A new word cropped up in the American lexicon: Jazz. Leopold Stokowski led the Philadelphia Orchestra in its first recording session -- for Victor Records. Heifetz was a year-old sensation who had played the violin since age 5. It was the first American orchestra to make a European tour. Wagner's "Die Walkyrie" opens in Paris. The opera, "Martha", aired from the Denver Auditorium. Amelita Galli-Curci makes N. The Detroit News owned the radio station at the time. McConnell quickly became a legend in the medium.
It was released on the General record label. Alma Cummings danced the fox trot, one-step and waltz with half a dozen partners, sets record of 27 hours. The first U. It was the beginning of the country music recording industry.
Benny Goodman was 14 years old as he began his professional career as a clarinet player. He took a job in a band on a Chicago-based excursion boat on Lake Michigan. George Gershwin's groundbreaking symphonic jazz composition Rhapsody in Blue premieres with Gershwin himself playing the piano with Paul Whiteman's orchestra. The composer, himself, was at the piano this night. The first country music record to sell one million copies reached that point on this day.
He became a Country Music Hall of Famer in Oh, and Barry Manilow. Russian composer, Igor Stravinsky, appears in his first American concert, as he conducts the New York Philharmonic Orchestra in a program of his own compositions. Louis Armstrong recorded My Heart, starting a career that brought him worldwide fame.
Commissioned by Walter Damrosch, American composer George Gershwin presented his "Concerto In F", and was also the featured soloist playing a flugelhorn in a slow, bluesy style as one of his numbers. Goodman was 17 years old. Benny Goodman played a clarinet solo. This was not unusual for Benny except that it was his first time playing solo within a group recording session. The first opera to be broadcast over a national radio network was presented in Chicago, IL. Listeners heard selections from Faust.
This was the first symphonic work that called for an airplane propeller and other mechanical contraptions not normally associated with the ballet. Gene Austin waxed one of the first million sellers. He played the club until The tune came from the Broadway musical, Showboat. It was the very same night that Sir Thomas Beecham gave his first public performance in the United States. The featured vocalist on the track was year-old Paul Robeson. The song became an American classic.
Playing drums for Wingy was a young sideman named Gene Krupa. The second talkie the opposite of a silent movie for Al Jolson was released. It was titled The Singing Fool, which he certainly was not. DeFord Bailey cut eight masters. Three songs were issued, marking the first studio recording sessions in the place now known as Music City, USA.
Rudy Vallee and his orchestra recorded Deep Night Victor disc The classic was recorded just three weeks after the stock market crash that plunged the nation into the Great Depression. Hoagy Carmichael recorded with Louis Armstrong. Lewis was heard as the featured vocalist as well, on the tune that has been recorded hundreds of times and is an American music standard.
Georgia on My Mind has been the official state song of Georgia since The song has been recorded by many artists over the years. Not per week, but for the entire season! Clyde McCoy and his orchestra recorded Sugar Blues on this day.
It became a major hit for both artists. Eugene Ormandy later, conductor of the Philadelphia Symphony Orchestra. The pair were part of the orchestra vocal quartet that also featured Nye Mayhew and Saxey Dowell in Satchmo would use the tune as his theme song for decades.
The song was waxed in Chicago, IL. The singer became a super-hot property after the debut. Martin became one of the big names in the music business. Rodgers was in failing health at the beginning of the session, but persevered to complete the job at hand. The singing star died nine days later he was His recording career began in His yodel became a trademark of his music.
Jimmie Rodgers recorded over songs and sold millions of 78 RPM records. His songs were about the Depression and many were about trains. He died of tuberculosis. Twisting and turning behind two huge fans, one might wonder just how exciting the fan dance could possibly be. It is important to realize that Ms. Rand was, um, naked during the performance. Caterina Jarboro became the first black prima donna of an opera company. The singing telegram was introduced on this day.
The first person to receive a singing telegram was singer Rudy Vallee, in honor of his 32nd birthday. The program continued on the network until National Barn Dance was broadcast from the Eighth Street Theater in Chicago, where the stage was transformed into a hayloft every Saturday night. The host was Joe Kelly. The track featured trombonist Glenn Miller, who also vocalized on the tune. The song was fairly popular, but became a much bigger success when comedian Jack Benny made it a popular standard.
Bing Crosby became the first singer to record for the newly created Decca Records. She was backed by the Johnny Green Orchestra. The tune was recorded for Brunswick Records. Nelson Eddy recorded Ah! Sweet Mystery of Life for Victor Records. The song came from the film, Naughty Marietta. Later, Eddy recorded the classic tune with Jeanette MacDonald. Ella Fitzgerald recorded her first sides for Brunswick Records. She was featured with Chick Webb and his band.
Ella was 17 at the time and conducted the Webb band for three years following his death in Many people considered this Goodman classic the beginning of the swing era. Victor record was recorded by Tommy Dorsey and orchestra. Ethel Leginska became the first woman to write an opera -- and conduct it. The tune was recorded at Decca Records in Los Angeles.
The first pop music chart based on national sales is published by Billboard magazine. The song became such a standard, that, literally, hundreds of artists have recorded it, including a vocal version by Barry Manilow; believe it or not.
Peter and the Wolf, a symphonic tale for children by Sergei Prokofiev, had its world premier in Moscow. This was the day that big band icon Woody Herman played in his first recording session.
He waxed Wintertime Dreams Decca disc Jimmy Dorsey who would later be host, himself led the Kraft Orchestra. The Academy Award-winning song was featured in the movie Waikiki Wedding. The popular musician was Benny Goodman. Harris would move to TV stardom and continue as a popular vocalist during the s with such hit songs as The Thing.
Duke Ellington and his band recorded the classic, Caravan, for Brunswick Records. The distinctive vocal on the tune is provided by Skinnay Ennis. Benny Goodman and his quartet recorded Smiles for Victor Records. The tune was a Fletcher Henderson arrangement. Red Norvo and his orchestra recorded the Russian Lullaby on the Brunswick label. Norvo did more famous work at a later date, recording with a singer named Dinah Shore.
Following Carnegie Hall performances in both andArtur Rubinstein presented another historic and highly acclaimed performance at the arts center this day. Three lovely ladies, known as The Andrews Sisters, recorded Decca record number this day.
The special guests during this broadcast were Glenn Miller and his orchestra. The song became the one most often associated with the singer. Benny Goodman refuses to play Carnegie Hall when black members of his band were barred from performing.
