Set your non-violent revolution to dance rhythms
and you can change the world.
and you can change the world.
Happy Birthday Nelson Mandela!!!
As always, crank it up!!!
Category Archives: Musical Appreciation
Desmond Dekker ► A Musical Appreciation
Desmond Dekker, who passed away just 6 years ago, had the prettiest voice in all of Reggae music. On what would have been his 71st birthday, let’s take a moment to honour one of the pioneers of Reggae music. Everyone knows his most famous song, Israelites, his only U.S. hit. Watch him lip sync it in the late ’60s:
However, there are far more songs in the Desmond Dekker canon that you might not even know you know and, even if you don’t know them, you should. For your continued Reggae education, I present a Desmond Dekker Jukebox.
Musical Appreciation ► Woody Guthrie’s Centennial
If ‘Merka ever had a national troubadour, it would have been Woody Guthrie. Among his legacy of hundreds — some say thousands — of songs include “This Land Is Your Land,” considered by many to be an alternate ‘Merkin National Anthem. However, he also wrote “Roll On, Columbia, Roll On,” considered the Folk song of the state of Washington.
Those who cite Woody Guthrie as an influence include every Folk singer who ever plucked a string, along with a whole raft of Rockers. Consequently, anyone citing those musicians are just further links in the chain that start with Woody, considered one of ‘Merka’s first singer-songwriters.
In the early ’30s Guthrie joined the Dust Bowl migration to California, where he first became known singing Hillbilly music. It was here he first met Socialists and began his political journey farther and farther to the left. After leaving California he rarely stopped moving. Wandering troubadours go back to ancient times, but few traveled as
extensively as Guthrie. At one time he bragged to have been in 45 of the
(then) 48 states.
According to the official Woody Guthrie web site:
The late 1940’s and early 1950’s saw a rise in anti-Communist sentiments. Leftist and progressive-minded Americans were subjected to Red-scare tactics such as “blacklisting.” Many people, particularly in the arts and entertainment fields, either lost their jobs or were prevented from working in their chosen careers. The Weavers, along with Woody, Pete Seger, and others from their circle, were targeted for their activist stances on such issues as the right to unionize, equal rights, and free speech.
Isn’t it telling that leftists and progressives are still fighting the same battles? Woody Guthrie believed in the power of music to transform (as do I). And that’s why on his guitar was the slogan THIS MACHINE KILLS FASCISTS.
However, AS ALWAYS, it’s the music that endures. Here’s a Woody Guthrie Jukebox:
Musical Appreciation ► Live Aid
He was a member of The Boomtown Rats, an Irish Punk band from the late ’70s. At the time no one could have predicted that Bob Geldolf, writer of everyone’s favourite work anthem “I Don’t Like Mondays,” would be elevated to a Knight Commander of the Most Excellent Order of the British Empire (KBE) for his charity work on Live Aid, the biggest fundraising Rock Concert ever mounted. It took place on two continents at two separate venues, Wembley and JFK stadiums in London and Phildelphia respectively. The simultaneous concerts were broadcast around the world and, in the final accounting, raised an estimated £150,000,000 for famine relief 27 years ago today.
However, it was the music that kept people in front of their tee vee sets. Here are just a few of the performances. [Full list of performers at below]
The Coldstream Guards set the tone for the day with the Royal Salute and God Save The Queen. Speaking of Queen; their performance is considered one of the best of the day and one of the best live performances of their career. Freddie Mercury was at the top of his game, belting out all the high notes. Here is their full performance:
Although they were never billed as such that day, here was the much anticipated reunion of Led Zeppelin, performing their biggest hit:
The Material Girl had a set:
As did Paul McCartney, whose opening was marred by a faulty microphone when he was brought out as the show closer:
David Bowie turned in an electrifying performance of Heroes:
Phil Collins performed “In The Air Tonight” in Philadelphia after a set in London earlier in the day. He’s the only artist to appear at both concerts.
