More details are emerging about the new Paul McCartney / Rick Rubin / Hulu Documentary Series that premiers next Friday (July 16th)
Broken into six one hour segments (that’s as long as the upcoming Beatles / Get Back series airing Thanksgiving Weekend on Disney+!) the series features intimate, relaxed reflections by Macca regarding all phases of his career. Some look to be quite introspective and emotional. (A new teaser clip can be found below.)
The “chapters” are broken out this way …
101: “These Things Bring You Together”: McCartney shares stories from the early days, shedding new light on his relationships with John Lennon and George Harrison. Welcoming an outside musician into the studio impacts one of The Beatles’ most famous songs.
102: “The Notes That Like Each Other”: McCartney talks about his unique approach to musical composition, influences from Bach to Fela Kuti and some of the innovations that made his music altogether unique.
103: “The People We Loved Were Loving Us!”: McCartney pays tribute to some of the artists that influenced The Beatles. He discusses the band’s trip to India and the expansion of The Beatles’ music and consciousness.
104: “Like Professors in a Laboratory”: McCartney and Rubin discuss musical experimentation and The Beatles drive to break boundaries. The episode features segments on Ringo Starr and “fifth Beatle” producer George Martin.
105: “Couldn’t You Play It Straighter?”: McCartney talks about finding his place in the band and the evolution of The Beatles’ sound and identity. This episode also focuses on a few of his iconic contributions to the band.
106: “The Long and Winding Road”: McCartney and Rubin discuss McCartney’s songwriting evolution, his creative partnership with John Lennon, and his development as a solo artist.
Lots of Beatle-talk on this clip! Can’t wait to see “McCartney … 3 … 2 … 1” (kk)
Robert Feder is reporting that Dave Plier will host a celebration of “The Groovy Sixties” on a special edition of his Friday night show this evening on Nexstar Media Group news / talk WGN 720-AM.
Starting at 7 p.m. he’ll feature conversations with Mike Love of the Beach Boys, Micky Dolenz of the Monkees, Barbara Eden of “I Dream of Jeannie,” Bill Mumy of “Lost in Space,” Dick Smothers of “The Smothers Brothers Comedy Hour” and producer George Schlatter of “Rowan & Martin’s Laugh-In.” Plier also will replay interviews with the late Dawn Wells of “Gilligan’s Island” and Adam West of “Batman.” Portions of the special will be rebroadcast at 1 p.m. Saturday on WGN.
Kent,
It was in our morning paper today that singer Sanford "THE FOOL" Clark passed away. He was 85 and passed away from Covid-19. I did not know he was from Tulsa originally
Larry
Hi there Kent,
It is with a heavy heart that I must inform you of yet another covid 19 casualty.
https://www.billboard.com/articles/news/9596819/sanford-clark-dead-obituary
Sanford Clark, Rockabilly Performer, Dies at 85 from COVID-19
By Associated Press (7/5/2021)
Rockabilly and country performer Sanford Clark, who had a top 10 hit with “The Fool” in 1956, has died in a Missouri hospital from COVID-19. He was 85.
Clark died Sunday (July 4) at Mercy Hospital in Joplin, where he had been receiving cancer treatment before he contracted the coronavirus, his publicist and fellow performer Johnny Vallis said Monday.
Clark was born on Oct. 24, 1935, in Tulsa, Oklahoma, and raised in Phoenix, where he first began performing in the early 1950s. “The Fool” reached No. 7 on the Billboard Top 100. The song was later recorded by several other well-known artists, including Elvis Presley and The Animals.
Presley actually recorded the song twice, the first time as part of his personal recordings while he was serving in the Army, then again for professional release in the 1970s, Vallis said.
“You can hear that he’s trying to emulate Sanford’s sound,” Vallis said. “You know, most people I know want to impersonate Elvis, and here Elvis was trying to impersonate him.”
Clark recorded several other songs in the 1950s and 1960s that saw minor success before he left the music business to work in construction, though he occasionally recorded in later decades on his own label, Desert Sun Records.
Sanford is survived by his wife, Marsha, and several children.
Sam Ward
Smokey Robinson fan?
Then you’ll want to check out this article sent in to us by Ryan Williams!
https://bouncemojo.com/smokey-robinson-songs/
And Harvey Kubernik submitted this piece on Billy Preston, who is FINALLY going into The Rock And Roll Hall Of Fame as part of The Class of ’21. (We’ve been campaigning for Billy’s induction for YEARS now!)