Bea Wain was heard warbling the vocals on the tune. Jack Leonard was featured as vocalist. Shaw was married to Ava Gardner at the time. Clarinet virtuoso Artie Shaw recorded the song that would become his theme song. Nightmare was waxed on the Bluebird Jazz label. Haggart whistled and played bass, while Bauduc played the skins. Billy Butterfield was featured on trumpet. The tune would become the theme of the band.
It was not, however, recorded in the Quaker City of Philadelphia. The song was waxed in New York City. The tune became a standard for the band. Thanks for the Memory became Decca record number Many other standards by the group soon followed. Satchmo lent his vocal talents to this classic jump tune. The vocalist on that number, who went on to find considerable fame at Capitol Records, was Martha Tilton. Guy Lombardo and his Royal Canadians recorded one of the most popular songs of the century.
Listening carefully after the first minute or so, one can hear Helen Forrest sing the vocal refrain. Larry Clinton and his orchestra had a number one song with a similar arrangement of the same tune that same year. It later was a hit for saxophonist, Nino Tempo and his sister, April Stevens in Hundreds of versions of this song have been recorded through the years, making it one of the most popular standards of all time.
One of the classic theme songs of the Big Band era was recorded for Decca. Listening carefully, one might note that the lead trombone is not that of Tommy Dorsey, but of Dave Jacobs, instead. Belly up to the bar for this one. Patti, Maxine and LaVerne turned this song into a giant hit. Both NBC and Mutual carried the event, which was attended by 1, people in the casino ballroom.
An audience of 18, people waited patiently at Madison Square Garden in New York City to hear the piano virtuoso Ignace Jan Paderewski begin a much-anticipated piano recital. However, the year-old former premier of Poland was unable to perform for the enormous crowd. The serial continued for eighteen years on radio. Frank Sinatra made his recording debut with the Harry James band. Charlie Barnet and his orchestra recorded Cherokee for Bluebird Records.
Teagarden provided the vocal on the session recorded in Chicago, IL. Sixteen-year-old singer Kay Starr got a big break. Starr was filling in for Marion Hutton who, at the last minute, was unable to attend the recording session. Judy Garland sang one of the most famous songs of the century with the Victor Young Orchestra. The tune became her signature song and will forever be associated with the singer-actress. Garland recorded Over the Rainbow for Decca Records. It was the musical highlight of the film, The Wizard of Oz.
Eddy Howard was the vocalist on the piece. A chap named Fletcher Henderson tickled the ivories on this classic. It later became a big hit and a signature song for Lionel Hampton, who also played on this original version of the tune.
That singer was the feature of the Weems band for many years before going solo as a radio, TV and stage star. His string of hits for RCA Victor spans four decades. He was an NBC mainstay for years and years.
One of the classics was recorded this day. A kid singer named Frank Sinatra was the featured vocalist on what was his seventh recording. Broadcast Music, Inc. Jack Leonard was the featured vocalist. It became the theme song for the band that recorded it, the Benny Goodman Band. Harry James and his big band recorded Concerto for Trumpet -- on Columbia 78s. Handy of Memphis, TN one of the legendary blues composers of all time, recorded the classic St.
Louis Blues. The minute, twice-a-week show was sponsored by Chesterfield cigarettes and was heard for nearly three years. A young trumpet player named Billy May was featured. This version, recorded in Hollywood on Bluebird Records, is recognized as his best rendition of the classic song.
The song was her signature song until she starred in South Pacific in The session was in Chicago, IL. Frankie replaced Jack Leonard as lead singer with the band. One of the great classic songs of the Big Band era was recorded. The flip side of the record released on the Bluebird label was Danny Boy. The famous Blue network series included several distinguished alumni -- among them, Dinah Shore and Zero Mostel. The tune was waxed on the famous Bluebird record label. Pennsylvaniathe classic Glenn Miller signature song, was recorded on Bluebird Records.
Looking at the original label on the old RPM disk, we find record numberin fact. The song went on to become one of the most familiar big band themes of the era. Jimmy Dorsey and his orchestra recorded the classic, Perfidia, for Decca Records. The song would later be a hit for The Ventures Will Bradley and his orchestra recorded one of the best of the Big Band era. The song, on Columbia Records, was so long it took up both sides of the 78 rpm platter.
Cabin in the Sky opened for the first of shows. Taking a Chance on Love is the one big hit that came from the musical. Guy Lombardo and the Royal Canadians recorded one of their lesser-known songs for Decca. Xavier Cugat and his orchestra recorded Orchids in the Moonlight on the Columbia label. The inch, 78 rpm record ran six minutes including flipping. The ban lasted for ten months.
Many radio stations had to resort to playing public domain songs, such as marches and operas, to keep their stations on the air. Even kids songs were played over and over again until the ban was lifted. One of the most popular songs to be played was Happy Birthday to You; which was performed in many different languages just to get past the ban. Decca record was recorded. It seems she sang the song in the film, That Night in Rio.
She sang the classic song with Charlie Barnet and his orchestra on Bluebird Records. This song became the sign-off melody for Kaye and other big bands. The four Modernaires joined to sing with the Glenn Miller Band on a permanent basis beginning this day. Artie Shaw and his orchestra recorded Moonglow on Victor Records. Jimmy Dorsey and his orchestra recorded the classic, Amapola, on Decca Records. Photoplay magazine urged readers to forget the fox trot and learn the lindy hop.
A diagram of the new dance step was featured. A decade later, Les Paul and Mary Ford added a vocal to the tune, making it one of their biggest-selling hit songs. The vocal on the piece was done by Ronnie Kemper. The song was on Columbia Records, as was the Arnaz version years later. Singer Paula Kelly joined Glenn Miller's band. Her husband, also a part of the Miller organization, was one of the four singing Modernaires.
Glenn Miller began work on his first motion picture for 20th Century Fox. The film was Sun Valley Serenade. Lunceford began with the Chickasaw Syncopaters, a piece band, in the late s. Hildegarde was the elegant singer with the long white gloves who was accompanied by the Harry Sosnik Orchestra.
Lena Horne recorded St. Louis Blues for Victor Records and launched an illustrious singing career in the process. She was 23 years old at the time. Horne continued performing well into her 60s. Cab Calloway and his orchestra recorded the standard, St.
James Infirmary, for Okeh Records. Sonny Dunham and his orchestra recorded the tune that was to become Mr. Memories of You was Bluebird record Ray McKinley was featured. The song that would become the theme of bandleader Tony Pastor was recorded. It was Blossoms on the Bluebird label.