This came after a hurried Concorde flight from London, where he accompanied Sting on such songs as Roxanne and Every Breath You Take:
Sting also performed with Dire Straits, recreating his performance from the Money For Nothing.
Guitar God Eric Clapton blasted out a searing Layla (with Phil Collins, who seemed to be everywhere that day, on drums):
The concerts lasted 16 hours but, with sets occurring at both venues simultaneously, the actual running time of the music was much longer. Here is the rundown for both venues with the songs performed (as listed on the WikiWackyWoo):
Wembley
- Coldstream Guards – “Royal Salute”, “God Save The Queen” (W 12:00);
- Status Quo – “Rockin’ All Over the World”, “Caroline”, “Don’t Waste My Time” (W 12:02);
- The Style Council – “You’re the Best Thing”, “Big Boss Groove”, “Internationalists”, “Walls Come Tumbling Down” (W 12:19);
- The Boomtown Rats – “I Don’t Like Mondays”, “Drag Me Down”, “Rat Trap”, “For He’s A Jolly Good Fellow” (sung by the audience) (W 12:44);
- Adam Ant – “Vive Le Rock” (W 13:00);
- Ultravox – “Reap The Wild Wind”, “Dancing with Tears in My Eyes”, “One Small Day”, “Vienna” (W 13:16);
- Spandau Ballet – “Only When You Leave”, “Virgin”, “True” (W 13:47);
- Elvis Costello – “All You Need Is Love” (W 14:07);
- Nik Kershaw – “Wide Boy”, “Don Quixote”, “The Riddle”, “Wouldn’t It Be Good” (W 14:22);
- Sade – “Why Can’t We Live Together”, “Your Love Is King”, “Is It A Crime” (W 14:55);
- Sting and Phil Collins (with Branford Marsalis) – “Roxanne”, “Driven To Tears”, “Against All Odds (Take A Look At Me Now)”, “Message In A Bottle”, “In the Air Tonight”, “Long Long Way To Go”, “Every Breath You Take” (W 15:18);
- Howard Jones – “Hide And Seek” (W 15:50)
- Bryan Ferry (with Pink Floyd’s David Gilmour on guitar) – “Sensation”, “Boys And Girls”, “Slave To Love”, “Jealous Guy” (W 16:07);
- Paul Young – “Do They Know It’s Christmas?” (intro), “Come Back and Stay”, “That’s The Way Love Is” (with Alison Moyet), “Every Time You Go Away” (W 16:38);
- U2 (introduced by Jack Nicholson)– “Sunday Bloody Sunday”, “Bad” (with snippets of “Satellite Of Love”, “Ruby Tuesday”, “Sympathy For The Devil” and “Walk On The Wild Side”) (W 17:20);
- Dire Straits – “Money for Nothing” (with Sting), “Sultans Of Swing” (W 18:00);
- Queen (introduced by comedians Mel Smith and Griff Rhys Jones) – “Bohemian Rhapsody”/”Radio Ga-Ga”, “Hammer to Fall”, “Crazy Little Thing Called Love”, “We Will Rock You”/”We Are the Champions” (W 18:44);
- David Bowie (with Thomas Dolby on keyboards) – “TVC 15”, “Rebel Rebel”, “Modern Love”, “Heroes” (W 19:22);
- The Who (introduced by Jack Nicholson) – “My Generation”/”Pinball Wizard”, “Love, Reign O’er Me”, “Won’t Get Fooled Again” (W 20:00);
- Elton John (introduced by Billy Connolly) – “I’m Still Standing”, “Bennie and the Jets”, “Rocket Man”, “Don’t Go Breaking My Heart” (with Kiki Dee), “Don’t Let the Sun Go Down on Me” (with George Michael and backing vocals by Andrew Ridgeley), “Can I Get a Witness” (W 20:50);
- Finale at Wembley Stadium:
- a) Freddie Mercury and Brian May (Queen) – “Is This The World We Created?” (W 21:48),
- b) Paul McCartney – “Let It Be” (W 21:51),
- c) Band Aid (led by Bob Geldof) – “Do They Know It’s Christmas?” (W 21:54);
