LISTEN BACK LINK :
https://www.mixcloud.com/seanbrophy79/midweek-music-miscellany-wed-4th-september-2019-incl-the-kinks/
BELATED APOLOGIES FOR LACK OF ONLINE STREAM THIS TIME.
1. Arkansas ( 4.21 ) - John Oates with The Good Road Band - CD Arkansas richlynngroup.com
2019 RELEASE
2. Honey ( 3.57 ) - Bobby Goldsboro - SINGLE
1968 RELEASE
3. Time's A Game ( 3.16 ) - Trisha Adams - SINGLE trishadamsmusic@gmail.com
2019 RELEASE
4. Ragged Heart ( 3.07 )- Silver Lake 66 - CD Ragged Heart silverlake66.com
2019 RELEASE due 4th. October 2019
5. Don't Knock Upon My Door ( 1.45 ) - Billy Fury - CD Billy Fury Three Classic Albums Plus avidgroup.co.uk
2019 PACKAGE RELEASE
6. He Will Break Your Heart ( 2.46 ) - Billy Fury - CD Billy Fury Three Classic Albums Plus avidgroup.co.uk
2019 PACKAGE RELEASE
7. Let The Heartaches Begin ( 3.13 ) - Long John Baldry - CD Baby Boomers Greatest Hits Of The 60's & 70's Castle Comunications
1993 COMPILATION RELEASE
8. 7654321 ( Blow Your Whistle ) - The Rimshots - CD Baby Boomers Greatest Hits Of The 60's & 70's Castle Comunications
1993 COMPILATION RELEASE
9. All Day & All Of the Night ( 2.23 ) - The Kinks - CD Baby Boomers Greatest Hits Of The 60's & 70's Castle Comunications
1993 COMPILATION RELEASE
10. Tattoo Of Jesus ( 6.42 ) - Micheal Weiskopf - CD Lost In Amerika ( 9 1/2 Stories ) michaelweiskopf.com
2019 RELEASE
11. Who Put The Bomp ( 2.42 ) - Barry Mann - SINGLE
1961 RELEASE
12. All Along The Watchpower ( 4.08 ) - Jimi Hendrix - SINGLE
1968 RELEASE
13. Honky Tonk Side ( 3.10 ) - Reagan Hudson - CD Broken Pieces theboarhogtwist@yahoo.com
2019 RELEASE
14. Tears On My Pillow ( 2.16 ) - Little Anthony & The Imperials - SINGLE
1959 RELEASE
15. The Walk ( 3.06 ) - Doug & Rich - SINGLE dougandrich@gmail.com
2019 RELEASE
16. The Entertainer ( 3.34 ) - Scott Joplin -
On this day in MUSIC 4th. September
4 Sep 1954
To coincide with the release of his second Sun single, 'Good Rockin' Tonight', Elvis Presley along with Bill Black and Scotty Moore made their first appearance at The Grand Old Opry. The audience reaction was so poor, the Opry's manager, Jim Denny told Elvis that he should go back to driving a truck.
4 Sep 1962
The Beatles first formal recording session at EMI's Abbey Road studios took place. George Martin was unhappy with a previous session on June 6, so he called The Beatles back into the studio to try again. They recorded six songs, including 'Love Me Do' and 'Please Please Me.'
4 Sep 1965
The Who had their van stolen containing over £5000 worth of equipment outside the Battersea Dogs Home. The band were inside the home at the time buying a guard dog. The van was later recovered.
4 Sep 1968
The Beatles recorded promotional videos for ‘Hey Jude’ and ‘Revolution’ at Twickenham Film Studios. The vocals are recorded live over the pre-recorded instrumental tracks to get round the current British Musicians Union ban on lip-sync performances. For ‘Hey Jude’, The Beatles were accompanied by a 36-piece orchestra and 300 fans and other assorted extras who join in singing the long refrain.
4 Sep 1968
The Bee Gees had their second UK No.1 single with 'I've Gotta Get A Message To You'. The song is about a man who, awaiting his execution in the electric chair, begs the prison chaplain to pass a final message on to his wife.