The recording featured the trumpet of Bobby Hackett. By Aprilthe song was a solid hit. A musical standard was recorded this day on Victor Records. Lena Horne sang the torch classic that became her signature: Stormy Weather. Stormy weather Jimmie Lunceford and his orchestra recorded Blues in LP Night on Decca.
Between and Jimmy Lunceford had more hits 22 than any other black jazz band except Duke Ellington and Cab Calloway. The record went on to be a big hit for Kyser. The Mills Brothers waxed one of their three greatest hits. LP Doll became Decca record Tommy Dorsey and his orchestra recorded Well, Git It!
Ziggy Elman was featured on the session which was recorded in Hollywood. Sy Oliver arranged the Dorsey classic. Vaughn Monroe and his orchestra recorded the classic, Sleepy Lagoon. It was the last song Monroe would record for Bluebird Records. Vaughn sang on the track while Ray Conniff played trombone. Both later moved to different record companies. The big-voiced baritone of Monroe was regularly heard on radio and he was featured in several movies in the s.
He died in May, Racing With the Moon and Ghost Riders in the Sky were two of his greatest contributions to popular music. The biggest selling record of all time was recorded. The song was written for the film Holiday Inn. The practice would soon become common among most record labels. The recording session, you may have guessed, took place in Manhattan. Capitol Records first number one hit made it to the top this day. It was one of their first six records released on July 1.
The song is featured in the movie of the same name. Peggy Lee recorded her first hit record -- in New York City. His last side was There are Such Things, which became number one in January of Sinatra moved on to Columbia Records as a solo singing sensation.
Helen Forrest sang on the million-seller. Frank Sinatra bid adieu to the Tommy Dorsey Band as he started his solo singing career. It was time for Miller to go to war. The show had aired three times a week for three years. Miller had volunteered for wartime duty. An estimated policemen were called out to help curb the excitement.
It is said that some of the teenage girls were hired to scream, but many more screamed for free. After Pete Kelly's Bluesshe appeared in sporadic movie cameos, in St. She was also frequently featured on The Ed Sullivan Show. Perhaps her most unusual and intriguing performance was of the "Three Little Maids" song from Gilbert and Sullivan 's comic operetta The Mikado alongside Joan Sutherland and Dinah Shore on Shore's weekly variety series in Fitzgerald also made a one-off appearance alongside Sarah Vaughan and Pearl Bailey on a television special honoring Bailey.
Inshe performed a medley of standards in a duet with Karen Carpenter on the Carpenters' television special Music, Music, Music. Fitzgerald also appeared in TV commercials, her most memorable being an ad for Memorex.
Ella Fitzgerald Just One of Those Things is a film about her life including interviews with many famous singers and musicians who worked with her and her son. It was directed by Leslie Woodhead and produced by Reggie Nadelson. It was released in the UK in Fitzgerald had a number of famous jazz musicians and soloists as sidemen over her long career. Possibly Fitzgerald's greatest unrealized collaboration in terms of popular music was a studio or live album with Frank Sinatra.
Pianist Paul Smith has said, "Ella loved working with [Frank]. Sinatra gave her his dressing-room on A Man and His Music and couldn't do enough for her. Fitzgerald had suffered from diabetes for several years of her later life, which had led to numerous complications. She died in her home from a stroke on June 15,at the age of Fitzgerald married at least twice, and there is evidence that suggests that she may have married a third time.
Her first marriage was into Benny Kornegay, a convicted drug dealer and local dockworker. The marriage was annulled in Together they adopted a child born to Fitzgerald's half-sister, Frances, whom they christened Ray Brown Jr. With Fitzgerald and Brown often busy touring and recording, the child was largely raised by his mother's aunt, Virginia. Fitzgerald and Brown divorced indue to the various career pressures both were experiencing at the time, though they would continue to perform together.
She had even gone as far as furnishing an apartment in Oslo, but the affair was quickly forgotten when Larsen was sentenced to five months' hard labor in Sweden for stealing money from a young woman to whom he had previously been engaged. Fitzgerald was notoriously shy. When she got into the band, she was dedicated to her music She was a lonely girl around New York, just kept herself to herself, for the gig.
From toFitzgerald resided in St. Fitzgerald was a civil rights activist; using her talent to break racial barriers across the nation. Granz required promoters to ensure that there was no "colored" or "white" seating. He ensured Fitzgerald was to receive equal pay and accommodations regardless of her sex and race. If the conditions were not met shows were cancelled.
InFitzgerald established the Ella Fitzgerald Charitable Foundation focusing on charitable grants for four major categories: academic opportunities for children, music education, basic care needs for the less fortunate, medical research revolving around diabetes, heart disease, and vision impairment. In addition, she supported several nonprofit organizations like the American Heart AssociationCity of Hope, and the Retina Foundation.
The primary collections of Fitzgerald's media and memorabilia reside at and are shared between the Smithsonian Institution and the US Library of Congress . In Fitzgerald was the first African American female to win at the inaugural show. In she received an honorary doctorate of Music from Yale University.
The career history and archival material from Fitzgerald's long career are housed in the Archives Center at the Smithsonian 's National Museum of American Historywhile her personal music arrangements are at the Library of Congress.
Her extensive cookbook collection was donated to the Schlesinger Library at Harvard Universityand her extensive collection of published sheet music was donated to UCLA. Harvard gave her an honorary degree in InNewport News, Virginia created a week-long music festival with Christopher Newport University to honor Fitzgerald in her birth city.
Callaway's album To Ella with Love features fourteen jazz standards made popular by Fitzgerald, and the album also features the trumpeter Wynton Marsalis.
Bridgewater's album Dear Ella featured many musicians that were closely associated with Fitzgerald during her career, including the pianist Lou Levythe trumpeter Benny Powell, and Fitzgerald's second husband, double bassist Ray Brown. Bridgewater's following album, Live at Yoshi'swas recorded live on April 25,what would have been Fitzgerald's 81st birthday. Austin's album, For Ella features 11 songs most immediately associated with Fitzgerald, and a twelfth song, "Hearing Ella Sing" is Austin's tribute to Fitzgerald.
The album was nominated for a Grammy. InWe All Love Ellawas released, a tribute album recorded for the 90th anniversary of Fitzgerald's birth. Folk singer Odetta 's album To Ella is dedicated to Fitzgerald, but features no songs associated with her.
For Ella Sinatra's recording of " Mack the Knife " from his album L. Is My Lady includes a homage to some of the song's previous performers, including 'Lady Ella' herself. The theater is located several blocks away from her birthplace on Marshall Avenue. InRod Stewart performed a "virtual duet" with Ella Fitzgerald on his Christmas album Merry Christmas, Babyand his television special of the same name. There is a bronze sculpture of Fitzgerald in Yonkers, the city in which she grew up, created by American artist Vinnie Bagwell.
