60's back

Why Linda McCartney is amazing:
  • Pursued a successful career as a photographer BY ACCIDENT, in her own right. 
  • Had several affairs with famous rock stars when she was single not married, just to make that clear. (Like: Mick Jagger, Jim Morrison, and Jimi Hendrix (Although she says Jimi was just her friend)) 
  • Was already a muse at the age of 1. Yep, Paul McCartney was NOT the first musician to write a song about Linda, it was actually Jack Lawrence a famous musician of the 40’s. His song is called ‘Linda’.
  • Being a Beatles fan herself she often joked about “marrying a Beatle” when she had not yet met any of them….she ended up ACTUALLY marrying Beatle Paul McCartney.
  • Also, her favorite Beatle was John, not Paul.
  • Was an extraordinary mother to all of her children. She always put them first and were her main concern. 
  • Even though she often got criticized for any little thing she did, she was not afraid to fight for animals’ rights.  She often said she preferred spending time with animals than with people. For years she defended animals and when she passed away she was given the title of “The animals’ guardian angel”. She saved thousands of animals with her campaigns and her vegetarian cookbooks, and frozen food line. 
  • Redefined what “marriage” was back then in the 60’s and 70’s. Back then it was the normal thing for the wife to be a stay at home mom who cooked meals for her husband and the husband to work all day to pay the rent. But Linda and Paul’s marriage was quite the opposite. They were one of the first famous couple’s to redefine that word. Linda and Paul lived on the road (very often), BOTH working hard and helping each other. They took their children with them on tours. Really, both of them contributed the same amount to their marriage.
  • Although fans (of Paul’s and The Beatles) and critics hated Linda in the first years she was with Paul, and often criticized her voice and her skills in playing instruments she kept her head up and continued doing what she enjoyed without letting the reviews bother her. She really was doing the “Just because you’re not entirely good at something doesn’t mean you shouldn’t do it, GO FOR IT! Let the haters hate” thing. 
  • She also got criticized A LOT for not dressing fashionably and not doing her makeup. Linda was a very casual person. She never wore make up (very rarely anyway), and just threw on whatever felt comfortable, she could give a rats ass about being “in style”. BUT of course the world judged her on her looks. She was SO pressured into being what everyone wanted her to be yet she never gave in. She stayed herself completely and never changed who she really was just to please the public. 
  • Oh, and she also often let her leg and armpit hair grow, basically, Linda was a very NATURAL human being. Which is bloody amazing, imo.
  • She is OFTEN described as a “very kind, and endearing person” by people who knew her personally. Which, isn’t surprising at all. 
  • She helped Paul in his time of depression when the Beatles had broke up. Paul went into a very deep depression and often stayed in bed ALL day and let his beard grow and drank hard liquor since very early in the morning. Paul has said that he felt his world was crumbing down and he was going downhill but Linda helped him get out of that. She helped him get out of that depression and that is when Paul wrote the beautiful song called “Maybe I’m Amazed” for the Lovely Linda (:
  • She was also one of the reasons Paul stayed so humble, being a Beatle and all it wouldn’t be too difficult thinking you’re all that. Being a casual, simple, nature girl she showed Paul how to live a simple life (Mainly when they spent time in Scotland). You would think Paul would have a maid or something but they both did all the house work, they both fed themselves and took care of their own children, just like a normal family!
  • She was a warrior. She fought cancer for years and stayed so strong about it. It has been said by one of her close mates, Danny Fields, that she NEVER complained about her illness. Of course, she was suffering and also caught depression but she always tried to stay positive about it. 
  • She was an extraordinary woman who was so very beautiful on the inside and the outside. The is no doubt why Paul loved and still loves her so much. ♥
  • THE END. (:

