On this day in 1994, the MTV Movie Awards paid tribute to The Beatles with a special performance by the band that recorded the Beatles songs (or rather, the songs The Beatles covered in their early days) for the soundtrack to the film Backbeat.
As seen in the clip below, the band included Hamilton, Ohio's Greg Dulli of the recently reunited Afghan Whigs, Dave Pirner of Soul Asylum, Don Fleming of Gumball, Mike Mills of R.E.M., Thurston Moore of Sonic Youth and Dave Grohl, in his first performance since Kurt Cobain's death just three months earlier.
The best part of this may be Dulli and Moore wrestling mid-song.
Born This Day: Musical movers and shakers sharing a June 4 birthday include Jazz singer Morgana King (1930); Mexican-American Country, Rock and Tejano musician/singer Freddy Fender (1937); Mamas & Papas singer turned actress Michelle Phillips (1944); late guitarist with Paul McCartney's Wings, Jimmy McCulloch (1953); New Jack Swing/R&B vocalist Al B. Sure! (1968); Canadian-born, British-based Electronic musician/DJ Richie Hawtin (1970); Soul/Funk artist Nikka Costa (1972); Dave Matthews Band bassist Stefan Lessard (1974); and R&B comebacker (and co-founder of "family band" DeBarge) El DeBarge (1961).
DeBarge is one of those celebrities who have unfortunately had to deal with public attention and scrutiny while attempting to overcome his addiction to drugs. He death with ensuing legal problems, cleaned up and made a highly-touted, Grammy-nominated comeback album in 2010 appropriately titled Second Chance (his first in almost 20 years).
DeBarge's triumphant return included a set at the 2011 Macy's Music Festival in Cincinnati. He also sang with Chaka Khan during her set.
DeBarge has struggled since the release of Second Chance, returning to treatment — he told Atlanta radio station V103 that friends 50 Cent and Babyface (who co-produced the comeback album) intervened and insisted he not give up and return to rehab. And, just this past March, he got arrested for "suspicion of possession of drugs for sale." (The case was dropped because the judge said there was not enough evidence.)
He's clearly still fighting his demons. And so are some of his family members. Just about a week ago, an arrest warrant was issued for brother Mark DeBarge for drug possession charges in Hollywood.
Hopefully they'll all get things worked out before it's too late. El DeBarge reportedly met with Whitney Houston at a party two days before her untimely passing. That has to be a wake-up call.
As long as he's musically on point, fans will continue to give him second, third, fourth or more chances.
On this date in 1949, American musical icon Hank Williams made his debut at the Grand Ole Opry at the age of 25. It was the beginning of a very difficult relationship.
Even though things soured, Williams' Opry debut was a career-defining moment. The singer/songwriter wowed the crowd so much, he was called back for six encores (the encores ultimately had to be halted so the rest of the show could go on).
Williams' reputation for heavy drinking put off the Opry initially, but as his star continued to rise — boosted by the success of "Lovesick Blues" (recorded at the Herzog studio here in CIncinnati) — the Country music institution finally relented and invited him to perform.
Williams continued to make Opry appearances over the next three years, but he was banished in 1952 for his alcohol-related issues. Hank died just a few months later, in January of 1953 at the age of 29.
Over the past eight or so years, Hank Williams' grandson, Hank III, and other supporters have participated in a campaign to have Williams posthumously reinstated to the Grand Ole Opry. CityBeat also lent a hand, promoting the "Reinstate Hank" campaign during a tribute presented by the Cincinnati USA Music Heritage Foundation in honor of Hank's historic recording sessions in Cincinnati (Herzog studios was located where CityBeat and the CMHF headquarters now reside). Check a clip below.
The reinstatement campaign has yet to work and seems to have lost some steam. But click here to learn more about the attempts to right such a ridiculous wrong.
Born This Day: Musical movers and shakers sharing a June 11 birthday include the least hirsute (ironically!) member of ZZ Top, drummer Frank Beard (1949); Soft Rock god with Air Supply, Graham Russell (1950); guitarist/singer of Southern Rock group .38 Special, Donnie Van Zandt (1952); Flaming Lips drummer-turned-guitarist Steven Drozd (1969); and Heartless Bastards singer/guitarist Erika Wennerstrom (1977).
