#Johnny and the Moondogs

[ramgirlpaul]

Ok, there's just the two of us with guitars, and as it happened it looked good, 'cause Paul was like, left-handed, and I was right-handed… and still am. And John was in the middle, and John, like, stood there with a hand on each shoulder, you know… (transc. by Javelinbk)

John, Paul and George at the Carroll Levis show ^^

[dateinthelife]

30 November 1958

Johnny and the Moondogs perform on Manchester for its talent contest/concert TV Star Search. John performs without a guitar, one arm each around Paul and George, not because he didn't have a guitar but because he'd stolen the one he did have at the last such concert and was afraid it would be recognized.

[despertarsabiendo]

The Beatles: La banda que revolucionó la música para siempre

The Beatles fue el grupo británico de rock y pop más admirado de la década de 1960 y uno de los más influyentes en la historia de la música moderna. A pesar del paso del tiempo, su legado sigue más vivo que nunca. El origen de una leyenda Si bien se suele establecer 1962 como el año en que la banda consolidó su formación estable, su historia comenzó mucho antes. John Lennon, Paul McCartney,…

[evilrobotdog]

Johnny and the Moondogs

[javelinbk]

Half Agony, Half Hope

A canon-divergent AU, inspired by Jane Austen’s Persuasion.

In the summer of 1959, Paul’s life is perfect. He has his music, his new band, and his first true love; his song-writing partner, his best friend. John. But then autumn comes, and Paul’s dad convinces him that his dreams are nothing but a foolish fantasy, and that he needs to grow up, get a real job, a real life. Five years later, John is an international music sensation, his band taking the world by storm. And Paul? Paul is exactly where John left him, working a dead-end job, no family, no prospects, no life. And then one day, John comes back to town…

The playlists…

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Chapter 6

Chapter 7

Chapter 8

[tavolgisvist]

The song [“Dig a Pony”] is about the affection and the heights of feeling two people can share. By approaching the emotions tangentially, Lennon expresses a sense of the impossible made possible, the liberation of ideas set off when love rushes through the imagination. (There’s even a backhanded allusion to an early Beatles name, Johnny and the Moondogs, when Lennon sings “I pick a moondog. . . .”)

Everything points toward the refrain, where Paul’s upper harmony joins John for the exultant “All I want is you . . . Everything has got to be just like you want it to _ . . . because.” Lingering on the word “to _,” they reverse the blend they achieved on “Two of Us”: even on the reiterated vowel phrases, when he rises in perfect symmetry with John, Paul complements his partner more than he defines his own space in the sound.

Again, it’s unlike almost any other blend they reach together—Paul makes himself almost invisible.

The beat has a terrific sense of gravity to it, as though the direction embedded in the central lick carries the band. Downbeats land with a satisfying give, and the transitions have an inevitable pull to them. They rise to the swell at the end of the verse with the line “I told you so,” and it swings them right into “All I want is you!”

The whole song comes to a halt as John and Paul finish the refrain and Ringo starts things up again (after the final “Everything has got to be just like you want it to . . . because”), playing out the energy implicit in the silence the singers take between their words. (They haven’t had a caesura like this since the end of “She Loves You.”) The second time, when the break leads them into George’s guitar solo, the two of them hoot openly.

After the last refrain, they return to the opening lick to take them home, and play the revolving figure out to the end, landing on that last chord with all the bounce and oomph that has accumulated. Fiddling with their final notes and holding out faint “oohs,” the Beatles dissolve into chatter (“Thank you, brothers,” John says) as if they were playing it just for themselves.

(Tell Me Why by Tim Riley, 1998/2002)

[billboard-hotties-tourney]

Good news, everyone: we'll be able to debut the finals tonight. Thank you for your patience in this time, it's greatly appreciated.

But before the finals begin, it's time to present the Billboard Consolation Prizes...

*cue Hot Chocolate's "Every 1's a Winner"*

We have fourteen awards to give out this tourney; some were voted upon by the followers of the tourney, some were given out directly.

The first award is one that the fans voted on: The Powerful Mustache Award. This award goes out to the competitor that had the sweetest, sickest 'stache in the game. There were a few nominees that had the lead at some point in the voting, but the winner ended up being...

Frank Zappa! Congratulations, I'm sure some people will Freak Out over this win.

Next is the Failure to Launch Award. This one goes out to the round-one loser that had the most submissions to be in the tourney. With five user submissions (and no wins in this tourney,) the winner of this award is...

Elvis Presley! Elvis unsurprisingly lost out in the first round to Johnny Cash on the Johnny Cash website, but now he has an award for it.