Ed Dwight created a series of over 70 bronze sculptures at the St. On January 9,the United States Postal Service announced that Fitzgerald would be honored with her own postage stamp. In Aprilshe was featured in Google Doodledepicting her performing on stage.
It celebrated what would have been her 96th birthday. It featured rare footage, radio broadcasts and interviews with Jamie Cullum, Andre Previn, Johnny Mathis, and other musicians, plus a long interview with Fitzgerald's son, Ray Brown Jr.
From Wikipedia, the free encyclopedia. American singer-songwriter. Newport News, VirginiaU. Beverly Hills, CaliforniaU. Benny Kornegay. Ray Brown. Decca Verve Capitol Reprise Pablo. Musical artist. This section does not cite any sources.
Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. April Learn how and when to remove this template message. Further information: Ella Fitzgerald discography. Further information: List of awards received by Ella Fitzgerald. Retrieved October 29, Ella Fitzgerald. March 11, Retrieved December 21, His name has become synonymous with glittering evenings based on classical favourites; with concerts often topped off with lasers, fireworks and light displays.
It's a long way from his early days, when he toured the country with a small troupe of singers and a pianist. Then, venues would pay him 84 guineas to put on a Viennese Evening or a Gilbert and Sullivan Night and he had to pay the musicians and cover the cost of transport and hotels before he earned a penny. He was brought up in a small Welsh village and, after his mother died, lived with his father, grandmother and widowed aunt.
His father taught him the piano when he was a child and in his teens he gravitated towards the oboe and went on to study at the Royal Academy of Music.
His first musical career was as a jazz musician - he won first prize at the Montreux Jazz Festival and played venues as diverse as Carnegie Hall and Ronnie Scott's. In the s, he gave up life on the road and started writing advertising music and jingles.
More awards followed, but he felt cramped by the nature of the work and wanted to write music that was more expansive.
A track which he'd written for a minute long commercial went on to become the corner-stone of his most well-known work, The Adiemus Project. He's said that it was only then that he realised his niche lay in composing work that was grounded in his classical upbringing but also benefited from his interest in jazz and world music. And, while critics have on occasion, sneered at his work; he has collected countless gold and platinum discs and a worldwide audience.
His first novel was published when he was 23 and as well as a series of children's books featuring the 'super spy' Alex Rider, he's also penned a slew of television crime programmes including Murder Most Horrid, Midsomer Murders and Foyle's Law. He first turned to writing when he was at boarding school; he was desperately unhappy and it offered some form of escape.
His childhood was peopled by Dickensian figures - although he was brought up in lavish surroundings, his parents were distant and he was brought up by a string of nannies; while he so hated his domineering grandmother that he literally danced on her grave after her death. Perhaps it is unsurprising that his books often deal with the fragility of childhood and the robustness of children. A father now himself, he says he envies his own children their confidence and happiness.
He says that he doesn't consider his work great, or even important - but he does like to think it agreeable and surprising. Gifted with perfect pitch, she studied under Clifford Curzon and enjoyed a highly successful career as a concert pianist.
They had met at a literary lunch he was hosting — and became friends after Natasha stayed behind to help him with the washing up. She is now the executor to Sir Stephen's very considerable estate and is writing her own memoirs.
Gee, Officer Krupke! She was born and raised in a small village in County Clare, where the only books in the house were prayer books which sat alongside her father's bloodstock magazines. Her mother thought writing was in essence sinful and tried fiercely to stop her becoming an author. She was living in England when she published her first novel, The Country Girls, in It was a huge hit and was critically well received - but in Ireland she was decried and her book burnt in the streets.
He says science fiction is not so much a prediction of the future as a metaphor for the human condition; and for him, at least, writing it offered an escape route and a filter through which to view his own extraordinary upbringing. He grew up in a small Norfolk village in a very devout and austere home. While his father was distant, his mother was still suffering from the grief after her first child, a daughter, was still-born. He was the second child and even when he was very small, remembers feeling a strong sense of his mother's disappointment in him.
The army finally offered a way out for him and it was on his return to England that he started writing seriously while also working in a bookshop.
One of his early works was a short story describing the sadness felt by a boy who was never able to please his parents, which was turned into a film by Stanley Kubrick.
While he remains best known for his science fiction writing - and has won every major award in the field - he has also written novels, poetry and biographies and short stories. Now, he says, he aims not for high sales but to become a better and better writer. He is drawn to the simplicity of Christmas carols and says he loves being able to compose 'a hummable tune'.
Inspired and encouraged by his school education, he became Director of Music at Clare College, Cambridge, and then with a string of winning commissions already behind him, moved into full time composition. But his relationship with composition is a difficult one - it's a process he finds isolating and says that although it does not make him happy - he feels compelled to do it. However, once he has finished a work he says nothing in the world compares with the feeling he experiences when he conducts it for the first time.
He says: "I write music that people will enjoy singing. I'm not ashamed of that". However, he says his father was an expert in reading body language and he learned from him how people's physical behaviour reveals their inner thoughts.
But his route into academia was a curious one - and his life inside the ivory towers far from smooth. His father was killed in the war and he was brought up by his extended family in a peripatetic childhood. He joined the army but, with no war to fight, left his commission and went to university instead. He finally hit rock bottom while in America and stopped drinking 23 years ago. Today he is a pre-eminent literary figure - combining erudition and historical research with a taste for the modern and the new.
It was an image he later sought to discard and he certainly did so in the film Lolita, where his portrayal of Humbert Humbert reopened the controversy about the desires of a middle-aged man for a fourteen-year old girl. In the film The Mission he played a gentle Jesuit missionary and went on to act as his own stuntman, climbing a perilous waterfall.
It was his performance in Reversal of Fortune that won him an Oscar for Best Actor as the real-life character Claus Von Bulow, accused and acquitted of the attempted murder of his wife. Later this month, he returns to the West End stage after almost twenty years to star in the play Embers, a story of friendship and betrayal.
He won an Oscar for his film Darling which starred Julie Christie, and became a household name with his television series The Glittering Prizes.
He was born in Chicago but came to England as a boy - where, his father advised him, he could grow up to be 'an English gentleman' rather than 'an American Jew'. While his parents did not want to disown their faith, nor did they want to be defined by it and they were very cautious about the way Jews were perceived in Britain before the Second World War. He was one of only a handful of Jewish boys at boarding school and was isolated and miserable there.