Keyboardist / singer and songwriter Billy Preston (September 2, 1946 - June 6, 2006) is being inducted into the Rock and Roll Hall of Fame in October for a Musical Excellence Award along with LL Cool J and Randy Rhoads.
Tina Turner, Carole King, the Go-Go’s, JAY-Z, Foo Fighters and Todd Rundgren are to be honored in the Performer Category. Kraftwerk, Charley Patton and Gil Scott-Heron will receive Early Influence Awards, while Clarence Avant will be the recipient of the Ahmet Ertegun Award.
The 36th annual ceremony will take place on October 30th at Rocket Mortgage Fieldhouse in Cleveland, Ohio.
I remember attending a December, 1965, taping of the landmark television series Shindig! in Los Angeles on Prospect Ave, at the ABC-TV studios. The Shindig! band propelled Preston’s pumping organ pushing the throbbing and urgent vocals of Gloria Jones on “Heartbeat,” who was a founding member of the Blossoms.
There were so many memorable moments on Shindig. This Jones and Preston monumental
seismic telegenic event is sonic and visual evidence of Los Angeles-driven
R&B and soul.
Jones also recorded “Tainted Love,” a big regional hit in the Southern
California region, and later a worldwide smash when Soft Cell covered it.
Hollywood High School’s Ed Cobb of the Four Preps wrote these riveting tunes
for Jones.
Tunesmith Cobb’s legacy includes Brenda Holloway’s “Every Little Bit Hurts,” which yielded renditions by the Spencer Davis Group, the Small Faces, George Clinton, the Clash, the Jam and Alicia Keys. Cobb also produced and wrote the Standells’ garage rock anthems “Dirty Water” and “Sometimes Good Guys Don’t Wear White.”
Growing up in Los Angeles, Preston portrayed W.C. Handy in the 1958 film St. Louis Blues, later toured Europe with Little Richard, and recorded with Sam Cooke. His organ drives Cooke’s version of “Little Red Rooster” that Willie Dixon penned.
Billy attended Susan M. Miller Dorsey High School in the Baldwin Hills / Leimert Park / Crenshaw area of the Los Angeles Unified School District. Composer Jerry Goldsmith, jazz great Eric Dolphy, professional footballer Keshawn Johnson, the Beach Boys’ Mike Love, Love co-founders Johnny Echols and Arthur Lee, and Shalamar’s Jody Watley are distinguished alumni. I learned how to swim in the very late fifties inside the Dorsey pool.
Arthur Lee and Johnny Echols in the early sixties played in bands and jammed regionally with Billy Preston, Little Richard and Jimi Hendrix, then known as Jimmy James, who was at the time backing the O’Jays at The California Club in downtown Los Angeles.
“We liked the Beatles from the time Billy Preston came back from Europe and knew about them,” underlined Echols in a 2014 interview we conducted.
“I had played with Billy before Love and he was a good friend and I met them in 1965. They sent us backstage passes for the Hollywood Bowl show. I went with a fantastic jazz musician Michael Boliver.
“Love had contract offers from MCA (Decca.) We were thinking of signing with them, and Columbia, and we chose not to because of the simple reason that Elektra Records was the only company that would let us own our publishing and masters. We learned that from Little Richard. ‘Do not let them take your music.’ So I insisted.”
In the late sixties Billy Preston was in the studio with the Beatles on Abbey Road and Let It Be and he was one of many highlights in the 1971 The Concert for Bangla Desh charity shows, bringing the house down with a stellar gospel-fueled rendition of “That’s The Way God Planned It.” His gospel, rock, soul, funk shaped work is heard on the Rolling Stones’ Sticky Fingers and Sly & the Family Stone’s There’s a Riot Goin’ On.
Preston was signed to several landmark record labels in his career: Vee-Jay, RAR, Capitol, Apple and A&M Records. Billy’s “Outa Space” and Will It Go Round In Circles?” were hits in the R&B and pop music charts. He toured with the Rolling Stones in the mid-seventies. As a songwriter, his “You Are So Beautiful” composition was first cut by Joe Cocker and later by Kenny Rogers and Kenneth “Babyface” Edmonds.