4 Sep 1969
The film 'Easy Rider' starring Jack Nicholson Peter Fonda and Dennis Hopper opened at The Classic in London England. The movie's soundtrack featured The Band, The Jimi Hendrix Experience and Steppenwolf.
4 Sep 1971
Taken from the album 'Ram', Paul and Linda McCartney went to No.1 on the US singles chart with the US only released 'Uncle Albert / Admiral Halsey'. McCartney's first US solo No.1. Paul would later explain that "Uncle Albert" was based on his real-life uncle. "He's someone I recall fondly and when the song was coming, it was like a nostalgia thing... As for Admiral Halsey, he's one of yours, an American admiral", referring to Admiral William "Bull" Halsey.
4 Sep 1976
Fleetwood Mac went to No.1 on the US album chart with their self-titled album after being on the charts for over a year. The album went on to sell over 5 million copies in the US and was the first of three No.1 albums for the group.
4 Sep 1976
The Bee Gees went to No.1 on the US singles chart with 'You Should Be Dancing', the group's third US No.1, a No.5 hit n the UK. It was this song that launched the trio into Disco stardom and is the first chart-topper in which Barry Gibb used his now-trademark falsetto.
4 Sep 1976
The Sex Pistols made their television debut when they appeared on the Manchester based Granada TV program 'So It Goes'.
Jimmy Johnson (February 4 1943 – September 5 2019) was an American session guitarist and record producer.
Jimmy played guitar on Aretha Franklin hits, recorded iconic Rolling Stones tracks and co-founded one of America’s most storied studios.
And now today, Jimmy Johnson, original member of The Swampers sessions musicians group that played a massive role in giving Muscle Shoals its out-sized musical magic, has died.
Johnson was 76.
His son, Jay Johnson, announced Jimmy’s passing on Facebook. “He is gone. Playing music with the angels now,” Jay wrote in his Facebook post.
Jimmy Johnson leaves behind recording legacy that’s as rich as they come.
His work with Franklin alone is towering. Johnson played guitar on essential Aretha songs including "Respect," "Chain of Fools," "Baby I Love You," "Think" "I Never Loved A Man (The Way I Love You)." "Do Right Woman, Do Right Man." And that's just the hits.
After Franklin died in 2018, Johnson told me her gospel-style piano playing was the secret to her sound. “I think that added a lot to her songwriting and also to her vocals," he said back then. "It was the thing that made (The Swampers) gel with her.”
Johnson's recording credits extend miles beyond Franklin.
He laid down guitar tracks on all-time cuts by Etta James (“Tell Mama”), Wilson Pickett (“Mustang Sally,” “Land of a 1000 Dances”), Paul Simon ""Kodachrome," “Loves Me Like a Rock”), Staple Singers (“I’ll Take You There," ”Respect Yourself"), Jimmy Cliff (“The Harder They Come”), Arthur Conley (“Sweet Soul Music”) and on and on.
Johnson was also an accomplished engineer. He recorded Percy Sledge’s “When A Man Loves A Woman” at Sheffield’s Norala Sound Studio. “At that time Percy had never sung on a record before,” Johnson told me in 2016. “And the performance he gave was so pristine and so good that it was almost hard to believe that was his first time. I think he was pretty scared to death when he came there that day. But I tell you what, that vocal on there ...”
Johnson would go on to engineer many more sessions at Muscle Shoals Sound Studios, which he founded in Sheffield with his fellow Swampers - bassist David Hood, keyboardist Barry Beckett and drummer Roger Hawkins - also known as the Muscle Shoals Rhythm Section. Probably the most famous is The Rolling Stones’ December 1969 sessions at Muscle Shoals Sound. The Stones sessions produced blues-rocker deluxe " Brown Sugar" and country ballad “Wild Horses,” as well as gritty blues cover “You Gotta Move.” Those three songs were released on the 1971 album “Sticky Fingers,” widely considered to be one of The Rolling Stones’ best ever.