JFK Stadium
- Bernard Watson – “All I Really Want to Do”, “Interview” (JFK 13:51);
- Joan Baez (introduced by Jack Nicholson) – “Amazing Grace”/”We Are the World” (JFK 14:02);
- The Hooters – “And We Danced”, “All You Zombies” (JFK 14:12);
- Four Tops – “Shake Me, Wake Me (When It’s Over)”, “Bernadette”, “It’s The Same Old Song”, “Reach Out I’ll Be There”, “I Can’t Help Myself (Sugar Pie, Honey Bunch)” (JFK 14:33);
- Billy Ocean – “Caribbean Queen”, “Loverboy” (JFK 14:45);
- Black Sabbath (introduced by Chevy Chase) – “Children of the Grave”, “Iron Man”, “Paranoid” (JFK 14:52);
- Run–D.M.C. – “Jam Master Jay”, “King Of Rock” (JFK 15:12);
- Rick Springfield – “Love Somebody”, “State of the Heart”, “Human Touch” (JFK 15:30);
- REO Speedwagon – “Can’t Fight This Feeling”, “Roll With The Changes” (JFK 15:47);
- Crosby, Stills and Nash – “Southern Cross”, “Teach Your Children”, “Suite: Judy Blue Eyes” (JFK 16:15);
- Judas Priest – “Living After Midnight”, “The Green Manalishi (With The Two-Pronged Crown)”, “You’ve Got Another Thing Comin'” (JFK 16:26);
- Bryan Adams (introduced by Jack Nicholson) – “Kids Wanna Rock”, “Summer Of ’69”, “Tears Are Not Enough”, “Cuts Like a Knife” (JFK 17:02);
- The Beach Boys (introduced by Marilyn McCoo) – “California Girls”, “Help Me, Rhonda”, “Wouldn’t It Be Nice”, “Good Vibrations”, “Surfin’ USA” (JFK 17:40);
- George Thorogood and the Destroyers – “Who Do You Love” (with Bo Diddley), “The Sky Is Crying”, “Madison Blues” (with Albert Collins) (JFK 18:26);
- Simple Minds – “Ghost Dancing”, “Don’t You (Forget About Me)”, “Promised You A Miracle” (JFK 19:07);
- The Pretenders – “Time The Avenger”, “Message Of Love”, “Stop Your Sobbing”, “Back On The Chain Gang”, “Middle of the Road” (JFK 19:41);
- Santana and Pat Metheny – “Brotherhood”, “Primera Invasion”, “Open Invitation”, “By The Pool”/”Right Now” (JFK 20:21);
- Ashford & Simpson – “Solid”, “Reach Out and Touch (Somebody’s Hand)” (with Teddy Pendergrass) (JFK 20:57);
- Madonna (introduced by Bette Midler) – “Holiday”, “Into The Groove”, “Love Makes The World Go Round” (JFK 21:27);
- Tom Petty and the Heartbreakers (introduced by Don Johnson) – “American Girl”, “The Waiting”, “Rebels”, “Refugee” (JFK 22:14);
- Kenny Loggins – “Footloose” (JFK 22:30);
- The Cars – “You Might Think”, “Drive”, “Just What I Needed”, “Heartbeat City” (JFK 22:49);
- Neil Young – “Sugar Mountain”, “The Needle and the Damage Done”, “Helpless”, “Nothing Is Perfect (In God’s Perfect Plan)”, “Powderfinger” (JFK 23:07);
- Power Station – “Murderess”, “Get It On” (JFK 23:43);
- Thompson Twins – “Hold Me Now”, “Revolution” (with Madonna, Steve Stevens and Nile Rodgers) (JFK 00:21);
- Eric Clapton (with Phil Collins) – “White Room”, “She’s Waiting”, “Layla” (JFK 00:39);
- Phil Collins (having flown Concorde from UK to US) – “Against All Odds (Take A Look At Me Now)”, “In The Air Tonight” (JFK 01:04);
- Led Zeppelin Reunion – (with Jimmy Page, Robert Plant, John Paul Jones, Tony Thompson, Paul Martinez, and Phil Collins) – “Rock and Roll”, “Whole Lotta Love”, “Stairway To Heaven” (JFK 01:10);
- Crosby, Stills, Nash & Young – “Only Love Can Break Your Heart”, “Daylight Again/Find The Cost of Freedom” (JFK 01:40);