Over the decades, I’d see Billy around Hollywood and Los Angeles on occasions at A&M Records. The last time was a 2006 35th anniversary party to on the Warner Bros. studio lot celebrate The Concert for Bangladesh.
In 1975, I conducted an interview with Billy at his Topanga Canyon home around the ’75 Rolling Stones tour of America for the August 2, 1975, issue of the now defunct Melody Maker titled Billy Preston: Like a Rolling Stone.
"In Boston, the head of the dragon broke and the air pressure blew me off the stage right into the front row," says Billy Preston, guest keyboardist on the Rolling Stones' 1975 tour of America.
The massive journey is almost over, but Preston thinks back to a few months earlier when rehearsals were just starting.
"Well, we didn't rehearse in the traditional sense. There were times when it didn't seem like we were ever gonna get it together. When we got on stage everything started falling into place," said Billy, whose gospel / spiritual based free-form rock and roll style fits perfectly within the Rolling Stones' music. Besides lending his talents to the last few Rolling Stones' albums, Billy toured with the group on their European '73 tour. He also did his own 45 minute spot.
"I like this tour much better. There's not as much work, mainly 'cause I'm not doing a solo set. One thing that is happening in this show that didn't happen last time is Bill Wyman playing synthesizer, Ronnie plays bass on a number and Mick plays guitar on “Fingerprint File.” This band is loose and things happen all the time. The Stones are also doing a couple of my songs and Ollie plays drums. I thought it would be nice to do something old and new. Lots of people told me how much they dug Keith riffing on one it my tunes. It's been really beautiful."
Billy lives in the hills of Topanga, way above the smog of Los Angeles. As we stroll around his ranch, he compares the Stones' current live effort with last year's George Harrison tour where most of the time Billy salvaged the often boring / voiceless show.
"I like more of livelier show and the Stones are much more livelier than George. Although I enjoyed playing on the Harrison tour, this one is more fun, faster paced and more of a rock and roll thing.
"The Stones are a lot more R&B orientated. It feels like I've been playing with them for years. We're a family. All the guys are hanging out together and definitely getting off on each other. Keith is really enjoying playing with Ronnie. This time round, people are a lot happier. The music isn't as laid back and Keith and Ronnie are really clicking. The band is doing a lot of things they've never done in America. It's been a pretty good tour so far, not nearly as exhausting as the last few I've done."
Over drinks, Billy talks of his new record, It's My Pleasure. The album is an extreme departure from his previous A&M albums His first long player for the company, I Wrote A Simple Song, co-produced by George Harrison, Preston, David T. Walker and arranged by Quincy Jones, yielded “Outta Space,” and from the same disc, 'Will It Go Round In Circles' struck gold.
His next outing, Everybody Likes Some Kind Of Music, combined with intensive gigging helped bring “Space Race” to the top. Last year, he charted with The Kids And Me, with 'Nothing From Nothing' gaining the most exposure.
The all-star cast includes Stevie Wonder, Syreeta Wright, Shuggie Otis, Ollie Brown, and George Harrison. The record was produced by Robert Margouleff and synthesizer wizard Malcolm Cecil.
First hearings of Billy's new work are alien; a deliberate move into electronics replacing the noted Preston ivory tinkling with very few hints of his patented organ playing. This LP is a new trip for Billy. Preston on vocals, acoustic piano, clavinet, Fender Rhodes and TONTO (The Original New-Timbrel Orchestra) lay out a visual plastic journey complete with guest stars, entertainers, intermission and even acknowledgement to the backstage staff.
"I had been working back to back with Bob and Malcolm when they were working with Stevie at the Record Plant and I was doing my last album. They invited me to see the TONTO instrument, but I could never get it together.
“Then last Christmas Day I came by and from that day on I've been in love with it. Right then we decided to do an album together. I like the instrument. It's a synthesizer but has an original sound. It blends in a lot of different things. It consists of 12 synthesizers linked together and played simultaneously. This to me is something I've always dreamed of, playing the horn and string parts," says Preston, who's a lot happier in the studio these days.
"The machine gets me excited and curious. The synthesizers I used before were more or less preset and easy-to-change sounds but this one is really wired up. I finally met the guys who make and built it. It's beautiful, I wish I could have used it last night at the Forum," laughs Billy.