But his loneliness led him to the solitary pursuit of writing - an occupation where he could right the wrongs he had suffered. A bright pupil, his own glittering prize was winning a scholarship to Cambridge — after that, he said, no other success in his life could compare.
For the past fifty years he has split his time between London, France and Greece - accompanied all the time by his wife, Sylvia-Betty.
On Desert Island Discs he gives a personal insight into his own life and career. In a moving interview recorded in his home in Jerusalem, Daniel Barenboim talks frankly about their relationship and the cruelty of her illness; he reveals his own musical influences and also discusses his plans to spend more time playing the piano, after stepping down as Music Director of the Chicago Symphony Orchestra later this year.
Concerto for Piano and Orchestra No. Label Deutsche Grammophon Rec No: 7. The C Sharp Maj. She was spotted by the great choreographer Sir Kenneth Macmillan at the age of 16; though tall for a ballerina she had an energy that he found refreshing. Her first child was born prematurely as a result of the life-threatening condition pre-eclampsia.
Her speedy recovery she put down to her strength and fitness, and she returned to dance three months later. She has announced her decision to retire as a Principal of the Royal Ballet next month, though she will continue to dance as a guest artist. His most recent work has been more biting — his Westminster satire The Thick of It dissects the relationship between politicians, their spin-doctors and the media they want to control.
A highly academic child at a Jesuit school, in his teens he harboured ambitions to become a Catholic priest. His parents thought he might become a doctor or lawyer, but after getting first class degree from Oxford, and spending three years writing a thesis about religious language with reference to Milton, he concentrated on comedy instead.
He joined the BBC and ended up producing the radio comedy programmes he had listened to as a child. Born in FifeRankin came from a working class background in a coal-mining town where he says he spent most of his childhood trying to 'look like he fitted in'. In his bedroom he would live out a fantasy life, writing poems, stories and creating strip-cartoons.
He admits there are many parallels between himself and Rebus - they lived at the same Edinburgh address, both are fond of a drink and now they even share the same taste in music, though unlike Rebus, Rankin has never smoked.
However all that is about to change; Rebus has reached the age of retirement in the police force and Rankin's next novel will be the last in the series. Words and language have always formed an important part of his life. The son of two teachers, he was born into a London, Jewish family, and brought up in a home full of literature, conversation and debate.
His poems often rely on snatches of dialogue and memories from his own childhood and relate his experiences with his own children. More recently he's published a series of memories aimed at adults rather than children.
In particular, these attend to the central tragedy of his life, the sudden death of his second son Eddie, when he was 18 years old. He is the mastermind behind more than a hundred number one songs in Britain and abroad and Westlife, whom he signed, holds the record for the having seven consecutive number one songs in the UK.
A lot of his early successes were gimmicky hits — singing wrestlers, the Power Rangers and Teletubbies — but it was first Robson and Jerome and then Westlife who brought him credibility. His tenacity and his ability to spot a seller were already legendary within the music world when he devised a format for a television show that would bring new talent to the fore.
And they've made Simon Cowell a celebrity too. His shows play to the aspirations of the young, who believe fame and fortune can be theirs. The group will perform at Leeds on the Friday August 27, A. They will play in Reading on the Saturday 28, A. What does such an influential musician listen to when he wants to relax or feel inspired? Melody Maker put him to the question in Some of his answers may surprise you, others may not. We used to follow The Birthday Party about, they were the ones that were responsible for getting us a deal with 4AD.
Not a bit like the Cocteaus? Naah, it was that big guitar noise you got on 'The Friend Catcher' that was one of the things that inspired us. I've got a lot of time for Nick Cave. Every couple of years I retune myself into what's he doing, even the sea shanty stuff as some people call it. I'm a sucker for wasted types, men who can wear tight trousers and pointy shoes without looking like a pillock.
Me, I turned out the wrong shape to be wasted! I love the arrangement of it, the movement, the way it built up. This was just as we were starting out and maybe it influenced the way we built our sound up. It was before she became a born-again Christian and started talking about the evils of homosexuality when most of her fans were on the Hi-NRG circuit.
The Pop Group: "She is beyond Good and Evil" "I haven't actually heard this in years but it sums up a particular moment in time for me. Again, it was the noise he [Mark Stewart] made. He's still really good now. The Pop Group were the first ones ever to mix post-punk with fun and dance rhythms.
But it was always harder than the ones doing it now. I know we weren't suppposed to have stars but we were still awestruck even though we could approach them anytime backstage, in a way you couldn't with Bowie and T Rex.
The last time I saw Nick properly was a couple of years ago back in Sao Paolo. We got ourselves in a horrible state. So we made a demo, made two copies, sent one to Peel and one to 4AD.
We chose 4AD, it never occurred to us that 4AD might not choose us. We thought it was a dead easy to get a record deal because we were so great - we were fucking crazy. Anyway, 'Lonely Planet', what a fucking record. He was only about 20 when he made it.
I didn't have much time for the things he was doing a few years back but with his last album I'm right back into him. Them and Roxy Music were the first people I ever heard using keybroads like machines and not just Hammond organs.
The first album was great. You try sitting alone, fucked up on drugs, late at night, listening to that 10 minute track, 'Frankie Teardrop' - you'll fucking die! It's so scary. After that, they went on to make a lot of crap. It's not particularly the militant thing about them, it's more from hearing it in the clubs, the noise it makes.
I don't know if it's exactly changed my life. I went through a phase a couple of years ago of not listening to anybody else's music at all, but just this past year I've had an incredibly refreshed attitude, I've rekindled my love. Also, I used to have a problem about listening to other people's stuff.
The way I saw it, if theirs was good it meant mine must be crap. I've had a few problems in my head with that, I can tell you. It's not being competitive, it's insecurity and it meant not being able to own up to liking other people's stuff. It's only now I can do something like Rebellious Jukebox. The other Voice! Patsy Cline died odd years ago, so it was a bit tricky getting her to join the Cocteaus so I had to get Liz. Just go pick up her greatest hits. King of the poncey ballads, Roddy!
I love him. I've been an obsessive collector of Phil Spector's stuff, I've got loads and loads on vinyl, a lot of rarities. Nice tunes, big sounds - yeah, it was an obvious influence. It was just him, his guitar and voice, so beautiful, so moving - what a fucking guy. And I was waiting out back to meet him and I did.
Y'know what he said to me? There was a time when liking a record meant I would have had to go out and find out everything about the band, these days, as long as it's a good fucking record, I really don't care - which is the way it should be, I suppose.