- Duran Duran – “A View to a Kill”, “Union Of The Snake”, “Save A Prayer”, “The Reflex” (JFK 01:45);
- Patti LaBelle – “New Attitude”, “Imagine”, “Forever Young”, “Stir It Up”, “Over The Rainbow”, “Why Can’t I Get It Over” (JFK 02:20);
- Hall & Oates – “Out Of Touch”, “Maneater”, “Get Ready” (with Eddie Kendricks), “Ain’t Too Proud To Beg” (with David Ruffin), “The Way You Do The Things You Do”, “My Girl” (with Eddie Kendricks and David Ruffin) (JFK 02:50);
- Mick Jagger (with Hall & Oates / Eddie Kendricks / David Ruffin) – “Lonely At The Top”, “Just Another Night”, “Miss You”, “State Of Shock”/”It’s Only Rock ‘n Roll (But I Like It) (reprise)” (with Tina Turner) (JFK 03:15);
- Finale at JFK Stadium:
- a) Bob Dylan, Keith Richards and Ronnie Wood – “Ballad of Hollis Brown”, “When the Ship Comes In”, Blowin’ In The Wind” (JFK 03:39),
- b) USA for Africa (led by Lionel Richie) – “We Are the World” (JFK 3:55)
Brian Jones ► A Musical Appreciation
Let’s face facts: The Rolling Stones was his band. After hanging around London in the early ’60s with musicians like Alexis Korner, Jack Bruce, and Paul Jones, Brian Jones decided to start his own band. He placed an advert in “Jazz News” looking for other musicians who could play the music of his ‘Merkin Blues heroes. First Ian Stuart, then Mick Jagger joined. Jagger brought along Keith Richards and the core of the group was established. Brian Jones named the group after a Muddy Water’s song “Rollin’ Stones Blues” and the rest is history and millions of records sold.
It’s been 43 years, but we still miss him. Stone aficionados TO THIS DAY still argue whether the group was better before or after Brian Jones was fired.
Rest in peace, Brian.
Here is a Brian Jones Jukebox to honour the young boy who so thought ‘Merkin Blues the greatest thing in the world that he created his own band to play it. The little Blues band he built to play the music in his head became the greatest Rock and Roll group in the world: The Rolling Stones. Now, that’s a legacy!!!
As always, CRANK IT UP!!!
Musical Appreciation ► Georgie Fame
I first heard Georgie Fame as did many other ‘Merkins, as the singer of “The Ballad of Bonnie and Clyde” in 1967. It was one of those out-of-the-box hits that always appealed to me. I was unaware of his earlier hits “Yeh Yeh,” which knocked The Beatles off the #1 on the British charts, and “Getaway.” Nor did the name Georgie Fame register with me. Therefore, I was surprised many years later when my boss at Island Records Canada handed me a record to promote. One of the tracks was “The Ballad of Bonnie and Clyde” and I knew every note and nuance, even if I didn’t know the name Georgie Fame. I later learned this was a compilation LP by Georgie Fame. (I’m not sure how that came about. My assumption, which could be wrong, is that Island Records licensed the tracks for markets other than Great Britain.) However, I soon learned “The Ballad of Bonnie and Clyde” was not representative of the music Georgie Fame and the Blue Flames (a name that didn’t appear on the sleeve, if memory serves) had been making. I immediately became a fan, precisely because his music is so hard to pigeon-hole, playing Jazz, Ska, R&B, Rock and Roll, Pop, and Standards.