On the new album, Billy did some things with Syreeta and an ex-Beatle is listed as Hari Georgeson.
"I did 'Fancy Lady’ with Syreeta. I didn't have any lyrics to the tune so she wrote them overnight and volunteered to sing with me the next day in the studio. The song with George happened months ago. I cut that track 'That's Life', during the time we were rehearsing for his tour.
“Shuggie Otis is featured on three tracks playing guitar and Billy really felt comfortable jamming with Johnny Otis' son.
"I go back a long way with Shuggie's father. He's cool and I really dug playing with all these cats."
What emerges is a flow or stream of musical thought by Preston and friends who bring soul to a computer. The two sides are pretty diverse, and one sees the album as old school thought versus experimentation and growth.
"There's always a search for concept. The mood and flow of the album is what you're concerned with. We set up the album where one side is a boogie thing and the other side more or less laid back. It was planned that way at the beginning. I'm pleased with the results," says Billy
"I feel my sound is getting more mature and more relaxed. I'm happier. There wasn't any apprehension getting away from what I did the last few times out. I'm looking for new areas. Thanks to Bob and Malcolm, I can finally get a valid situation where the piano sounds like a piano. This is the best thing I've done. The horns aren't cluttering up some of the music like in the past. It's me in 1975."
Harvey Kubernik
>>>Andrew Solt (who owns the rights to these programs!) sent me this recent New York Times article about “The Ed Sullivan Show,” still offering up top notch entertainment some 50 - 60+ years later … https://www.nytimes.com/2021/06/24/arts/television/ed-sullivan-show-streaming-youtube.html?referringSource=articleShare
The Ed Sullivan YouTube Channel continues to release new, full-length performances from the program on a weekly basis … clips that haven’t been seen in decades, most since the very first time their aired (between 1948 and 1971.) Subscribe to the YouTube Channel to receive updates. (kk)
JULY 4TH WEEKEND KICKS OFF A STAR-FILLED MONTH ON “THE ED SULLIVAN SHOW” YOUTUBE CHANNEL
Iconic Clips And Historic Performances Officially Available Worldwide Via Streaming Platforms From UMe and SOFA Entertainment
The Ed Sullivan Show’s official YouTube channel celebrates America’s Independence Day weekend with “This Is My Country” and “America The Beautiful,” performed by Pat Boone and West Point Glee Club, respectively. July 4th continues with a rousing rendition of “God Bless America Again” from trailblazing country star Loretta Lynn. Also featured are “The Star Spangled Banner” by Oberkirchen Choir, an inspiring version of “America Our Heritage” from the Washington D.C. Festival Chorus and more.
Among the upcoming classic performers featured are Connie Francis (“Alexander’s Ragtime Band”), Jackie Wilson (“I'm Comin’ On Back To You,” “Night”), Liza Minnelli (“The Travelin’ Life”), Louis Armstrong (“Royal Garden Blues”), plus Petula Clark (“My Love”) and Ray Charles (“Eleanor Rigby”). The wide range of musical performances also includes the Brenda Lee, Dave Brubeck Quartet, Mahalia Jackson, Paul Anka, Wayne Newton and many more.
Comedy clips include Alan King, Charles Nelson Reilly & Nancy Walker, Jerry Stiller & Anne Meara, Totie Fields. From acrobats to The Muppets to skits with the inimitable host himself, there’s something for everyone to enjoy. The Ed Sullivan Show YouTube channel honors an entertainment legacy with new clips daily and a wide range of playlists to explore.
Throughout its historic 23-year primetime run (1948-1971), The Ed Sullivan Show brought the hottest performances from around the world and introduced emerging talent to America’s living rooms every Sunday night. The show featured some of the earliest or first televised performances of music superstars including The Band, The Beach Boys, The Beatles, The Jackson 5, The Mamas and The Papas, The Supremes, and The Rolling Stones.
Among the voluminous gems in this vast catalog are iconic clips most of which have not been seen in decades. UMe uploads new videos daily, including scores of rarities available digitally for the first time, to The Ed Sullivan Show’s official YouTube channel and EdSullivan.com, both newly updated.