In 2014 Johnson talked with me about recording The Stones: “All of a sudden 12 hours before the session I found out I’ve gotta do it. We had to get those songs cut within about five hours (each). The songs were not even finished written, two of them, ‘Brown Sugar’ and ‘Wild Horses,’ they wrote them as we were doing them.”
The biggest challenge Johnson recalled in recording the Stones was “the fact that Keith (Richards, Stones guitarist) liked to play on ’10.' Loud.”
Growing up, Johnson played in local bands include The Del-Rays. His first paying gig was at age 15 at the Tuscumbia National Guard Armory, earning a princely $10. He became Rick Johnson’s session musician career first took off in the mid-60s at Muscle Shoals’ FAME Recording Studios, where he worked for producer Rick Hall, the father of “the Muscle Shoals sound,” a tight but loose approach sometimes described as country-funk. He was Hall’s first paid employee at FAME, sweeping floors and making coffee. After Hall’s first house rhythm section left FAME to move to Nashville for work, Johnson, Beckett, Hawkins and Hood became FAME’s second rhythm section - and would go on to become that studio’s most famous. In addition to all the wonderful music they helped record, The Swampers profile received a major boost when they were given a shout-out in one of rock’s most enduring anthems, Lynyrd Skynyrd’s 1974 hit “Sweet Home Alabama”: “Now Muscle Shoals has got the Swampers/And they’ve been known to pick a song or two.”
At FAME, The Swampers became known for their song-first mentality and soulful playing on R&B hits by the likes of Franklin, Pickett and James, among many others.
In 1969, Johnson, Beckett, Hawkins, and Hood opened their own recording studio, which became Muscle Shoals Sound, in a former coffin factory located across from a cemetery. The cinder block building may have been humble but soon even the address there, 3614 Jackson Hwy., would become well-known among musicians and fans. In addition to The Stones, other now-classic artists to record at Muscle Shoals Sound during the studio’s 10-year prime - both at the 3614 original and lesser-known 1000 Alabama Ave. location - included Rod Stewart, Paul Simon, Cher, Bob Seger and Bob Dylan.
For recording sessions, Johnson often played a Telecaster, Strat or orange Gretsch 6120 guitar through a Fender Vibrolux amp. His guitar style was focused on rhythm. It was clever, funky and sharp. Just the right chord or simple-tasteful lick at just the right moment on a track. And knowing how to let a song breathe.
For recording sessions, Johnson often played a Telecaster, Strat or orange Gretsch 6120 guitar through a Fender Vibrolux amp.
In 2013, there was renewed interest in Johnson and The Swampers, with the release documentary film “Muscle Shoals,” which chronicled Hall and The Swampers’ intertwined paths. In recent years, music fans were able to see Johnson, who mostly focused on studio work, perform live more often, at gigs with the Muscle Shoals Revue, playing onstage versions of Shoals-made classics.
In addition to inspiring fans with his music, Johnson also was important a new generation of Muscle Shoals musicians. After Johnson passed away, Grammy-winning singer, songwriter and guitarist Jason Isbell posted on Isbell’s Twitter account, “The mighty Jimmy Johnson has passed. A lot of my favorite music wouldn’t exist without him, and he was always kind to me. Hard times for the folks back home.”
A few years ago, Muscle Shoals Sound's interior was restored to its vintage look, including a tufted green and gold striped ceiling. The double-8-shaped white Styrofoam soundproofing is also period-correct, as are various musical instruments in the main room. Behind big glass windows, there's a control room with recording console and analog tape machine.
Johnson enjoyed stopping by the studio during tours. He loved to interact with visitors from around the world eager to learn about Muscle Shoals Sound mojo, as get to know the studio's tour guides.
"Jimmy was a great storyteller," recalls Muscle Shoals Sound executive director Debbie Wilson.
And the people at Muscle Shoals Sound are determined to continue to tell Jimmy Johnson’s story. Even if today is a hard one to get through. “We look at his guitar and cry,” Wilson says. “We look at the control board and cry. But the music, legacy and his spirit will live on and we are honored to make sure it does.”
No comments:
Post a Comment