Though she and her band are currently based in Austin, Tex., Wennerstrom grew up in Dayton before relocating to Cincinnati. As Wennerstrom has grown, matured, changed and become more confident, so has her band's music. After releasing her first two albums, Wennerstrom headed to Texas and retooled the band, adding two different musicians also from our area — Jesse Ebaugh and Dave Colvin — who joined Wennerstrom in Austin. Since then, the Bastards' albums The Mountain (a more earthy, less balls-out effort) and this year's Arrow (a great combination of everything the band does well) have continued the trend of each successive HB album drawing the group higher praise and more fans.
A happy 35th b-day to Erika. We miss you here in Cincy. Below, check out an interview and acoustic session recorded for American Songwriter.
Today in 1996, one of the greatest, most influential bassists ever, Bernard Edwards of Disco/Funk group Chic, passed away after contracting pneumonia while on tour in Japan.
My personal favorite bass line is Sly Stone's lick on "If You Want Me to Stay," but it's hard to deny the power of Chic's "Good Times," a Disco-era hit that helped lay the groundwork for Hip Hop. Edwards' bass line from the song is considered one of the most sampled pieces of music ever and it has been mimicked almost as often. Songs that wouldn't exist with Edwards' riff include Queen's "Another One Bites the Dust," Hip Hop trailblazers Sugarhill Gang's breakthrough "Rapper's Delight," Blondie's "Rapture," Daft Punk's "Around the World" and Wham!'s "Wham Rap! (Enjoy What You Do)" (hey, they can't all be winners).
R.I.P Bernard Edwards. And thanks for the groove.
Click on for Born This Day featuring Bez, Skip Spence, Grandmaster Caz and Robert Christgau.
On this day in 1973, Paul McCartney and Wings had their very own network TV special, James Paul McCartney. The variety/musical show was a bit cheeky and a bit sappy — in other words, pretty funny to watch now. Paul and Co. do a bunch a Beatles tunes and a bunch of Wings stuff, including the just released "Live and Let Die." Worth watching (or at least skipping through) if you were a fan of Sir Paul's kick-ass mullet, always wanted to hear a drunk Paul sing drinking songs in a crowded pub or wondered how "The Cute One" looks in a pink tuxedo and mustache.
Paul's most recent adventures in visual entertainment contains a bit more star power:
Click on for Born This Day with Dusty Springfield, Akon and Ian MacKaye.
On this day in 1991, Country superstar Reba McEntire lost eight members of her touring entourage when their charter plane crashed near San Diego, late at night after Reba and the band had performed a corporate gig for IBM. McEntire and her husband received the news at their hotel room nearby where they'd been sleeping. On a recent episode of Oprah's Master Class, hosted by Oprah on the Oprah channel, McEntire recalled the moment she got the news, calling it "the worst thing that's ever happened in my life." She had been extremely close with the musicians and her tour manager, some of whom had been with her for many years.
That October, McEntire released For My Broken Heart, dedicated to her lost friends. The album (her 18th) featured songs about loss and recovery; in the liner notes, McEntire called it "a form of healing for all our broken hearts." The album made it to No. 3 on the overall album charts and No. 1 on the Country charts (pretty much a forgone conclusion when Reba puts out a record); the title track became her 16th No. 1 Country single and the album's "Is There Life Out There" became her 17th.
Click on for Born This Day featuring Flavor Flav, Patty Griffin and "The Hug Guy":
On this date in 1962, a pre-performance speech by legendary conductor Leonard Bernstein, seen by some as an attack on guest pianist — the almost equally as legendary Glenn Gould — caused quite a stir in the Classical music world. The concert was to feature Gould performing Brahms' "First Piano Concerto," but apparently the pianist and music director (Bernstein) disagreed on how it was to be performed. The New York Philharmonic concert came towards the end of the orchestra's final season at Carnegie Hall.