But this is another of the records that's got me listening to music again. John Lennon's somebody I never even listened to until a few years ago. Same with The Doors, Dylan - I shut all these people out because punk rock told me to.
And the wealth of stuff I was denying myself! Punk had always seemed such a positive energy to me that i never saw the negative side of it People think that? Oh, no! We're still making records nbow the way we did then, that's the bottom line - in the same uncontrived, honest way, doing what the fuck we feel like. London: A. Topping the list is the Byrds' "Chestnut Mare.
It's one of the first really great country rock songs, it's very poppy and has some really great guitar playing by Claret ce White. I was in high school when I first heard it, but I didn't fully get into it until I was something. It has a realty nice string sound. So I chose both, I love the way songs can sound very intimate and not laboured at all. They're both love songs: one to a lover and one to a mother. Their individual personalities come through. It's a really old beautiful story about this fictional woman who is killed by a rich person who has wealthy parents.
What I like about the song is that it is such a direct, honest and pure social commentary and a story at the same time. I saw Dylan not so long ago in LA.
I honestly didn't know what to expect, but he was great. He was the first person I made a connection with. I thought if he could write these odd songs with an odd voice, then maybe I could do it too.
Initially, I was drawn to the madcap character of Syd. I saw them once and they blew people away. The guitarist broke a string so he ran out to the van for an inordinate amount of time.
He then tuned his guitar at a deafening volume for ages, it was mad. It's a country rock epic. Gram Parsons is someone who I've liked for quite a while and, in a sense, I emulate him in certain ways. Our music reflects our personalities. I think! I'm sure they learnt a lot from Gram Parsons. The singer, Ryan Adams, is really talented. It just amazes me how he weaves this little story. It sounds like it could have been written 50 years ago.
It's such a great pop song. I love all the different voices Sly Stone used, and the way he incorporated different band members. The interpretation of the lyrics changes as each band member sings. It's got a lotta soul and it's a great summer party song.
The women would be outside in the back doing the washing, rubbing away on the rub-boards, and s0meb0dy else sweeping the yard, and somebody else would start singing "We-e-e-ll Nobody knows the trouble I've seen Or "Sometimes I feel like a motherless child, a long way from home I used to go up and down the street, some streets were paved, but our street was dirt, just singing at the top of my voice.
There'd be guitar players playing on the street-old Slim, Willie Amos, and my cousin, Buddy Penniman. I remember Bamalama, this feUer with one eye, who'd play the wash-board with a thimble. He had a bell like the school-teacher's, and he'd sing, "A-bamalam, you shall be free, and in the mornin' you shall be free.
I imagine people had to sing Album) feel their connection with God. To sing their trials away, sing their problems away, to make their burdens easier and tIle load lighter. That's the beginning. That's where it started. We used to have a group called the Penniman Singers-all of us, the whole fam ily. We used to go around and sing in all the churches, and we used to sing in contests with other family groups, like the Brown Singers, in what they called the Battle of the Gospels. We used to have some good nights.
I remember one time. I could always sing loud and I kept changing the key upward. Marquette said it ruined his voice trying to sing tenor behind mel The sisters didn't like me screaming and singing and threw their hats and purses at us, shouting "Hush, hush, boys-hush! From a boy, I wanted to be a preacher. I wanted to be like Brother Joe May, the singing evangelist, who they called the Thunderbolt of the West. My daddy's father, 'Walter Penniman, was a preacher, and so was my mother's brother, Reverend Louis Stuart, who's now pastor of a Baptist church in Philadelphia.
I have always been basically a religious person-in fact most of the black people where I'm from was. We used to draw the crowds all the time. The places were always packed. I was popular around those states before Chuck and Lee Diamond joined the band. I got two sax players and named the band the Upsetters.
It made me outstanding in M"col1 at that time, to have this fantastic band in a little town like this. The other bands couldn't compete. So when it s"id "Little Richard and the Upsetters" everybody wanted to come. We had a station. We were each making fifteen dollars a night, and there was a lot you could do with fifteen dollars. We would play three, four nights a week-that's fifty dollars. And sometimes we would play at a place on the outskirts of Macon at a lllidnight dance. That would pay ten dollars and all the fried chicken you could eat.
I re ally looked up to Billy Wright. That's where I got the hairstyle from and everything. We'd play all around Georgia, Tennessee, and Kentucky, cos we had" big n"me around those places. We would draw packed houses every place and we'd get a guarantee and a percentage of the take over the guarantee. We were making a darned good living. One song which would reallv tear the house down was "Tutti Frutti. We were playing without a bass and Chuck would have to bang real hard on his bass chum in order to get a bass-fiddle effect.
He was talking wild, thinking up stuff just to be different, you know? I could tell he wi's a mega-personality. So we got to the studio, on Rampart and Dumaine. They were Fats Domino's session men. Let me tell you abou t the record ing methods we used in those days.
When I started there was no tape. It was disk to disk. There was no such thing as overdubbing. Those things we did at Cosimo's were on tape, but they v"ere all done straight ahead.
The tracks you heard were the tracks as they were recorded from begilll1ing to end. We would take sixty or seventy takes. We were recording two tracks. Maybe we might go to surgery and intercut a track or cut a track at the end or something, but we didn't know what overdubbing was. The studio was just a bi'ck room in a furniture store, like an ordina. For the whole orchestra. There'd be a grand piano just as you came in' the door.
I'd have the gnmd's lid up with a mike in tbe keys and Alvin Tyler and Lee Allen would be blowing into that. Earl Palmer's drums were out of the door, where I had one. The bassman would be way over the other side of the studio. You see, the bass would cut and bleed in, so I could get the bass. The recording equipment was a little old quarter-inch single-chalmel Ampex Model in the next room. I would go in there and listen with earphones.
If it didn't sound right I'd just keep moving the mikes around. I would have to set up all those things. But, you see, once I had got my sound, my room sound, well then I would just start running my numbers straight down. It might take me forty-five minutes, an hour, to get that balance within the room, but once those guys hit a groove you could go on all night. When we got it, we got it. I would like to see some of these great producers today produce on monaural or binaural equipment with the same atmos phere.
Cos the problem is, if you're going to get a room sound with the timbre of the instruments, you can't put them together as a band and just start playing. All of a sudden one horn's going to stick out. So I had to place the mikes very carefully and put the drummer outside the door. Well, the first session was to run six hours, and we phmned to cut eight sides. Richard ran through the songs on his audition tape.
