domino was already an established R&B star, and his transition to rock and roll was an easy one. In 1955, he scored his first hit on the pop charts with “Ain’t it a Shame,” the song that introduced him to white audiences and turned him into one of the first rock and roll stars.

Domino’s best recordings can be most easily found via compilation. Among the best Domino compilations are “Rock and Rollin’ with Fats Domino” (1956), “Fats Domino Swings 12, 000, 000 Records” (1958), “The Fantastic Fats Domino-20 Original Hits” (1977), and “My Blue Heaven-The Best of Fats Domino” (1990).

Photo by Heinrich Klaffs

Jerry Lee Lewis: The Killer

Lewis’s musical journey started in his hometown of Ferriday, Louisiana, where he was born on September 29, 1935. Lewis was a cousin of television evangelist, Jimmy Swaggart and country singer Mickey Gilley. Lewis studied the piano from the age of ten, and his mother enrolled him in a bible college in Texas.

According to a famous story, Lewis was thrown out of the school on his first day for performing a raucous version of “My God Is Real”. It is stories such as this one and Lewis’s fervent performances that earned him the moniker, “The Killer.”

At 21, Lewis auditioned for Sun Records, and Sam Phillips signed him as soon as he heard the tape of the audition. His first single, “Crazy Arms,” was a minor hit, and. Phillips believed that Lewis could become another Elvis Presley. Accordingly, Phillips poured out money for the promotion of Lewis’s follow-up, “Whole Lotta Shakin’ Goin’ On.”

The record was banned on many radio stations across America, but it went to be a huge hit on the country, R&B and pop charts. His next single, “Great Balls of Fire,” became his trademark song, and another release, “Breathless,” made for three huge Lewis hits in a row. In the meantime, Lewis was also gaining a reputation as a live performer unequalled in intensity.

Lewis had secretly married his 13-year-old cousin, Myra Gale Brown, the daughter of his bass player and uncle, J.W. Brown. While on a trip to England, the British press found out about the marriage and ripped him to shreads, causing Lewis to retreat to the U.S. His career went into rapid decline as a result.
Smash Records signed Lewis, and he began recording country music in his own style, and due to the label’s bargaining with country music disc jockeys, Lewis became a star again.

After overcoming a series of personal problems with drugs and alcohol and a divorce from Myra Gale, Lewis became one of the first inductees to the Rock and Roll Hall of Fame, in 1986. In 1989, Lewis was the subject of the film, “Great Balls of Fire,” which told his life story. Lewis re-recorded all of his old hits for the film, and has continued to record and play live since.

Several fine compilations of Lewis’ early hits are available, including the three-volume, “Original Golden Hits” (1969) and “Original Sun Greatest Hits” (1983).

Jackie Wilson Lonely Teardrops

Jackie Wilson was among the first soul singers who followed in Ray Charles footsteps after Charles created the music in the mid-Fifties. Wilson, also known as “Mr. Excitement,” for his ebullient performing style, was born in Detroit, Michigan, in 1934. Wilson was a boxer and gymnast prior to the start of his music career. Wilson was known for his temperamental nature and willingness to use his boxing skills.

Wilson originally came to prominence in 1953, as a member of the vocal R&B group, Billy Ward and the Dominoes as a replacement for Clyde McPhatter who had left the group to form the Drifters. Wilson would serve as the Dominoes lead singer for the next three years. Upon leaving the Dominoes, Wilson soon found solo success with the hit single, “Reet Petite,” in 1957.

Throughout the remainder of the Fifties and Sixties, Wilson recorded numerous R&B hits and the occasional pop hit. Wilson’s biggest pop hit came in 1958 with “Lonely Teardrops.” In 1967, Wilson would again score a huge hit with the song, “(Your Love Keeps Lifting Me) Higher and Higher.”

Wilson’s best studio albums include “Soul Time” (1965), “Whispers” (1966), and “Higher and Higher” (1967). His best compilations include “The Jackie Wilson Story” (1983) and “The Very Best of Jackie Wilson” (1987). Wilson died in 1984.

Johnny Dodds Music and Biography

Clarinettist Johnny Dodds was born in New Orleans, Louisiana, in 1892. Johnny Dodds was one of the greatest jazz clarinetists of the Twenties and he possessed a very soulful and emotional style of playing. Dodds and Louis Armstrong complimented each other perfectly when the two musicians worked together in King Oliver’s Creole Jazz Band and later in Armstrong’s Hot Five and Seven recording bands.