The disagreement was largely over tempo — Gould felt the composition should be played very slowly. Before the intermission, the orchestra played selections by Carl Nielsen. Fearful that Gould would not even show up (he was notorious for last-minute cancellations), Bernstein had the Philharmonic prepared to play Brahms' First Symphony just in case. Gould showed, but to prepare the audience for the unorthodox performance, Bernstein took to the podium and delivered the controversial introduction/disclaimer/diss. (Bernstein delivered the same speech at a preview performance the night before.)
Don't be frightened. Mr. Gould is here. He will appear in a moment. I'm not, um, as you know, in the habit of speaking on any concert except the Thursday night previews, but a curious situation has arisen, which merits, I think, a word or two. You are about to hear a rather, shall we say, unorthodox performance of the Brahms D Minor Concerto, a performance distinctly different from any I've ever heard, or even dreamt of for that matter, in its remarkably broad tempi and its frequent departures from Brahms' dynamic indications. I cannot say I am in total agreement with Mr. Gould's conception and this raises the interesting question: "What am I doing conducting it?" I'm conducting it because Mr. Gould is so valid and serious an artist that I must take seriously anything he conceives in good faith and his conception is interesting enough so that I feel you should hear it, too.
But the age old question still remains: "In a concerto, who is the boss; the soloist or the conductor?" The answer is, of course, sometimes one, sometimes the other, depending on the people involved. But almost always, the two manage to get together by persuasion or charm or even threats to achieve a unified performance. I have only once before in my life had to submit to a soloist's wholly new and incompatible concept and that was the last time I accompanied Mr. Gould. But, but this time the discrepancies between our views are so great that I feel I must make this small disclaimer. Then why, to repeat the question, am I conducting it? Why do I not make a minor scandal — get a substitute soloist, or let an assistant conduct? Because I am fascinated, glad to have the chance for a new look at this much-played work; Because, what's more, there are moments in Mr. Gould's performance that emerge with astonishing freshness and conviction. Thirdly, because we can all learn something from this extraordinary artist, who is a thinking performer, and finally because there is in music what Dimitri Mitropoulos used to call "the sportive element", that factor of curiosity, adventure, experiment, and I can assure you that it has been an adventure this week collaborating with Mr. Gould on this Brahms concerto and it's in this spirit of adventure that we now present it to you
Many critics wrote about the intro and viewed it as the conductor's way of saying, "If this sucks, it's his fault." And many took Gould to task for his interpretation of the music (though some musicologists later said Gould's version was a correct reading of the material). Gould, for his part, said he enjoyed the performance and liked that it caused some in the audience to boo. Columbia had planned to release a recording of the performance but backed off given the controversy. Bootlegs spread like wildfire and Sony Classical, years later (in 1998), released the recording with Bernstein's remarks in tact. In the liner notes, Gould is quoted as saying, "Soloists and conductors disagree all the time. Why should this be hidden from the public, especially if both parties still give their all?" Bernstein also didn't seem too bothered by the controversy and he never stopped praising Gould's unique talent.
Here's a clip of Bernstein and Gould getting along just fine in 1960, performing Bach's "Piano Concerto No. 1 in D Minor."
Click on for Born This Day featuring Warren Haynes, Gerry Mulligan, Merle Haggard and Cobra Starship's Alex Suarez.
On this day in 1967, The Beatles continued work on arguably their best song, "A Day in the Life." After a debate over how to end the track following the huge orchestral build-up (sustained choral vocals were considered, but scrapped), the group decided to simultaneously strike a massive E chord on three pianos and sustain the notes for as long as possible. Adding overdubs (and a contribution from producer George Martin on harmonium), the final resonating notes hang in the air for over 40 seconds on the recording. As the held chords faded on the pianos in the studio, the engineer had to crank the recording level, which picked up some incidental sounds (like a creaking chair and, certainly, something about Paul being dead) from the studio.
That E-major chord that closes the song — and the whole Sgt. Pepper's Lonely Hearts Club Band album, considered one of the best ever — is widely considered one of the most famous chords in Rock/Pop history. Which means that The Beatles are responsible for the most popular opening chord in modern music — the mysterious G7sus4-ish that kicks off "A Hard Day's Night" — and the most notable final chord with the "A Day in the Life" finale.
