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Music of The Beatles changed my life. Sure other artists influenced me too, but it's said The Beatles were inspired from many of the American musical artists.
Elvis, Chuck Berry, Little Richard, Bob Dylan to name a few.
Oddly, I never really followed the music of the musicians who influenced The Beatles. What a concept!
Early Beatles trivia I learned was from the album covers and 'teen' magazines that were filled with stupid things unrelated to their music. Like, Ringo's birthday or John's favorite color and had little or nothing to do with the music.

Usually on the weekends, I immerse myself in YouTube videos. Sometimes they are instructional, or science related... but there is always room for music and a few documentaries about musicians.
It seems the more I research things about The Beatles, the more I realize what little I really knew along the way.
55+ years later I found out that Abby Road Studios was really EMI studios. I knew that the recording equipment in America was far superior to what was in use in England at the time and I'm not sure why they didn't import those tape recording machines.

EMI studio was setup to have full musical scores used in movie soundtracks. One large room where a symphony of 40 musicians, lots of microphones and a control panel would record as though the listener were present in a live performance. Sound was recorded to 4-track machines. That means while recording, 4 discreet channels could be filled. Let's say drums, bass and rhythm guitar could be on the first track, piano and lead guitar on the second track, main vocal on the third track and backing vocals on the fourth track. That's it. If something wasn't right, either a mistake or a wrong recording level, the entire track had to be done again... including all the instruments or voices on that track. That would take days to perfect one song.
What happened then is, after each take was right, the recording engineer would 'mix down' the good parts to another 4-track machine so they have room for more parts. Maybe sound effects or orchestra arrangements added to the original recording. Often I would read about the original tapes used to create other versions of a song that would be decided later which version would make it to a record. Remastered is a word to describe when they make a new version (mix) using the original tapes.
I know all of this 'technology' existed, I didn't know exactly how it was applied to each song of every album. It originally came as a surprise, but it's been documented and there are lots of recording engineers who have all that information.

Many recording studios in the United States used 8-track recording machines giving a track for each voice or instrument. An example, if the piano track had a mistake, they only had to rerecord that one part and not an entire section where drums, guitar and piano shared a single track.

Paul McCartney made famous a bass guitar manufactured by the German company Höfner. It had a unique hollow body violin appearance, 30" long scale and he was seen in all live performances with that bass guitar. He also used a British VOX amplifier by Jennings Musical Instruments.

The song 'Come Together' was recorded in 1969 and to my ear, the bass guitar didn't sound like a Höfner. I later learned McCartney had switched to an American made Rickenbacker with a solid body, 34" long scale and an American made Fender bass amplifier. Much of his later recordings and performances with Wings had his Rickenbacker bass with Mesa-Boogie amplification.

The Beatles music changed with a few short years. It evolved from the live band sound to a more complex studio band, probably due to many factors... that included their experiments with psychedelic drugs, study of Eastern philosophy and the use of recording machines that could vary speed/pitch, double track for added voices, playback in reverse.

That brings me to the 1966 album REVOLVER...

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1189...( 2 )....( going to isolate noun & verb.
............. C L O U D Song / U S of A.
.......................... .........both sides now / J M.
............ T H U M P the Clouds./ Legg.
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- 2496. Hard rock.....)..riders on the storm / doors.
1189...baal of Winter...
.................... .... them changes / thundrcat.
4 0 3 6..F F E. } fear from everywhere.
.- 2847. Terror...
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..................... Bullet the blue sky / U 2.
..... SYN.} Stormbringer / deep Purple.
A R ] ...black Umbrella / Thought Industry
........417. hailstones
........772..on the Earth.....) . standby....

52 years of friendship. The news comes as no surprise. I'm sure you had all your documents in order...
No more jokes about getting the band together!

At about 10:35am PCT the ground beneath began to oscillate. I was helpless to do anything about it and briefly wondered if it would end with me digging myself out from a pile of rubble...or just end. Lights out.

Anyway, it was a little one and only lasted a few seconds but made me want to hear this song!



Better luck next time, Maynard.