Live On The Ed Sullivan Show YOUTUBE channel, July 1-15*:
|
STREAM DATE |
ARTIST |
PERFORMANCE |
AIRDATE |
|
THU 7/1 |
Alan King |
June 2, 1968 |
|
|
THU 7/1 |
The Kessler Twins |
October 16, 1966 |
|
|
THU 7/1 |
Eddy Manson |
August 5, 1962 |
|
|
THU 7/1 |
Tony Martin |
November 27, 1960 |
|
|
FRI 7/2 |
Phil Spitalny's Hour Of Charm |
March 25, 1951 |
|
|
FRI 7/2 |
Strategic Air Command Band |
March 16, 1969 |
|
|
FRI 7/2 |
Allen & Rossi, Ed Sullivan |
May 22, 1966 |
|
|
FRI 7/2 |
Sandy Stewart |
After You’ve Gone |
April 16, 1961 |
|
FRI 7/2 |
Gordon Macrae |
America the Beautiful |
July 6, 1969 |
|
SAT 7/3 |
Pat Boone |
This Is My Country |
June 2, 1963 |
|
SAT 7/3 |
Louis Armstrong |
Royal Garden Blues |
October 8, 1961 |
|
SAT 7/3 |
Eddy Arnold |
Wreck Of The Old '97 |
January 26, 1964 |
|
SAT 7/3 |
The Harmonicats |
Peg O’ My Heart |
February 26, 1950 |
|
SAT 7/3 |
Enzo Stuarti |
Battle Hymn Of The Republic |
September 6, 1964 |
|
SUN 7/4 |
West Point Glee Club |
America the Beautiful |
June 9, 1968 |
|
SUN 7/4 |
Oberkirchen Choir |
The Star Spangled Banner |
September 26, 1954 |
|
SUN 7/4 |
Washington D.C. Festival Chorus |
America Our Heritage |
August 17, 1969 |
|
SUN 7/4 |
Dolores Gray |
You’re A Grand Old Flag |
July 4, 1954 |
|
SUN 7/4 |
Loretta Lynn |
God Bless America Again |
May 30, 1971 |
|
MON 7/5 |
The Kane Triplets |
Pow, Pow, Pow |
June 11, 1967 |
|
MON 7/5 |
Alan King |
Son’s Bar Mitzvah & Ed Sullivan's Anniversary |
June 2, 1968 |
|
MON 7/5 |
The Dubliners |
Muirsheen Durkin |
March 17, 1968 |
|
MON 7/5 |
Jackie Wilson |
I’m Comin’ On Back To You |
May 28, 1961 |
|
TUE 7/6 |
Pat Henning |
Psychiatrist, Uncle And Bette Davis |
February 22, 1959 |
|
TUE 7/6 |
Charles Nelson Riley & Nancy Walker |
Lovers Meet At The Deli Skit |
February 6, 1966 |
|
TUE 7/6 |
Liza Minnelli |
The Travelin’ Life |
January 3, 1965 |
|
TUE 7/6 |
Dave Brubeck Quartet |
I’m In A Dancing Mood |
October 16, 1960 |
|
WED 7/7 |
Totie Fields |
Fan Letter |
January 16, 1966 |
|
WED 7/7 |
Shirley Verrett |
Ave Maria |
May 24, 1964 |
|
WED 7/7 |
The McGuire Sisters |
How Come You Do Me (Like You Do) |
October 17, 1965 |
|
WED 7/7 |
Connie Francis |
Medley: Up Above My Head / Glory Glory / Light Of Love |
March 21, 1965 |
|
THU 7/8 |
Mary Hopkin |
Goodbye |
May 25, 1969 |
|
THU 7/8 |
Teresa Brewer |
How Come You Do Me Like You Do |
February 6, 1955 |
|
THU 7/8 |
Jackie Wilson |
Night |
March 31, 1963 |
|
THU 7/8 |
Petula Clark |
My Love |
November 28, 1965 |
|
FRI 7/9 |
Phil Spitalny's Hour Of Charm |
Spring Song |
April 1, 1951 |
|
FRI 7/9 |
The Missionary Dominican Sisters Of Our Lady Of Fichermont |
Puer Natus Est Nobis |
January 5, 1964 |
|
FRI 7/9 |
Al Hirt |
That’s A Plenty |
December 10, 1961 |
|
FRI 7/9 |
W.C. Handy |
St. Louis Blues |
December 18, 1949 |
|
SAT 7/10 |
Mary Hopkin |
Morning Of My Life |
October 27, 1968 |
|
SAT 7/10 |
Sandler & Young |
In the Sunshine Days |
January 7, 1968 |
|
SAT 7/10 |
Mahalia Jackson |
Were You There When They Crucified My Lord? |
April 15, 1962 |
|
SAT 7/10 |
Wayne Newton |
Medley: (Give Me That) Old Time Religion/America (My Country ‘Tis of Thee) |
June 12, 1966 |
|
SUN 7/11 |
The Amin Brothers |
Acrobats |