I did not even record it. But "Wonderin' " we got in two takes. Then we got ''I'm Just a Lonely Guy," which was written by a local girl called Dorothy La Bostrie who was always pestering me to record her stuff.
But it wasn't really what I was looking for. I had heard that Richard's stage act was really wild, but in the studio that day he was very inhibited. Possibly his ego was pushing him to show his spiritual feeling or something, but it certainly wasn't coming together like I had expected and hoped. The problem was that what he looked like, and what he sounded like didn't come together. If you look like Tarzan and sound like Mickey Mouse it just doesn't work out. So I'm thinking, Oh, Jesus You know what it's like when you don't know what to do?
Let's go to lunch. I didn't know what to do. I couldn't go back to Rupe 1 with the material I had because there was nothing there that I could put out. Nothing that I could ask anyone to put a promotion on. Nothing to merchandise. And I was paying out serious money. So here we go over to the Dew Drop Inn, and, of course, Richard's like any other ham.
We walk into the place and, you know, the girls are there and the boys are there and he's got an audience. There's a piano, and that's his crutch. He's on stage reck oning to show Lee Allen his piano style. So WOW! He gets to going. He hits that piano, didididididididididi That's what I want from you, Richard. That's a hit l " I knew that the lyrics were too lewd and suggestive to record. It would never have got played on the air.
So I got hold of Dorothy La Bostrie, who had come over to see how the recording of her song was going. I brought her to the Dew Drop. Dorothy was a little colored girl so thin she looked like six o'clock. She just had to close one eye and she looked like a needle. Dorothy had songs stacked this high and was always asking me to record them. She'd been singing these songs to me, but the trouble was they all sounded like Dinah Washington's "Blowtop Blues.
But looking through her words, I could see that she was a pwlific writer. She just didn't understand melody. So I said to her, "Look. You come and write some lyrics to this, cos I can't use the lyrics Richard's.
Well, Richard was embarrassed to sing the song and she was not certain that she wanted to hear it. Time was running out, and I knew it could be a hit. I talked, using every argument 1 could think of.
I asked him if he had a grudge against making money. And finally, I convinced them. Richard turned to face the wall and sang the song two or three times and Dorothy listened. Break time was over, and we went back to the studio to finish the session, leaving Dorothy to write the words. I think the first thing we did was "Directly from My Heart to You. Those two I could have gotten by with-just by the skin of my teeth. Fifteen minutes before the session was to end, the chick comes in and puts these little trite lyrics in front of me.
I put them in front of Richard. Richard says he ain't got no voice left. I said, "Richard, you've got to sing it. That wild piano was essential to the success of the song. It was impossible for the other piano players to learn it in the short time we had. I put a microphone between Richard and the piano and another inside the piano, and we started to record it.
It took three takes, and in fifteen minutes we had it. So we decided to up the tempo on the follow-up and get the lyrics going so fast that Boone wouldn't be able to get his mouth together to do it! The follow-up was "Long Tall Sally. I got a call from a big disk jockey called Honey Chile. She fwd to see me. Very ur gent. I went, because we relied on the jocks to push the records, and the last thing you said to them was no. I went along to this awful downtown hotel, and there was Honey Chile with this young girl, about sixteen, seventeen, with plaits, who re minded you of one of these little sisters at a Baptist meeting, all white starched col lars and everything.
She looked like someone who's just been scrubbed-so out of place in this joint filled with pimps and unsavory characters just waiting to scoop her up when she's left alone, you know?
So Honey Chile said to me, "Bumps, you got to do something about this girl. She's walked all the way from Appaloosa, Mississippi, to sell this song to Richard, cos her auntie's sick and she needs money to put her in the hospital. I thought maybe you or Richard could do that. It looked like toilet paper with a few words written on it:. And I'm going to tell her about Uncle' John. Cos he was out there with Long Tall Sally, and 1 saw 'em.
They saw Aunt Mary comin' and they ducked back in the alley. And this is a song? You walked all the way from Ap paloosa, Mississippi, with this piece of paper? I kept it for years. Tt was a classic. Just a few words on a used doily! Honey Chile said, "Bumps, you gotta do something for this child.
I told Richard. He didn't want to do it. J said, "Richard, Honey Chile will get mad at us. Richard started to sing it-and all of a sudden there was "Have some fun tonight. Richard loved it cos the hottest thing then was the shuffle. Richard was reciting that thing. He got on the piano and got the music going and it just started growing and growing.
We kept trying, trying it, and I pulled the musi cians in and we pulled stuff from everybody That's where Richard's "Ooooooh" first came in. That's what he taught to Paul McCarh1ey. Well, we kept rerecording because I wanted it faster. I drilled Richard with "Duck back in the alley" faster and faster until it burned, it was so fast. I always liked that record, and I used to use the riff in my act, so when we were looking for a lead-in to "Good Golly Miss Molly" I did that and it fitted,".
The white kids had to hide my records cos they daren't let their parents know they had them in the house. We decided that my image should be crazy and way-out so that the adults would think I was harmless. I'd appear in one show dressed as the Queen of England and in the next as the pope.
They were exciting times. The fans would go really wild. Nearly every place we went, the people got unruly. They'd want to get to me and tear my clothes off. It would be standing-roam-only crowds and 90 percent of tbe audience would be white. I've always tbought that Rock 'n' Roll brought tbe races togetber. Although I was black, tbe fans didn't care. I used to feel good about that. Especially being from the South, wbere you see the barriers, haVing all these people who we thought hated us, showing all this love.
A lot of songs I sang to crowds first to watch their reaction, that's how I knew they'd hit, but we recorded them over and over again. I just took the rhythm of an old song of mine called "Directly from My Heart to You" slowed down and I used to do that riff and go "Sonya'" and I made it into "Lucille.
I was playing "Lucille" and "Slippin' and Slidin'" in my room in Macon way before [ started recording for Specialty. I'd make up the music while I was mak ing the words fit.
His name was Jimmy Pennick, but you know it was Jackie Brenston that gave me the musical inspi ration. Further Reading Altschuler, Glenn C. New York: Random House. As the most successful artist of the midS rock 'n' roll explosion, Elvis Presley had a profound impact on popular music.
His sense of style, musical and personal, was both the focal point of the media reaction to early rock 'n' roll and the inspiration for some of the most important rock musicians to follow.
The narrative of his meteoric rise and subsequent decline amid mysterious and tawdry circumstances fueled many myths both during his life and after his death at The S Assembly of God Church. Although he had little experience as a performer, inat age 19, he came to the attention of Sam Phillips, owner of a Memphis recording company, Sun Records. Philips teamed Presley, who sang and played guitar, with local country and western musicians, Scotty Moore guitar and Bill Black bass.