The next award is the Who? What?? Award! The Who? What?? Award goes to the most obscure/strangest submission in the tournament--no shade here, he's a cool dude. This award was originally going to be a user vote, but I figured that nobody else could possibly take the title except...

The one and only Moondog! Shout-out to the one who submitted him in the first place for introducing me and undoubtedly others to this musical character.

Our next award is the Mama's Boy Award! For those of you who haven't seen I Love New York (most of you, I'm assuming; I think the venn diagram for lovers of vintage music and VH1 reality TV is two circles), the Mama's Boys were those contestants handpicked by New York's mom...and in this case, the Mama's Boys were picked by me! If you remember at the beginning of this tournament, I added more contestants to bring the total number of men to 256. These were musicians and singers who were so famous that it was baffling that it wasn't there, or perhaps they were added to round out some band lineups (newsflash: John Bonham and John Deacon were Mama's Boys.) Some were also added to throw in some characters that were significant in music that you might not have thought of, like Jorge Ben, Arthur Lee, or Richie Havens.

Now that I've explained who could be in the running for the Mama's Boy Award, I'll explain how you win: by making it farther than the rest of the contestants selected by the pollmaster. That distinction goes to...

Mickey Finn! Mickey made it to round five without having been nominated by the public, but was bested by Billy Preston.

In a similar vein to the last award, next we have the Spanish Inq-

Next we have the Spanish Inquisition Award. This one was a fan vote, and it went to the competitor that nobody expected to make it as far as they did. Overwhelmingly, the votes went to...

Bruce Springsteen! ...Bruce Springsteen? I can honestly say I didn't expect that result.

Next is the Crossover Award! In the days of yore, a crossover artist was one that was marketable, or could chart, in more than one music chart. In the modern age (or at least in this tourney,) a crossover artist is one that can qualify for more than one tournament. The nominees of this award, one that has been awarded based on fan vote, were all also featured in @hotvintagepoll as well. This award, like the tourney, was based on hotness, and the winner is...

Elvis Presley! This is Mr. Presley's second nomination and second win. (Didn't make it out of round one but he's doing pretty well here.)

Next award is the No Help Required Award. This award goes to the contestant that made it farthest in the tournament without having propaganda submitted during or between rounds--that means nothing on the post, nothing in the propaganda tag. The winner of this impressive feat is...

Stevie Wonder! Stevie made it to the quarterfinals without the help of propaganda, but was ultimately defeated by David Bowie.

The next award, voted on by the fans, also had a surprising winner. This one is the Robbed Icon Award. I asked voters to think of the contestant whose elimination was the most unfair...maybe he was up against a guy you thought was gross, maybe he didn't have enough propaganda, maybe he was just hotter in the 80s and hadn't grown into his looks yet. The votes are in, and the award goes to...

David Bowie! The amount by which he lost was a shock, but he had a most worthy opponent. David, you make a lovely third alternate.

Next is the Multi-Instrumentalist Award. Many of our contestants choose to be a master of one skill, be it guitar, vocals, songwriting, piano...but some would rather be a jack of all trades (and maybe a master of one or two? This is a bad metaphor right now.) I chose a handful of contestants who could truly be considered great multi-instrumentalists, and asked you to say which one was hottest. Without a doubt, the winner is...

George Harrison! Most known for playing guitar, George Harrison is said to have been able to play 26 instruments, from the sitar to the glockenspiel.

Next is the Band Assassin Award. Because the pairings were random, there was always a chance that a contestant's opponents might have something in common with each other (weirdly, Ron Mael both defeated and was defeated by David Jones.) Two contestants, however, each defeated two members of the same band, both wiping out half a lineup. The TWO winners are...

Paul McCartney and Jimi Hendrix! Paul McCartney beat two members of The Monkees (Peter Tork and Micky Dolenz) in rounds one and two, and Jimi Hendrix took out half of Queen (Brian May and Freddie Mercury) at the same time in the quarterfinals.

Our next award is the All Together Now Award. As you've probably noticed, there were several complete band lineups in the Billboard Hotties Tourney. While some were completed by yours truly, some were all submitted by the voters! This award goes to the first band to have its complete lineup submitted by viewers like you (thank you!) The winner is...

The Who! Roger Daltrey, John Entwistle, Keith Moon, and Pete Townshend were all submitted by you guys, Keith Moon being the last to round out the lineup. The Monkees were the second group to have their whole band submitted.

In the grand tradition of many beauty pageants, this tournament has a Mr. Congeniality Award. Now, it's a little hard to judge the contestants themselves, as they're unaware of the poll's existence and/or are dead, so we won't be judging their decorum today. Instead, this one goes out to the fans of the contestant. Each poll is going to have its tantrums, but for the most part, this musician had fans who were hilarious, kind, and generally well-behaved. Mr. Congeniality goes to...