Singer & songwriter Colin Hay was the front man of the Australian rock group Men At Work, who made international fame for their 1981 hit song "Down Under"

Over the years, the band broke up and reformed with different members a few times, but Colin, the founding member of the group remained the only original member of the group.

Through the magic of YouTube, I followed bits and pieces of his career and see that although he's got a fantastic (and distinct) voice he's become much of a has-been, staying busy doing low-key small venues of solo work and a few guest appearances here and there.

I recently found one of this appearances in which the audience had a major contribution providing vocal accompaniment. I closed my eyes and swelled with the aura he created on stage and think... was it wrong management that stunted the longevity of his success? I don't have the answer for that, but I did enjoy the song...



Overkill (Colin Hay / Men at Work / 1983 Studio album CARGO)

I can't get to sleep
I think about the implications
Of diving in too deep
And possibly the complications

Especially at night
I worry over situations
I know we'll be alright
Perhaps it's just imagination

Day after day it reappears
Night after night my heartbeat shows the fear
Ghosts appear and fade away

Alone between the sheets
Only brings exasperation
It's time to walk the streets
Smell the desperation

At least there's pretty lights
And though there's little variation
It nullifies the night from overkill

Day after day it reappears
Night after night my heartbeat shows the fear
Ghosts appear and fade away
Come back another day

I can't get to sleep
I think about the implications
Of diving in too deep
And possibly the complications

Especially at night
I worry over situations that
I know will be alright
It's just overkill
Day after day it reappears
Night after night my heartbeat shows the fear
Ghosts appear and fade away
Ghosts appear and fade away
Ghosts appear and fade away

Leo Fender was an electronics repairman who teamed up with Doc Kauffman in the 1940's producing musical amplifiers. Leo split with Doc to create his first generation of amplifiers around 1946 that had a tweed covering and brown metal faced chassis attached in a combo where the amplifier and speaker were in one enclosure. Around 1950, models changed to a Tolex textured vinyl covering available in different shades of beige and brown. While this era was significant, it wasn't until the 1960's that Fender started producing larger and more powerful models and in 1963 introduced a blackface model where the amplifier (head) was detached from the speaker cabinet. This is the generation that created worldwide awareness for Fender and his Blackface amps.

In 1965 CBS bought Fender for $13 million and started producing the same products with only a cosmetic change of a silverface chassis. Soon after, there were circuitry changes making them less desirable than blackface Fenders.

Blackface Fender amplifiers became hard to find and getting one often came with a price tag 4 to 5 times the original list price. I owned a silverface purchased around 1969 and it couldn't compare to the sound of my friends blackface.

The venues I had performed at were mostly nightclubs and school dances, but I joined a well established band in 1970 and needed something more powerful for outdoor concerts and stopped using Fender.

Once in a while I'll check a sale on eBay and see that year after year, blackface Fenders always hold their value.

Blackface pre-CBS


Chromeface

It all starts with communication

I've always wanted to do a historic blog about the Hammond organ.... it's one of the most famous musical instruments in the last century. Consider this the first installment.

Hammond electric organs came into manufacture in 1935. They were large dual 61 note manual consoles mounted in wooden cases. The sound they make is synthesized/created by rotating tonewheels and magnetic pickups. The tone is shaped by controls called drawbars that can be pulled or retracted changing the harmonics and the overall sound. Over the years various model added features. The B-2 manufactured from 1949 to 1954 was very popular and had a vibrato circuit added to it's sound. The model B-3 is by far the most popular Hammond. it was produced from 1954 to 1974. The B-3 was used in Jazz, Gospel, Blues, Rock and many other genres.

In the beginning Laurens Hammond had a speaker system to go along with his brand of organs. Donald Leslie created a speaker cabinet with a rotating horn and baffle that created a chorale or tremelo effect to emulate the sound of a theater/pip organ. His attempt was to market his product with Hammond but Laurens wasn't interested. Leslie Tone Cabinets were sold as a stand-alone product around 1941.

To the ear, the combination of a Hammond with a Leslie was awesome!

How do you judge beauty? Israel was only 38 and weighed close to 1000 lbs. May 20th was his birthday