This clip shows a nice bit of Georgie Fame’s history, along with Bonnie & Clyde’s.
Georgie Fame performing his earlier hit “Yeh Yeh” live for a Swinging Sixties tee vee show:
Georgie Fame & Alan Price performing one of their best known songs: Rosetta:
Let’s not forget that Georgie Fame was such a huge fan of Ska, that he started performing it in the ’60s, which only helped popularize the genre throughout the British Colonies. That’s why he can hold his own with Prince Buster and Suggs from Madness, (along with getting his own shout-out:
Presenting a Georgie Fame Jukebox, which includes a few renditions of a song all about him, while you read a short little bio of Georgie Fame:
As always, CRANK IT UP!!!
Born on June 26, 1943 in Leigh, Lancashire, where his father played in an amateur dance band and where music was a intregal part of home life. Early training on the piano led to a love of some of the early rockers like Fats Domino, Jerry Lee Lewis and Little Richard. Soon he was performing with his own band “The Dominoes.” As the story on the official web site goes:
In July 1959, at a summer holiday camp, Clive was spotted by Rory Blackwell, the resident rock and roll bandleader. Blackwell offered the young singer/pianist a full time job and the teenager happily left his job at the weaving mill. Rory and the Blackjacks departed for London, their hometown, when the summer season ended prematurely and Clive went with them. The promise of lucrative work in the music business didn’t materialize, however, and the band broke up. The determined young man from Leigh opted to stay on in London, but for a time it proved rough going. He tried unsuccessfully to make his way back home, and eventually he had the good fortune of finding “lodging” at The Essex Arms pub in London’s Dockland, where the kindly landlord provided him a room where he could sleep.
In October of that year, the Marty Wilde Show was performing at the Lewisham Gaumont and Rory Blackwell arranged for Clive to audition “live” for impresario Larry Parnes. After walking on stage, without any rehearsal, he sang Jerry Lee Lewis’ High School Confidential and was promptly hired as a backing pianist for the Parnes “stable” of singers. As with all the other young talent Parnes had taken on (such as Billy Fury and Johnny Gentle), he renamed Clive Powell “Georgie Fame,” and the name has stuck to this day. By the age of 16, Georgie had toured Britain extensively, playing alongside Marty Wilde, Billy Fury, Eddie Cochran, Gene Vincent, Tony Sheridan, Freddie Canon, Jerry Keller, Dickie Pride, Joe Brown and many more. During this time, Billy Fury selected four musicians, including Fame, for his personal backing group and the “Blue Flames” were born. At the end of 1961, after a disagreement, the band and Fury parted company.
I was also unaware Fame’s earlier work with Alan Price. Price was already well-known in the world of Pop music. He had hired a young Eric Burton to sing with his “Alan Price Rhythm and Blues Combo” in 1962, which by 1964 had become The Animals, mining old Blues songs. Price’s arrangement of “House of the Rising Sun” was a worldwide hit. Skipping ahead some 7 years, as the Alan Price web site tells us:
He then began a partnership with fellow-blues keyboardist and old chum, Georgie Fame, which gave birth to a hit single, Rosetta (which reached No. 11 in 1971), a highly-rated album (Price And Fame Together), their own television series (The Price Of Fame), and regular appearances on many others.
It was during one of the duo’s road tours that Malcolm MacDowell and Lindsay Anderson approached Alan about composing the music for the legendary cult film, O Lucky Man (in which he also appeared as himself). The phenomenal success of this project earned Price a BAFTA award, an Oscar nomination, and yielded his first US chart album.
Georgie Fame has been performing his own brand of music for more than 50 years. I feel lucky I got see him in a club on Jarvis Street in Toronto years later. Happy Birthday, George. You brought me many years of terrific music.