Clarence Clemons! One more time...spotlight on The Big Man.

The penultimate award is The Popular Kid Award. This one goes out to the contestant that had the most nominations. You'll see why the Spanish Inquisition Award winner surprised me, because the Popular Kid Award winner is also...

Bruce Springsteen! The Boss is the only contestant to crack the double digits, with ten nominations to his name. David Bowie came in second with nine.

Finally, we have the Not Just a Pretty Face Award. Let's face it, it's fun to gush about how cute your favorite singer is or AWOOGA over a bassist every once in awhile, but that's not what music is really about. It's not about the sight, it's about the sound, and that's what this award is for. Voters were asked to pick their favorite musician music-wise for this one, and they overwhelmingly picked...

David Bowie! You may not have won the beauty pageant, but you sure do sound great.

Thanks for playing, everyone! The final poll will go live tonight at midnight PST.

[angelap3]

La storia della Musica

Oggi è il 9 Ottobre ed in questo giorno, nel 1940, a Liverpool, nel Regno Unito, nasceva il musicista John Lennon. Fu cantautore, polistrumentista, paroliere, attore e regista. Fin dagli inizi fu uno dei più rappresentativi membri dei “Beatles”, scrivendo, in coppia con Paul McCartney, i maggiori successi del mitico gruppo. Ebbe un'infanzia travagliata, con la figura del padre praticamente assente fin da subito ed allontanato dalla madre, considerata irresponsabile, dall'età di 5 anni. La zia Mimi che se ne prese cura, accortasi del talento di John nel disegno, quando fu il momento, lo iscrisse al College Of Art di Liverpool, dove John si appassionò alla musica, imparando da autodidatta a suonare l'armonica ed a suonare la chitarra regalatagli dalla madre, la quale gli insegnò i primi accordi al banjo. A 16 anni formò las sua prima band ( I Quarrymen) e proprio durante un concerto con questo suo gruppo, conobbe Paul McCartney, che entrò a far parte del gruppo, e nel quale, dopo un po' entrò anche George Harrison. Nel gruppo entrò infine il bassista scozzese Stuart Sutcliffe, con il quale John Lennon decise un nuovo nome del gruppo, che passando per “Johnny and The Moondogs”, “Beatals”, “Silver Beetles” e “Silber Beatles” arrivò al definitivo “The Beatles”. Il gruppo, nel 1960, era inizialmente formato da John Lennon, Paul Mc Cartney, George Harrison, Stuart Sutcliffe e Pete Best per poi arrivare alla formazione definitiva nel 1962, con l'uscita di Best e Sutcliffe e l'ingresso di Ringo Starr alla batteria, che arrivò ai massimi successi mondiali del secolo scorso. Dopo la sua attività con i Beatles, conclusasi con lo scioglimento del gruppo, nel 1970, oltre che continuare l'attività musicale come leader, fu anche attivista politico e paladino del “pacifismo”, attività che gli causarono varie difficoltà e per le quali fu considerato un sovversivo (con relativi rifiuti di concessione della Green Card in diverse occasioni). John Lennon risulta il cantautore di maggior successo nella storia delle classifiche musicali britanniche ed un sondaggio della BBC del 2002 decretò Lennon all' 8° posto tra le 100 personalità più importanti di tutti i tempi del Regno Unito. Secondo la rivista “Rolling Stone” Lennon viene considerato al 5° posto nella lista dei 100 migliori cantanti e 55° nella lista dei 100 migliori chitarristi. Sia Julian (figlio ottenuto con la prima moglie Cynthia Powell) che Sean (avuto con il secondo matrimonio con l'artista Yoko Ono) hanno seguito la sua attività artistica. Fu ucciso con 4 colpi di pistola da un suo stesso fan, squilibrato, nel 1980, a New York.

Bruno Pollacci

Direttore dell'Accademia d'Arte di Pisa

[aneptuniana]