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On this day in music history: March 22, 1965 - “Bringing It All Back Home”, the fifth album by Bob Dylan is released. Produced by Tom Wilson, it is recorded at Columbia Recording Studios in New York City from January 13-15, 1965. Recorded just four months after the release of his previous album “Another Side Of Bob Dylan”, the prolific musician shifts musical direction yet again. Moving away from the acoustic based protest songs that have established him as a leader of the folk music movement, Dylan cuts half of the new album with a band using electric guitars and bass for the first time. The very act of a folk musician using electric instruments is considered a highly controversial act, with many of his peers having a bias against rock & roll. Dylan’s lyrics also begin to change dramatically, becoming more personal and adopting an abstract “stream of consciousness” prose in many of them. This is most evident on the albums classic single “Subterranean Homesick Blues” (#39 Pop), drawing inspiration from disparate sources including beat poet Jack Kerouac, folk musicians Woody Guthrie and Pete Seeger, and rock & roll pioneer Chuck Berry. The song becomes Bob Dylan’s first chart single in the US, and one of his best known compositions. The album contains a number of other classics including “Maggie’s Farm”, which Dylan performs to a hostile crowd at the Newport Folk Festival, jeering him for feeling that he has betrayed his core folk music audience by going electric. “Gates Of Eden”, “It’s All Over Now, Baby Blue” and “It’s Alright Ma (I’m Only Bleeding)” also become among Dylan’s best known, widely covered songs. Also on the second side of the album is his recording of “Mr. Tambourine Man”, originally cut during the “Another Side” sessions, but the first version is left unreleased. Bob re-records it again on the final day of recording for “Bringing It All Back Home on January 15, 1965. Only five days later, The Byrds record their electric version of "Mr. Tambourine Man” in Los Angeles with producer Terry Melcher. Their version hits number one on the pop singles chart late June of 1965. Once released, “Bringing It All Back Home” becomes Bob Dylan’s most successful release to date, topping the UK album chart and his first top ten album in the US. First released on CD in the late 80’s, it is remastered and reissued in 2003, as a hybrid SACD, featuring the original stereo mix, and a newly remixed 5.1 surround mix. Reissue label Sundazed Records reissues the original mono mix as a 180 gram vinyl LP in 2001, making it available for the first time since going out of print in the late 60’s. Mobile Fidelity Sound Lab also reissues the title as a double vinyl set, mastered at 45 RPM in 2012, followed by a hybrid SACD featuring only the stereo mix in 2013. “Bringing It All Back Home” peaks at number six on the Billboard Top 200, and is certified Platinum in the US by the RIAA.

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On this day in music history: May 24, 1969 - “Get Back” by The Beatles With Billy Preston hits #1 on the Billboard Hot 100 for 5 weeks. Written by John Lennon and Paul McCartney, it is the seventeenth US chart topper for “The Fab Four”. The single is the first music to emerge from the recording sessions that produce the “Let It Be” album and documentary film. The “hit single version” of the track is recorded at Apple Studios in London on January 27, 1969, after weeks of rehearsing and recording various takes of the song. At the invitation of George Harrison, musician Billy Preston will play keyboards (mainly electric piano and organ) during the sessions for two weeks. The Beatles enjoy his playing and affable personality so much that they give him co-billing on the single when it is released (the only time another musician is credited along side the band). “Get Back” is also The Beatles first single to be issued in stereo in the US (mono in the UK). An alternate, shorter take of the song appears on the “Let It Be” album when it is released a year later in May 1970. It is released the UK the Friday before Easter Sunday on April 11, 1969, with the US release date being on May 5, 1969. The delay being caused by Paul McCartney deciding to remix the track again days before its scheduled release in the UK, with US release date also being pushed back. In spite of this, the single is an immediate smash. The Beatles tie their own previous record for the highest ever chart debut on the Hot 100 (set by “Hey Jude” eight months earlier) when “Get Back” enters the chart at #10 on May 10, 1969, leapfrogging to the top of the chart two weeks later. “Get Back” is certified 2x Platinum in the US by the RIAA.

Johnny Cash - Bitter Tears photo shoot, c. September 1964. 

     This picture reminds me of something John talked about in his older years. You see, in the mid 60′s, John would get back from his tour, but he’d rarely stay home for long. Instead, he’d retreat to his camper affectionately named after the outlaw Jesse James, and ride off into the desert, his home away from home. He’d be alone out there for days, strung out in his camper, no sleep, no food or hardly any water. The windows were painted black so he could sleep, but mostly because he liked to paint things black. He attributed these outings, as inspiration for his album Bitter Tears, saying: I followed trails in my Jeep and on foot, and I slept under the mesquite bushes and in gullies. I heard the timber wolves, looked for golden nuggets in old creek beds, sat four hours beneath a manzanita bush in an ancient Indian burial ground, breathed the West wind and heard the tales it tells only to those who listen.” 

     Those closest to him disagreed and said that his missing time was spent getting into trouble, mostly with the law. But John himself characterized much of his missing time as a lonely but an obsessive quest for his next song. Whether either side is true, it is true that John put himself through a lot of suffering to find his song. Those are the days he talk about in his biography:

     “ Something thumps and stirs me from a reverie (a nightmare?) about a day on pills in the desert in 1963, and my eyes come open and focus. I’m back at home on Old Hickory Lake, and what’s woken me is Joseph, my grandson. He’s a couple of months into his second year now. He comes stomping into the room with his sturdy little legs spread wide apart for better balance, swaying a little with each step, still unsure on his feet and having to concentrate, controlling his momentum with a look of intense focus on his face as he lurches toward me. Then he arrives. He slaps his hands onto my knees for balance, breaks concentration and turns his face up to mine with a big, delighted, wide-open smile. What a tonic. How lucky I am. How grateful I am to be here now, not back there then. I’ll take my cue from Joseph and concentrate on the really important stuff my children and their children. ” 

     What he shared, reminded me of the stories I read about him in the desert. I was taken aback, up until that point, I didn’t fully comprehend how much his pill addiction affected him. I was amazed that he made it through, to see old age and be with his family and grandchildren. Still, I couldn’t find the words, to describe the connection between who he was in the desert and as an old man, until I heard a song called “The Beer” by Kimya Dawson. The lyric from the song, perfectly captures, what I was trying to express: "Haunted by the ghost, of the girl I use to be.“

John was haunted by who he use to be, when he was young and addicted to pills. Everything he did during those years, haunted him later in life. To me, there’s something so powerful about that and scary. It’s what I’m reminded of and what I wanted to explain when I first posted this story. Though, I know people would rather focus on the not so heavy topics of John’s life, I think they should be talked about. John was an addict, and his battle should be acknowledged.