Dodds played in many of the leading jazz bands of the classic jazz era. Dodds played in Kid Ory’s band in New Orleans from 1912 to 1919, and like Armstrong, he played on riverboats with Fate Marable before moving to Chicago in 1921 to play with King Oliver’s Creole Jazz Band. Dodds also lent his fine clarinet chops to Jelly Roll Morton’s band, The Red Hot Peppers. Dodds appeared on most of Armstrong’s classic Hot Five recordings and recorded numerous excellent sides under his own during the Twenties.

The best of Dodds’ solo recordings include, “Clarinet Wobble,” “Wild Man Blues,” and “Piggly Wiggly.” Dodds continued to play and record in Chicago throughout the Thirties, and also ran a taxi cab company with his brother, drummer Baby Dodds, until his death in 1940.

 The 2009 compilation, “The Complete Johnny Dodds,” is the best collection of his works. Dodds is also included on “The Chronological Classics: Johnny Dodds” series from 1991/1992.



Johnny Doods (third from right) with the Fate Marable  Band

Johnny Burnette and the Rock ‘n Roll Trio: The Train Kept a-Rollin’

Singer Johnny Burnette was born in Memphis, Tennessee, in 1934, and was a boyhood friend of Elvis Presley. Burnette and the Rock ‘n Roll Trio is often credited as the “pioneers” of rockabilly music.

The legendary album, “Rock and Roll Trio” (1988), is one of the finest collections of early rock and roll. The album collects the early singles of Burnette and the Trio and contains at least three masterpieces, “The Train Kept a-Rollin’,” “Honey Hush,” and “Lonesome Train.” The title of the song, “Rock Billy Boogie,” is believed to be the origin of the name given to this style of music, “rockabilly.”

Burnette scored pop hits in the Sixties without the Rock and Roll Trio, including “You’re Sixteen,” in 1960, but his best work was during the birth of rock and roll about five years earlier. Burnette died in a boating accident in 1964, at the age of 30.

Joni Mitchell Albums and Songs

Among the ranks of female singer/songwriters, no woman has equaled the artistry or output of Joni Mitchell. Mitchell’s catalogue includes a slew of classic albums that run the musical gamut from folk to rock to jazz.

Mitchell was born in Fort MacLeod, Alberta, Canada, in 1943. She began her career as folk singer in her native Canada before moving south to Los Angeles to begin her recording career in California. She recorded her debut album, the pleasant folk effort, “Joni Mitchell (AKA Song to a Seagull)” in 1968. Another solid album,” Clouds” would appear the following year.

It was her third release, “Ladies of the Canyon” (1970) that established her as something special. The album was full of well-written story songs which were all presented with stripped-down production featuring just Mitchell on acoustic guitar. The album contained the first of the songs that would make Mitchell famous, “Woodstock,” a song which would become a hit for Crosby Stills Nash and Young, and “Big Yellow Taxi,” which would become a minor hit for Mitchell herself.

Mitchell’s next effort, “Blue” (1971), would be declared her first masterpiece. Blue is an often dark and emotional exorcism on heartbreak, although it is punctuated by lighter moments. “One song here, “This Flight Tonight,” would later become a hit for the Scottish hard rock band, Nazareth.

In 1974, Mitchell recorded another masterpiece, albeit a more upbeat one, “Court and Spark.” The album was critically-acclaimed as were her previous efforts, but this album had commercial legs that would see Mitchell establish herself as something of a pop star. Thanks to a pair of hits, “Help Me” and “Free Man in Paris,” Mitchell’s fame spread into the mainstream of the music-listening public. Another strong track, “Raised on Robbery,” featured the Band’s Robbie Robertson on guitar and received significant airplay.

Mitchell continued to record fine albums throughout the remainder of the Seventies including, “The Hissing of Summer Lawns” (1975), “Hejira” (1976), and collaboration with the legendary jazz bassist and composer, Charles Mingus, “Mingus” (1979).

The Mingus album would see Mitchell delve into jazz for a good part of the Eighties during which she acquired new fans, but lost more of her older fans. She returned to her folkier roots in the Nineties with the release of a couple of decent albums, “Night Ride Home” (1991) and “Taming the Tiger” (1998).

Mitchell continues to record sparingly. After she had announced that she was retiring completely from music, she returned in 2007 with the album, “Shine.”