During their first recording session in junethe Give Me That Old Time Religion - Mahalia Jackson - Mahalia Jackson Vol. 1 (Vinyl recorded a single with "That's All Right, Mama" originally recorded in by blues singer Arthur "Big Boy" Crudup on one side and "Blue Moon of Kentucky" originally recorded in by bluegrass pioneer Bill Monroe on the other.
The group's style blended elements of country and rhythm and blues without being identifiable as either; the distinctive sound in cluded Moore's rhythmically oriented lead guitar playing, Black's slapped bass, and Presley's forceful, if crude, rhythm guitar, with the recording swathed in a distinctive electronic echo effect.
Presley's voice, however, attracted the most attention: Swooping almost two octaves at times, changing timbre from a croon to a growl instantaneously, he seemed not so much to be synthesizing preexisting styles as to be juxta posing them, sometimes within the course of a single phrase.
And although white musicians' music had incorporated African American instrumental and vocal ap proaches since the earliest "hillbilly" recordings of the os, no previ ous white singer had so successfully forged an individual style clearly rooted in a contemporaneous African American idiom. Presley, Moore, and Black released four more singles on Sun during ; each one featured a blues or rhythm and blues song backed with a country-style number.
Presley's uninhibited, sexually charged per formances throughout the Southeast provoked frenzied responses and influenced other musicians: By the end ofperformers, such as Carl Perkins and johnny Cash, had emerged with a style coined "rockabilly" that resembled Presley's.
Presley's first recording for RCA, "Heartbreak Hotel" released in Marchachieved the unprecedented feat of reaching the Top 5 on the pop, rhythm and blues, and country charts simultaneously. This recording and the songs that followed in all combined aspects of his spare Sun recordings with increasingly heavy instrumentation-including piano, drums, and background singers-that moved the sound closer to that of mainstream pop.
Both sides of his third RCA single "Hound. Presley's vocal style already showed signs of mannerism, trading the unpredictable exchanges of different voices of the early recordings for a single affect throughout each song. Although Elvis Presley did participate in some interviews throughout his career, the questions and his answers in these interviews tended toward the perfunctory e. It's not what you call folk music.
It's a beat that gets you. You feel it. King, Ike Turner, and Howlin' Wolf, including a session that resulted in the important proto rock 'n' roll recording, Jackie Brenston's "Rocket 88" with a band led by Turner in Phillips is also a natural-born storyteller, as revealed by many of the anecdotes in this interview.
He was working for Crown Electric. And there's no telling how many days and nights behind that wheel he was figuring out some way to come in and make a record without saying, "Mr, Phillips, would you audition me? There wasn't anything that striking about Elvis, except his sideburns were down to here [gestures], which I kind of thought, well, you know, "That's pretty cool, man.
Ain't nobody else got Album) that damn long," We talked in the studio. And I played the record back for him in the control room on the little crystal turntable.
QlIilin New York: St. Milrtin's Press, j, London: On1l1ibu, I'res5, 1g77 We got some pretty good cuts on the thing, but I wanted to check him out other ways before I made a final decision as to which route we were going to attempt to go with him. And I decided I wanted to look at things with a little tempo, because you can really hang yourself out on ballads or when you go up against Perry Como or Eddie Fisher or even Patti Page, all of those people.
I wasn't looking for anything that greatly polished. Why did. The two of them, they'd been around the studio, Lord, I don't know how many damned times, you know? Scotty had been playing with different bands, and al though he hadn't ever done a session for me, 1 knew he had the patience and he wasn't afraid to try anything, and that's so important when you're doing labora tory experiments.
Scotty was also the type of person who could take instruction real good. And 1kidded him a lot. What were YOIi tryillg to adlieve with Elvis? Now you've got to keep in mind Elvis Presley probably innately was the most introverted person that came into that studio. Because he didn't play with bands. He didn't go to this little club and pick and grin. All he did was set with his guitar on the side of his bed at home. So I had to try to establish a direction for him. And 1had to look into the mar ket, and if the market was full of one type of thing, why try to go in there?
There's only so many pieces in a pie. That's how 1 figured it. I knew from the be ginning that I was going to have to do something different and that it might be harder to get it going. But if I got it going, 1 might have something. That night we had gone through a number of things, and I was getting ready to fold it up. But I didn't want to discourage the damn people, you understand?
I knew how enthusiastic Elvis was to try to do something naturally. I knew also that Scotty Moore was staying there till he dropped dead, you know? I don't re member exactly what l said, but it was light hearted. I think I told him, "There ain't il damn song you can do that sounds worth a damn," or something like that.
He knew it was tongue in cheek. But it was getting to be a critical time, be cause we had been in till:' studio a lot. Well, 1 went back into the booth. I left the mikes open, and I think Elvis felt like, really, "What the hell have I got to lose?
I'm really gonna blow his head off, man. Ws said tlrat. I don't remember exactly verbatim. But it was something along the lines that I've been quoted. Scotty Moore says that when he heard the I"ayback he tlroUgllt " d be tim Olll of ' How did you feel when you heard it? First of all, Scotty wasn't shocked at any damned thing 1attempted to do.
Scotty isn't shockable. And for me, that damned thing came through so loud and clear it was just like a big flash of lightning and the thunder that follows. I knew it was what I was looking for for Elvis. When anybody tells you they know they've got a hit, they don't know what the hell they're talking about. But r knew I had it on "That's All Right. In my opinion.
花の街 - 倍賞千恵子* - さくら貝の歌 倍賞千恵子の日本の詩をうたう 第１集 (Vinyl, LP, Album), Frühjahrsputz - Willi Stelzhammer - Das Wilde Fest (Vinyl, LP), You Can Call Me Schmoopy - Noggin Toboggan - Wookin Po Nub (CD), Spoonful - The Dickey Betts Band - The Great Southern Riff (CD), A Bençao Bahia - Vinicius De Moraes, Maria Creuza, Toquinho - Tristeza And Other Successes (CD), Mambo De La Pinta - Art Pepper - The Return Of Art Pepper (Vinyl, LP, Album), Ambush In The Night - Carolin Petit - Danger & Drama (CD, Album), Pent Up House - Jamey Aebersold - Sonny Rollins (Vinyl, LP), Original Soundtrack For AutoeROTic (Fempriest Mix), Clef Club No.2 - Randy Newman - Ragtime (Vinyl, LP, Album), Yellow - When Saints Go Machine - Konkylie (CD, Album)