Below is audio of BTO guitarist Randy Bachman explaining the "Hard Day's" chord mystery (frustrated guitarists should feel better about their inability to figure it out), followed by today's biggest Pop superstar performing that famed final note from Sgt. Peppers.
Click the jump for "Born This Day" featuring live footage from one of the final Sublime concerts with Bradley Nowell.
On this day in 2003, the singer of one of the best known anti-war protest songs, "War," died from a heart attack at his home in England. Born in Nashville and raised in Cleveland, Edwin Starr (born Charles Hatcher) moved to Detroit in the ’60s and eventually started recording for Motown. In 1968, he had his first big hit, "Twenty-Five Miles," but two years later he'd release a song originally recorded by The Temptations (and written by genius songwriting team Norman Whitfield and Barrett Strong) that would become his signature.
Motown wasn't keen on letting The Temptations release "War" — a very obvious protest number ("War, what is it good for? Absolutely nothin' ") aimed at the Vietnam War — out of fear that it would alienate the group's fans, so Starr recorded it, giving it a more intense delivery, and it went to No. 1 upon its release in the summer of 1970, where it stayed for three weeks.
Starr embraced his role as outspoken anti-war critic and released the single "Stop the War Now" in 1971 (it was yet another song also recorded by The Temptations, who clearly had dibs on material).
Starr ultimately left Motown, tiring of the more formulaic material they were producing, and moved to the U.K. He recorded several songs with the British group, Utah Saints, including a new version of "War" in 2003, which became his final recorded output. Bruce Springsteen repopularized the song when he performed it towards the end of his Born in the U.S.A. tour. The Boss' version was released as a live single in 1986 and made it to No. 8 on the Billboard singles chart. (Oh, and also in the ’80s, Frankie Goes to Hollywood covered it, though I think just so Holly Johnson could reprise his "Hunnhhhh!" shout from "Relax.")
The Temptations did release a slightly less direct song with societal commentary in 1970 that made it to No. 3, the superb "Ball of Confusion (That's What the World Is Today)."
Click on for Born This Day featuring Serge Gainsbourg, Marvin Gaye, Dr. Demento and Zeebra.
On this day in 2003, proto-Rock & Roll singer/songwriter Hank Ballard died after a battle with throat cancer. One of the under-heralded heroes of the development of Rock & Roll, Ballard's career is inexorably tied to Cincinnati, where he recorded for locally-based King Records (as well as the related Federal imprint). Ballard was a member of early ’50s Doo-wop grope The Royals, which had an R&B hit with the Federal single "Get It" in 1953 (despite it's alleged "sexually-suggestive" lyrical content).
The group became The Midnighters and landed a No. 1 R&B hit with Ballard's "Work With Me, Annie," another risque tune that was banned by the FCC from radio play. In 1959, the group became "Hank Ballard and the Midnighters" and moved to the King label proper. A 1959 B-side written by Ballard was covered by Chubby Checker and became a No. 1 smash on the Pop charts in 1960 and again in 1962. The song and accompanying dance (said to have also been developed by Ballard) became an international craze. The book Behind The Hits: Inside Stories of Classic Pop and Rock and Roll called the song's success "a major turning point for adult acceptance of rock and roll music."
Despite having one of their songs co-opted and turned into a cultural phenomenon, the early ’60s did bring Ballard and the Midnighters several Pop chart hits, including "Let's Go, Let's Go, Let's Go" and the Grammy-nominated "Finger Poppin' Time." Ballard began a solo career in the late ’60s (despite support from James Brown, it never fully took off) and performed with a version of The Midnighters off and on until the year before he died. In 1990, Ballard was inducted into the Rock and Roll Hall of Fame (without his Midnighters).
The footage is a little rough, but here's a cool clip of Ballard from 1989 performing "Work With Me, Annie" on one of my favorite live-music TV shows ever, David Sanborn's Night Music.
Click on for Born This Day, featuring Lou Reed, Chris Martin and … Dr. Seuss?