Joni Mitchell in concert

Charlie Parker Ornithology

Saxophonist Charlie Parker is considered by many to be the best musician in the history of jazz. He is one of the few jazz musicians who could rival the technical brilliance and originality of Louis Armstrong and Art Tatum. Parker’s drug-addicted life and early demise is jazz legend and a tragic example which would be repeated by several jazz musicians who followed him.

Parker was nicknamed “Yardbird” which was eventually shortened to simply, “Bird.” Many of his compositions, including “Yardbrid Suite” and “Ornithology” would be inspired by that nickname.

Charlie Parker was born in Kansas City, Missouri, in 1920. He began to play the saxophone at age 11, and had joined a musician’s union instead of attending high school. He practiced diligently in the late Thirties, and by 1938, he was good enough to join the band of pianist Jay McShann. While in his teens, Parker had become addicted to morphine after being administered the drug in hospital after a car accident. His morphine addiction would lead to a heroin addiction which would contribute to his early death at age 34.

Parker quit the McShann band in 1939, and headed to New York City to begin a solo career. In the early Forties, Parker was experimenting with soloing methods. His experimentation constituted some of the early developments of be-bop music, a subgenre of jazz with which he would forever be linked. He would soon be collaborating with Dizzy Gillespie, Max Roach, Bud Powell, and others. In summer 1945, Parker and his friends recorded “Ko-ko” and other sides at a session for the Savoy label. That session and its recordings would become a watershed moment for bebop music.

By this time, Charlie Parker’s heroin addiction was causing him to miss gigs, and he resorted to busking on New York City streets to support his addiction. Parker then moved to Los Angeles where heroin was difficult to find, and he began to drink heavily to compensate. He was often in bad shape at recording sessions and needed, at times, to be physically supported by others. Parker moved back to New York City where he died, in 1955.

The best original albums and collections of Charlie Parker’s music include, “Charlie Parker with Strings” (1950), “Charlie Parker with Strings Vol.2” (1950), “Charlie Parker” (1953), “Big Band” (1954), “Summit Meeting at Birdland” (1977), “At Storyville” (1985), “The Genius of Charlie Parker” (1954), “The Charlie Parker Story” (1956), “The Genius of Charlie Parker” (1957), “Anthology” (1974), “Charlie Parker on Dial” (1974), “Bird/The Savoy Recordings (Master Takes)” (1974), “The Very Best of Bird” (1977), “The Complete Studio Savoy Recordings” (1978), “Bird: The Complete Charlie Parker on Verve” (1988), “Bird: The Original Recordings of Charlie Parker” (1988), “Masterworks 1946-47” (1990),”Yardbird Suite: The Ultimate Collection” (1997), “The Complete Savoy and Dial Studio Recordings 1944-1948” (2000), “The Essential Charlie Parker” (2004).

Bird

Benny Goodman: The Birth of Swing

Benny Goodman and long-time rival, Artie Shaw, are the two greatest and best-known white clarinetists in the history of jazz. Both men achieved huge commercial and critical success during their respective careers. It was Goodman, however, who would forever be identified with the title, “King of Swing,” for his role in the invention of the most popular jazz subgenre during the height of the music’s popularity.

Benny Goodman was born in Chicago, Illinois, in 1909. His parents were Jewish immigrants from the Russian Empire who struggled to provide for their large family. Despite the family’s relative poverty, David Goodman arranged for music lessons for three of his sons, including Benny, at a local Chicago synagogue. After a year’s training, Benny Goodman, aged eleven, joined a boys’ club band and received further musical training from the club’s director, and later from a classically-trained clarinetist. With this solid foundation, Goodman would launch a career that would span seven decades and would span musical genres from early classic jazz to classical music.

Goodman’s began his jazz career as a clarinetist in the Ben Pollack Orchestra at the age of sixteen. He would make his first recording with the Pollack Orchestra in 1926. He would continue performing and recording with the Pollack Orchestra and its various off-shoots until 1929. During this frenetic period, Goodman also recorded with nationally- known bands of Ben Selvin, Red Nichols, and Ted Lewis. He also recorded under his own name with trombonist Glenn Miller and others as “Benny Goodman’s Boys.”