Day In History ► Day In Music ► June 21st
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| Dr. Goldmark examining creation of a 33 1/3 record. Pic used by Fair Use, even tho’ Corbus thinks it owns it. |
Dateline June 21, 1948 – Dr. Peter Goldmark, of CBS, demonstrated the first 12 inch LP, “Long Playing” record, that spun at 33 1/3 revolutions per minute, as opposed to the 10 inch 78 RPM record. You could only shove about three and a half minutes of music on one side of a 78. A symphony or opera issued on 78, would come in an album with any number of platters to spin out the entire length of the piece. In contrast the LP would hold about 28 minutes of music a side. With this the format wars wars ON! RCA refused to pay CBS for the license to press LPs, so it came out with its own format, the 45 RPM disc, 7″ wide with a bigger hole in the middle. The 45 could hold more music than a 78, but not nearly as much as a LP. No one really won this format war. These two systems remained viable formats side-by-side until the digital compact disc, CD, almost put vinyl out of business.
Dateline June 21, 1969: The worst song ever released!!! On this day One Hit Wonders Zager & Evans release the biggest piece of crap in all of recorded music, and that includes “An Evening With Wild Man Fisher.” Ladies and gentlemen, I give you “In the Year 2525.” REMEMBER: I tried to warn you.
What’s your least favourite song?
How Jamaica Conquered The World ► An Update
Back on April 20 I wrote about my small part in “How Jamaica Conquered the World.” Every once in a while producer Roifield Brown sends out an email, telling me about the latest progress for this amazing FREE documentary. I’ve combined a few of them to bring you the latest in “How Jamaica Conquered the World” News:
It never rains good news but it pours good news. As of next week, How Jamaica will be promoted by iTunes as its podcast of the week in the UK.
Earlier Roifield sent along more iTunes progress:
Hello, just thought I should send you an email to keep you updated with the progress of the project “How Jamaica Conquered the World.” I’ve been working on the project for some 8 months now and in the last week we seem to have made some real and significant progress with getting the message of Jamaica’s influence throughout the world out there.
The series is now on iTunes and we are experiencing hundreds of downloads each day and we have been promoted by iTunes on the “new and noteworthy” section which is absolutely brilliant. What is important is that we get as many reviews on iTunes as possible, so at the end of this email are itunes links to HJCW so that you can subscribe, tell your friends and hopefully write review. On iTunes the shows are released weekly, with the new episode going up every Sunday evening. Currently there are 5 published.
As well as our success on iTunes where I’m now featured mix on www.mixcloud.com. As well as increasing downloads we had taken on board a PR company which will be getting us press and media exposure for the whole project.
This week was rounded off by a fruitful telephone conference with SABC, South African broadcasting Corporation who are interested in the rights to the project, so the film could well be starting in production in the next two months.
However, the email that excited me the most said:
Hello all, working on this podcast has made me realise that I have way too much material and a lot of good content is being left on the cutting room floor as I try to condense every topic into a 10 minute show. So to remedy this I will be creating a new podcast entitled the Reggae Monologues or the Dublogues. These will feature your interview in full with myself edited out but with a dub soundtrack. I feel that this will be great extra content for people that want to know more about your feelings and insight into the given topics being discussed.
It will be a few weeks before I put up the first episode on iTunes but I will alert you when your show is live.
The thought that I might become a part of a Dub soundtrack is one of the thrills of my life. Thank you, Roifield.
Happy Birthday, Brian Wilson: Genius ► A Musical Appreciation
There’s no point in writing a Brian Wilson biography; every one knows the high points of his life. What started as a love of the four-part harmonies of The Four Freshmen consumed a lad in Hawthorne, California, who went on to write music that defined several generations. As the leader of The Beach Boys and beyond Brian Wilson has created true art in the form of music. For me it’s sufficient that Brian Wilson’s music is the background to so many of my memories. His music will stand the test of time, but it’s an absolute bonus that he’s come back around to playing music again, both without and with The Beach Boys. Celebrating their 50th Anniversary The Beach Boys are touring again, with Bruce Johnston and David Marks. Too bad Glen Campbell couldn’t join them. They have also released a new album, “That’s Why God Made the Radio,” which will be a fitting capstone to their career, if they decide to wrap it up.