Paraphrased from ”Cash: The Autobiography, 1997.“ / "Johnny Cash: The Life." 

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On this day in music history: August 31, 1963 - “My Boyfriend’s Back” by The Angels hits #1 on the Billboard Hot 100 for 3 weeks, also peaking at #2 on the R&B singles chart on September 28, 1963. Written and produced by Bob Feldman, Jerry Goldstein and Richard Gottehrer, it is the biggest hit for the girl group from South Orange, NJ. Formed in 1961 by sisters Barbara “Bibs” Allbut and Phyllis “Jiggs” Allbut as The Starlets, originally a quartet with Bernadette Carroll and Lynda Malzone. They record a handful of singles and also work as background singers. After Malzone leaves, she is replaced by Linda Jansen (aka Jankowski). They have another set back when manager Tom DeCillis decides to take on Carroll as his sole client, and drops the rest of the group. At this point, the Allbut sisters put their music career aspirations on hold to attend college after they’re turned down for a record deal by producer Gerry Granahan of Caprice Records. He has a change of heart and has the girls come back and record a song performed in their audition titled “Til”. Before it’s released, the group change their name to The Angels. Released in August of 1961, their cover of the pop standard is a hit, peaking at #14 on the Hot 100 in January of 1962. They release four more singles, before Jansen leaves for a solo career. She is replaced by fellow New Jersey native Peggy Santiglia, formerly a member of The Delicates and a commercial jingle singer. Santiglia proves to be a perfect fit, and the group leave Caprice and are signed to Mercury subsidiary Smash Records. They are paired with songwriter and producers Bob Feldman, Jerry Goldstein and Richard Gottehrer (aka “The Strangeloves”). Feldman comes up with the initial idea for “My Boyfriend’s Back” after overhearing a high school girl rebuffing the advances of a male classmate. Initially intended for The Shirelles, they have The Angels record it as a demo. It is recorded at Associated Studios in New York City, and features Herbie Lovell (drums), Billy Butler, Bobby Comstock, Al Gorgoni (guitars), and Bob Bushnell (electric and acoustic bass). After hearing the finished recording, Smash discourages them from giving it away, and releases it on The Angels instead. Issued in July of 1963, “My Boyfriend’s Back” is an immediate hit. Entering the Hot 100 at #75 on August 3, 1963, it pole vaults to the top of the chart four weeks later. A male answer record titled “Your Boyfriend’s Back” (#98 Pop) by guitarist Bobby Comstock is released and charts briefly. Regarded as one of the classic girl group songs, it is also covered by The Chiffons, Martha & The Vandellas, Melissa Manchester, and Sarah Brightman. Originally released in mono only and edited for single release, the complete unedited take of The Angels original version is remixed into true stereo, from the four track multi-track master. “My Boyfriend’s Back” is certified Gold in the US by the RIAA.

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On this day in music history: June 12, 1965 - “Back In My Arms Again” by The Supremes hits #1 on the Billboard Hot 100 for 1 week, also topping the R&B singles chart for 1 week on May 29, 1965. Written by Brian Holland, Lamont Dozier and Eddie Holland, it is the fifth pop and second R&B chart topper for the vocal trio from Detroit, MI. After being dubbed “the no-hit Supremes” by people at Motown, The Supremes finally grab the brass ring in August of 1964 when they land their first chart topping single with “Where Did Our Love Go?”. Three more number one singles (“Baby Love”, “Come See About Me”, and “Stop! In The Name Of Love”) follow in rapid succession. All are written by the songwriting and production team of Holland/Dozier/Holland, who continue their hot streak with the group. HDH come up with the idea for “Back In My Arms Again in November of 1964, also coming up with the idea of lead singer Diana Ross name checking her group mates Mary Wilson and Florence Ballard in the lyrics. Featuring The Funk Brothers providing the musical backing, the track is recorded at Motown’s Studio A in Detroit on December 1, 1964, with The Supremes overdubbing their vocals on February 24, 1965. Released on April 15, 1965, just five days after their previous single "Stop! In The Name Of Love” drops from the number one spot, “Back In My Arms Again” becomes another smash. The original mono single and stereo LP mixes of the song feature vocal performances that differ slightly from each other. Entering the Hot 100 at #68 on May 1, 1965, it streaks to the top of the chart six weeks later. It becomes the group’s fifth consecutive number one single, an unprecedented feat for an American group. This achievement puts The Supremes in rare company, as only The Beatles and the Bee Gees have had more consecutive chart toppers in the US, with six number ones each.