In the early Thirties, John Hammond of Columbia records arranged for Goodman to record in the company of other stellar jazz musicians in a jazz “all star” band. Other members of the band included pianist Teddy Wilson and drummer Gene Kroupa, two musicians that would form the core of the rhythm section of Goodman’s later orchestra. In 1935, Goodman expressed interest in appearing on the nationwide radio dance music show, “Let’s Dance.” At the advice of John Hammond, Goodman secured “swinging” arrangements of songs from Fletcher Henderson, leader of one of New York’s best jazz orchestras. These arrangements helped make Goodman a hit with the West Coast audience that heard his performance.

On the strength of the Let’s Dance performance and the rave reviews of Goodman’s recordings of “King Porter Stop” and “Sometimes I’m Happy” with Fletcher Henderson arrangements, a large and enthusiastic crowd of young fans were waiting in Oakland, California when the band played a show there in August of 1935. When the Goodman band began to play, the crowd went wild. The same reaction greeted the band in Los Angeles during the debut of a three week engagement at the Palomar Ballroom in August, 1935. During the three-week engagement the “Jitterbug” dance was born, and along with it, the “Swing Era.”

In the wake of the tremendous success of the Goodman band in California, Fletcher Henderson disbanded his great orchestra and become Goodman’s full-time arranger. With the addition of Henderson and pianist Teddy Wilson, both African-Americans, Goodman’s band became the first racially-integrated jazz band in America. Goodman would later add another African-American, the great Charlie Christian, on guitar.

Goodman was coined, “The King of Swing” in 1937, and was secured as such when his orchestra became the first jazz band to play New York’s Carnegie Hall, in 1938. The concert, which included members of Count Basie’s and Duke Ellington’s orchestras, was a true test for jazz music as an art form. If the high-brow Carnegie Hall set could be moved by jazz, the music would earn a much needed stamp of approval from the music establishment. After an uninspired start, the Goodman Orchestra slowly built momentum and climaxed with an epic version of “Sing, Sing, Sing” featuring spectacular solos by Goodman and pianist, Jess Stacy.

In 1939, John Hammond introduced the electric guitarist, Charlie Christian, to Goodman as a prospective band member. Despite initial doubts, Goodman was greatly impressed with Christian’s playing and included him in the Benny Goodman Sextet for the next two years. The sextet recordings with Christian including “Rose Room,” “Breakfast Feud,” and “Grand Slam” are some of the finest recordings in jazz history.

Goodman continued to have tremendous success as a big band leader until the mid-Forties when swing music began to lose steam. Goodman flirted with be-bop music and even formed a bebop band before finally denouncing the music. In 1949, at the age of 40, Goodman turned his back on jazz to devote himself to the study of classical music. Following a lengthy retirement from jazz, Goodman died of a heart attack in 1986.

A plethora of fine collections are available for Goodman’s recordings at various phases of his career including the fine four volume “Chronological Classics: Benny Goodman and His Orchestra” (1996) while “The Famous 1938 Carnegie Hall Jazz Concert Vol.1-2” (1950) is one of the finest live recordings of popular music ever made.



Benny Goodman (third from left) and his band















The Beach Boys Albums and Bio

The Beach Boys were the one band that could rival the commercial and artistic greatness of the Beatles during the Sixties. The two bands would become friendly rivals in that decade, trying to outdo each other in the studio by producing the most original and epic albums possible. This rivalry would produce the best works of both bands, including the Beach Boys classic, “Pet Sounds,” which is considered by many as the greatest pop/rock album of all time.

The Beach Boys were all native Californians and they would, in their early incarnation produce music which glorified the beachside lifestyle of surfing and hot rod racing particular to their home state.

The original Beach Boys lineup consisted of the Wilsonbrothers-Brian, Carl and Dennis, with cousin, Mike Love and friend, Al Jardine. Brian Wilson was the chief songwriter and creator of the Beach Boys image, while Dennis Wilson, the drummer and part-time surfer was the real life incarnation of that image.

They formed in Hawthorne,California in 1961 under the management and tutelage of Murray Wilson, father of the three Wilson brothers. Murray Wilson was a tough task master and ruled the band with an iron fist.

Originally called the Pendeltones, the band recorded their first single, “Surfin’,” for the Candix label in late 1961. When Candix released the single they changed the groups name to Beach Boys to make the band more marketable in the emerging surf music genre. The single became a modest nation-wide hit. Based on the success of the single, Murray Wilson was able to arrange a live appearance for the band at the Ritchie Valens Memorial Dance in Long Beach, California.