Brian Wilson still has the ability to write an instant classic:
The first 45 I ever bought (kids, ask your parents) was “I Get Around,”
because it was all the money I had left over after buying “The Best of
the Lovin’ Spoonful.” I have been a huge Beach Boys, Brian Wilson fan ever since; collecting bootlegs like I also did with The Beatles. One of the things that I have found thrilling is that 20 years ago, starting with the 4-CD box set of “Good Vibrations; Thirty Years of The Beach Boys,” the band has been releasing alternative takes and works-in-progress in the studio. [Sadly, that box can’t be shared on Spotify.] It was also done with The Pet Sounds Sessions and culminated in the semi-recent massive box for The SMiLE sessions. These give the listener the total Fly on the Wall experience. With SMiLE, we can hear just how close Brian Wilson really was to releasing his Magnum Opus. Collectors of bootlegs have, over the years, put together the fragments based on scant evidence. It’s great to finally hear SMiLE as Brian envisioned. It was worth the wait.
SMiLE took his sanity and some 35 years to finally finish, but Brian Wilson and The Beach Boys are back and, if show biz metrics mean anything, back on the top of the game. This week The Beach Boys broke a record set by The Beatles. As Billboard tells us:
As their reunion set, “That’s Why God Made the Radio” (their first album of all-new material since 1992), bursts onto the chart at No. 3,
the Beach Boys break a record by expanding their span of Billboard
200 top 10s to 49 years and one week. They first graced the top 10
with “Surfin’ U.S.A.” the week of June 15, 1963.
The
Beach Boys’ stretch between their first week in the Billboard 200
top 10 to their most recent is now the longest among groups, passing
the Beatles, whose top 10 span covers 47 years, seven months and
three weeks. The Fab Four first entered the top bracket when “Meet
the Beatles” rocketed 92-3 on the Feb. 8, 1964, chart at the
blastoff of Beatlemania. The group most recently appeared in the top
10 with “1” the week of Oct. 1, 2011.
Now with sell-out concerts and current hits on the radio. Here’s a Brian Wilson Jukebox for your listening pleasure, with some rarities, some well-known songs, and some versions you’ve never heard before:
As always, CRANK IT UP!!!
A BRIAN WILSON – BEACH BOYS BONUS:
For people who are as certifiably insane as I am, here is every version of Heroes and Villains I could find. Set on crossfade and you will never need another song. Ever!
Musical Appreciation ► Paul McCartney
There is no denying that Paul McCartney has written a wealth of music that will stand the test of time. As we listen to Beethoven and Bach long after their lifetimes, we will be listening to the music of Paul McCartney.
Here’s a small Paul McCartney Jukebox:
As always: CRANK IT UP!!!
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| Uncle Russ Gibb |
And, just because it pisses Mark Koldys-Johnny Dollar off, I am going to link to other versions of this story again.
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| Uncle Russ Gibb |
Here’s what I find funny: I have made no claims, yet Johnny Dollar has gone out of his way to refute them.
J$ asked one person one question (or had a confederate ask one
question) and then spun out an entire new conspiracy theory. While, that’s
hardly journalism, it’s par for the course for Markie K and the Sycophant Five.
I only ever told this to ONE journalist. The resultant article that came
out was so garbled, I never told it again “on the record.” Therefore, every other
version I have read is second hand, or a re-writing of the
original post. Each has managed to garble the story further.
However, and I stress, only one person ever bothered to ask me any questions and I answered them all honestly.
However, I am most grateful that Markie K and the Sycophant Five, along with their patron Mark Koldys-Johnny Dollar are such loyal followers of my Aunty Em Ericann Blog.
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| What’s left of The Grande Ballroom; Picture by author 2010 |
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| The Grande Ballroom on opening night of a whole new era. |