December 15, 1963 |
|
SUN 7/11 |
Polly Bergen |
I've Got My Love To Keep Me Warm |
December 20, 1959 |
|
SUN 7/11 |
Shirley Bassey |
S Wonderful |
November 13, 1960 |
|
SUN 7/11 |
Ray Charles |
Eleanor Rigby |
December 8, 1968 |
|
MON 7/12 |
Mahalia Jackson |
By His Word |
December 18, 1960 |
|
MON 7/12 |
Al Hirt, Milton Berle |
Musical Humor |
December 15, 1963 |
|
MON 7/12 |
The Muppets |
The Art Of Visual Thinking With Kermit The Frog |
October 2, 1966 |
|
MON 7/12 |
Wayne Newton |
I Wish You Love |
December 12, 1965 |
|
TUE 7/13 |
Mary Hopkin |
Those Were The Days |
October 27, 1968 |
|
TUE 7/13 |
Allan Drake |
Kids Today |
June 28, 1964 |
|
TUE 7/13 |
Wayne Newton |
Apple Blossom Time |
May 30, 1965 |
|
TUE 7/13 |
Paul Anka |
I Love You |
February 11, 1962 |
|
WED 7/14 |
Sid Caesar, Ed Sullivan, Shirley Bassey |
French Restaurant |
February 28, 1971 |
|
WED 7/14 |
Phil Spitalny's Hour Of Charm |
Voices Of Spring |
April 1, 1951 |
|
WED 7/14 |
Roger Williams |
Supercalifragilistic |
January 31, 1965 |
|
WED 7/14 |
Ray Charles |
If It Wasn’t For Bad Luck |
December 8, 1968 |
|
FRI 7/15 |
Jerry Stiller & Anne Meara |
Wrong Phone Number |
January 16, 1966 |
|
FRI 7/15 |
George Givot |
Malaprops |
July 27, 1958 |
|
FRI 7/15 |
Brenda Lee |
Losing You |
May 12, 1963 |
|
FRI 7/15 |
Connie Francis |
Alexander’s Ragtime Band |
October 14, 1962 |
Even though The 4th of July has come and gone, Chuck Buell reminds us that "It Ain't Over Until It's Over!"
And finally ...
Do we have an answer to our Doo Wop Mystery Song?
Glen Fisher (and his reader Paul from Philly) think we may …
So now we kick the ball back to Colin Donahue’s court to see what HE thinks!
Kent,
Thanks to Paul from Philly, I believe the mystery song is “The Sun’s Message.” I first heard it by the Butlers featuring Frankie Beverly from 1964.
There was an a cappella group, Champagne, from NY, that released the song on a CD, An A Cappella Toast, that I got from them when they appeared at a New England Doo Wop Society show years ago. I have attached that song.
So what say you, Colin Donahue? Have we solved the mystery song?
Glen
I dunno … this doesn’t really match ANY of the lyrics that Colin sent in … nor is it the same song he sent us in earlier from what he taped off the radio broadcast … so I’m confused as to where this is coming from. But hey, we’re all about solving the mystery at this point … so we’ll run it past Colin, too. I’m just not feelin’ it! (kk)
The original lyrics that Colin sent in were as follows:
This can't be true girl
For you made me live my life alone
Can't you see girl
How much you mean to me
You mean more to me
Than any girl
I see the sun shining through my window
[Shining through]
But I don't know if you're coming home
[If you're coming home]
Girl can't you see
I cry each and every night
For you to return to me
This can't be true girl
For you made me live my life alone
Can't you see girl
How much you mean to me
You mean more to me
Than any girl
I see the sun shining through my window
[Shining through]
But I don't know if you're coming home
[If you're coming home]
Can't you see
That you mean so much to me
Girl you know
I love you, too
And here’s his recording …