By summer 1962, the band had managed to get signed to Capitol records and released their first album, “Surfin’ Safari.”Starting with this album, the band found success, scoring a string of hits including, “Surfin’ Safari,” Surfing USA,” “Surfer Girl,” “409,” “Little Deuce Coupe,” “I Get Around,” and “Fun, Fun, Fun.” The band would record sixteen hit singles in total from 1962-1965, and they become huge pop stars in America and abroad.

Along with hit records came concert tours, and the stress of touring led to an emotional breakdown for Brian Wilson and his withdrawal from live performing. Future country music star, Glen Campbell, was brought in as a replacement for several months, and then Bruce Johnson. Brian Wilson, freed from his touring duties, started to focus on his songwriting and the possibilities of the studio and record production and would begin working on music which would soon be hailed as among the greatest pop music ever recorded.

By 1964, Brian Wilson’s more adventurous compositions demanded talented studio musicians for recordings. Two songs from this period, “Help Me Rhonda” and “I Get Around,” would become the band’s first two number one hits. In 1965, Brian Wilson would begin to experiment with song structure on the “Today” album, and score hits with the unorthodox songs,“California Girls” and “The Little Girl I Once Knew.” The revolutionary use of silence, keyboards and brass on the latter tune would set the stage for the band’s next phase, one free of beach imagery and more in step with the burgeoning hippie movement.

1966 would see the Beach Boys, led by Brian Wilson; fully embrace baroque rock with the classic album, “Pet Sounds,” and the seminal single, “Good Vibrations.” Brian Wilson would employ surreal songs, classical instrumentation and complex arrangements in the production of this music.

When Brian Wilson heard the Beatles’ album,“Rubber Soul,” in late 1965, he was so impressed that he dedicated himself to outdoing them. He was impressed that Rubber Soul broke the mold of containing a few hits only to be filled out by throwaway material. Rubber Soul did not contain any filler, just great original tunes. With Rubber Soul as his inspiration, Wilsonset off to the studio with the intention of making the greatest rock album of all-time. Many claim that he succeeded in doing just that, as the resulting album, “Pet Sounds” (1966), is widely hailed as one of the greatest-ever albums of pop music.

Pet Sounds was full of sounds previously unheard on rock records before it. It featured a slew of instruments manned by the finest studio musicians in Los Angeles, complex vocal and instrumental arrangements, and more sophisticated songs from Wilson. Wilson’s muse, apparently, was partially fueled by psychedelic drugs. The album contains what is perhaps the Beach Boys’finest ever tune, “God Only Knows,” which was a hit. Other hits on the album included “Wouldn’t It Be Nice,” “Sloop John B,” and “Caroline No.”

Wilson continued to experiment in 1966, producing the groundbreaking single, “Good Vibrations” and the legendary album, “Smile.” The lukewarm reaction of the public to Pet Sounds, drug use, and underlying mental health problems led to the Smile album being shelved by Capitol records. Some of the material appeared on the next Beach Boys release, “Smiley Smile.”

The Beach Boys would undergo several lineup changes and continue to produce music throughout the rest of the Sixties, Seventies and Eighties. Depending on the state of Brian Wilson’s mind, the Beach Boys’music varied from mediocre to brilliant. Among the brilliant moments were the albums, “Wild Honey” (1967), “Friends” (1968), “Surf’s Up” (1971), “Sunflower”(1970), and “Holland”(1973).

The Beach Boys on The Ed Sullivan Show-mid Sixties

Blind Willie McTell: Atlanta 12 String Guitar

Blind Willie McTell was a country blues singer/guitarist and probably the greatest performer of the Piedmont style of blues playing. He also played ragtime music. McTell was born blind as William Samuel McTier, in Thomson, Georgia, in 1898.

McTell learned to read and write music from Braille, and acquired a six-string guitar in his early teens. He was born into a musical family, and is a relation of gospel music pioneer, Thomas A. Dorsey. When his mother died during the Twenties, the now parentless McTell began wandering The South. He wound up in Atlanta, Georgia, in 1927, and scored a recording contract with Victor Records. He would remain in Atlanta and record for several record companies.

McTell’s best known song is “Statesboro Blues,” which was recorded by the Allman Brothers Band. The White Stripes have recorded two of his tunes, “Southern Can Mama” and “Lord, Send Me an Angel.”

McTell’s albums, “Atlanta Twelve String: Blues Originals Vol. 1” (1972), “The Definitive Blind Willie McTell” (1994), and “King of Georgia Blues” (2007) are all essential listening.

Blind Lemon Jefferson: Matchbox Blues

Blind Lemon Jefferson was born in Coutchman, Texas, in 1893. He was an enormously influential country blues singer whose songs have been covered by rock performers as diverse as the Beatles and Bob Dylan. Dylan recorded Jefferson’s “See That My Grave is Kept Clean” on his debut album, while Beatles and others, recorded rocking versions of his “Matchbox Blues.”

After traveling around Texas with the legendary folk and blues singer, Leadbelly, Jefferson wound up in Chicago in the mid-Twenties. He secured a recording contract with Paramount Records and began laying down classic sides. Jefferson’s recordings proved for posterity that he was, in fact, one of the best singers and guitarists of early country blues.

Jefferson was a fast picking guitarist of tremendous facility, and he played in a wide variety of styles. Jefferseon’s recordings seldom become tiresome as is the case with many other country blues singers. Jefferson’s recorded classics include, “Hot Dogs,” “Jack O’ Diamonds Blues,” “Black Snake Moan,” and “Easy Rider Blues.” He was one of the first male blues singers to record solo with his own guitar accompaniment.

Jefferson died of exposure when he became lost in Chicago in December, 1929 during a bad snowstorm. Several fine compilations of Jefferson’s recordings are available including, “King of the Country Blues” (1985), “Complete Recorded Works in Chronological Order” (Volumes 1-4) (1991), “The Best of Blind Lemon Jefferson” (2000), and “Classic Sides” (2003).

Blind Willie Johnson Dark Was the Night

Blind Willie Johnson was born near Brenham, Texas, in 1897. Johnson is one of the greatest guitarists in the history of blues music and likely the greatest slide-guitarist in the country blues genre. Johnson is considered a gospel performer by many, as most of his recordings were of a religious nature.

Johnson was not blind from birth. It is not entirely clear how he lost his sight, but it has been suggested that his step-mother threw lye in his eyes to exact revenge on his father.

Johnson began singing on street corners for tips as a youth. He continued busking for many years when this was apparently his only source of income. He busked in several Texas cities, but it seems he spent most of his time in the Texan town, Beaumont. Johnson only made 30 commercial recordings in his lifetime. These recordings were made for Columbia Records between 1927 and 1930.

Fortunately, Johnson recorded after the advent of microphones and his recordings are of high-fidelity. Among his best known sides are: ”God Moves on the Water,” about the sinking of the Titanic, “Nobody’s Fault but Mine,” which was recorded by Led Zeppelin, “Motherless Children,” which was recorded by Eric Clapton, and “John the Revelator” which has been recorded by many.

Johnson was poor throughout his life, and it was his status as an African-American resident of the American South that contributed to his early demise. After his house was destroyed by fire, Johnson, with no place to go, was forced to sleep in its scorched remains. He contracted malarial fever, and when his wife brought him to hospital, he was refused admittance, likely because he was black. Without treatment he succumbed to the fever on September 18, 1945.

Of several fine compilations of Johnson’s music, “Praise God I’m Satisfied” (1977), “Sweeter as the Years Go By” (1990), and “The Complete Blind Willie Johnson” (1993) are the best.

Blind Willie

Allman Brothers Albums and Songs

Southern rock and blues rock legends The Allman Brothers were formed in Jacksonville, Florida, in 1969. The band was named after brothers Greg and Duane Allman, the band’s lead singer and lead guitarist, respectively. The Allman Brothers are perhaps the quintessential example of “Southern Rock.”

Southern rock bands such as the Allman Brothers, Lynyrd Skynard, and the Marshall Tucker Band all hailed from below the Mason-Dixon Line and infused their hard rock with elements of the blues and country music and often expressed the conservative or “redneck” outlooks.

The Allman Brothers were perhaps the most blues-influenced of southern rock bands. Their first two albums, “The Allman Brothers Band” (1968) and “Idlewild South” (1970) contained several blues cover tunes each. The ragged, soulful voice of Greg Allman and bluesy slide guitar of Duane Allman and Dickie Betts enabled the band to produce some of the best blues rock of the era.

The Allman Brothers Band was a tremendous live act, and live performances allowed the band’s instrumental highlight, Duane Allman to display his prodigious slide guitar technique. Two of the band’s finest albums, “Live at the Fillmore East” (1971) and “Eat a Peach” (1972) are live albums which feature long tracks which serve as vehicles for Duane Allman’s and Dickie Betts’ impressive chops.

Duane Allman died tragically in a motorcycle accident in 1971 at the age of 23.

Following the death of Duane Allman, Dickie Betts became the instrumental centerpiece of the band, and the Allman Brothers Band continued to record and tour. The band reached the height of their commercial success with the classic album, “Brothers and Sisters” which featured two of their best known tunes, “Ramblin’ Man” and the instrumental, “Jessica.”

Greg Allman in 1975

The Ink Spots: Gypsy

The Ink Spots were a hugely-influential jazz vocal group that forms a direct link from the jazz and popular music of the Thirties to the R&B music of the Forties and rock and roll of the Fifties. The group consisted of various members during a lengthy 20-year run, but the vocal lead was usually handled by singer Bill Kenny on most of the group’s recordings.

The original Ink Spots came together in Indianapolis, Indiana, in 1933, with members Orville Jones, Ivory “Deeks” Watson, Jerry Daniels, and Charlie Fuqua. Bill Kenny joined the fold in 1936.

The group made their first recordings for Victor, in 1935, with versions of “Swingin’ on Strings” and “You’re Feets Too Big,” the Fats Waller song.

The early singles of the Ink Spots sold surprisingly poorly, but the group scored a huge hit in 1939 with the song, “If I Didn’t Care.” The single sold 19 million copies and featured the Ink Spots signature “top and bottom” style in which Bill Kenny sang the lead and Orville Jones performed the “talking bass” below the lead vocal.

During the Forties, the Ink Spots scored a slew of hits including many that hit the top position on the pop charts. Of these hits, “Gypsy” proved to be the biggest, remaining at the top of the charts for 13 weeks.

The original Ink Spots disbanded in 1953, just before the dawn of the rock and roll era. Many groups adopted the name, “Ink Spots,” and claimed kinship to the original group.

The original Ink Spots recordings are best heard via the following collections: “The Best of the Ink Spots” (1955), “The Best of the Ink Spots” (1965), “The Ink Spots in Hi-Fi” (1967), and “The Anthology” (1998).

Isaac Hayes: Hot Buttered Soul

Isaac Hayes had a long career as a soul songwriter and session musician prior to the launch of his own solo career in the early Seventies. Hayes was born in Covington, Tennessee, in 1942.

Hayes began his professional career as part of the Stax Records songwriting team of David Porter and Isaac Hayes that produced soul hits for Stax Records’ legendary roster of singers. The songs that Hayes and Porter produced for Stax include, “B-A-B-Y” by Carla Thomas, “I've Got to Love Somebody’s Baby” by Johnnie Taylor, and “Hold On! I'm Coming!” “You Got Me Hummin’,” “Soul Man,” and “When Something Is Wrong With My Baby” by Sam and Dave.

Hayes recorded his first solo album, “Presenting Isaac Hayes,” in 1967. The album contained pleasant soul numbers, but it was a tame effort compared to what was to come. When Atlantic Records bought out the Stax Records catalogue in 1968, Hayes was under pressure to write and record new material to replace what had been lost. He hurled himself into the task and while producing material for other artists, he also came up with the material for his brilliant sophomore album, “Hot Buttered Soul,” one of the greatest soul albums ever recorded.

The album contained four superb tracks-all of which clocked in at least five minutes. Covers of Burt Bacharach’s “Walk on By” and Jimmy Webb’s “By the Time I get to Phoenix” ran at 12 minutes and 18 and a half minutes, respectively. Hayes’ extended takes on these songs transcended the originals with their dreamy instrumental passages.

Hayes recorded two more fine albums in 1970, “The Isaac Hayes Movement” and “…To Be Continued.” Hayes’ excellent soundtrack for the film, “Shaft,” would appear in 1971 with the title track becoming a hit. Another quality Hayes album, “Black Moses,” would be released in 1971, featuring lush string accompaniments to soulful songs such as a cover of another Bacharach song, “Close to You,” and a cover of Curtis Mayfield’s “Man’s Temptation.”

Hayes would continue to record throughout the Seventies and sporadically in the Eighties with lesser results. Hayes died in 2008 having achieved the status of a master among soul music figures.

The man in chains