HEMINGWAY [spotify] - 2h 2min

"how many did you kill, old fish?" - the old man and the sea

"run on for a long time" - bill landford & the landfordaires // "egyptian fantasy" - sidney bechet and his new orleans feetwarmers // "the devil with the devil" - the golden gate quartet // "walk don't run" - johnny smith // "jungle fever" - the mills brothers // "lucky lou" - jody williams // "everglades" - dale hawkins // "west of samoa" - speedy west // "fishing blues" - henry thomas // "tabú" - lecuona cuban boys // "beyond the sea (la mer) - django reinhardt // "my blue heaven" - gene austin // "ode to a cowboy" - the dave brubeck quartet // "it's so peaceful in the country" - mildred bailey // "saeta" - miles davis // "what's the use of getting sober?" - louis jordan // "parisian thoroughfare" - clifford brown and the max roach quintet // "i'm a man" - bo diddley // "flamingo" - charles mingus // "i don't want to set the world on fire" - the ink spots // "bird of paradise" - charlie parker // "bad luck and trouble" - lightnin' hopkins // "man of mystery" - chet atkins // "nobody knows you when you're down and out" - scrapper blackwell // "caribea" - moondog // "satisfied mind" - pete drake // "i've got the world on a string" - bing crosby and the dorsey brothers // "i've got you under my skin" - oscar peterson // "along the santa fe trail" - artie shaw // "in a sentimental mood" - benny goodman // "you rascal, you" - cab calloway // "caravan" - dizzy gillespie // "psycho" - eddie noack // "wouldn't mind dying if dying was all" - washington phillips

[gapless playback and automix on - crossfade 8s]

[crepesuzette2023]

For prompts, how about some: 1. Really sweet, short fluff in Caversham 2. J+P in a rowing boat after they kicked Mike out, inspired by Mike's photo we've been discussing 3. A short outtake from play me one of yours, where Jim sees John doing something actually sweet and kind for John Hope you like any of these!

I do like these! Hmmm, some pillow talk in Caversham...! <3 But also the boat one. Maybe from Mike's POV?! (As he's splashing in the water and watching his older brother and his special friend Johnny Moondog glide away...)

Or John and Paul in a rowing boat by moonlight? Romance AND slapstick? I also like the play me one of yours revisit. Maybe a scene between John and Jim... Thank you again!

(asking for little prompts)

[sheetmusiclibrarypdf]

Happy birthday, Paul McCartney, born on this day in 1942

Best Sheet Music download from our Library.Happy birthday, Paul McCartney, born on this day in 1942Please, subscribe to our Library.Paul McCartney: The Melodic Architect of Modern MusicBrowse in the Library:Paul McCartney - Greatest HitsBrowse in the Library:Paul McCartney discographyPaul & Linda McCartney's Ram (1971): A Cult Masterpiece of Eccentric Charm and Unhinged Creativity

Happy birthday, Paul McCartney, born on this day in 1942

Paul McCartney: The Melodic Architect of Modern Music

Paul McCartney isn't just a musician; he is a cultural force, a compositional genius, and arguably the most successful popular songwriter in history. His journey, spanning over six decades, encompasses the seismic shift of The Beatles, groundbreaking solo and Wings ventures, constant musical exploration, and an enduring legacy that continues to shape the soundscape of popular music. To understand McCartney is to understand the evolution of rock and pop itself. I. Biography: From Liverpool Lanes to Global Icon Born James Paul McCartney on June 18, 1942, in Liverpool, England, his life was marked early by both musical inspiration and tragedy. His father, Jim McCartney, was a jazz pianist and bandleader, filling the home with the sounds of ragtime, George Formby, and American jazz and pop. This early exposure was foundational. Tragedy struck when Paul's mother, Mary, died of breast cancer in 1956 when he was just 14. This profound loss would later surface in his songwriting, most famously in "Let It Be." Music became his refuge. He learned trumpet initially but switched to guitar after seeing Lonnie Donegan and skiffle ignite Britain. A fateful meeting on July 6, 1957, at the Woolton Parish Church Fête changed everything. Introduced to John Lennon's skiffle group, The Quarrymen, the 15-year-old McCartney impressed Lennon (17) by tuning a guitar and knowing the chords and lyrics to Eddie Cochran's "Twenty Flight Rock." He was invited to join shortly after. McCartney brought musical chops and ambition. He convinced Lennon to allow his younger friend, George Harrison, to join, solidifying the core. The band evolved through various names (Johnny and the Moondogs, The Silver Beetles) and members (Stuart Sutcliffe, Pete Best) before settling on The Beatles with Ringo Starr on drums in 1962. Their grueling apprenticeships in Hamburg's red-light district clubs honed their stagecraft, endurance, and musical vocabulary, playing marathon sets covering rock 'n' roll, R&B, and pop standards.

Under the guidance of manager Brian Epstein and producer George Martin, The Beatles exploded globally in 1963-64. McCartney, alongside Lennon, became the engine of their songwriting, crafting an unparalleled catalog that defined the 1960s. The Beatles' journey – from mop-top pop to psychedelic explorers to studio innovators – is well-documented, ending acrimoniously in 1970. Post-Beatles, McCartney faced immense pressure and depression. He retreated to his Scottish farm with his new wife, Linda Eastman (a talented photographer and musician), and their blended family. Determined to start anew, he formed Wings in 1971 with Linda on keyboards and vocals, initially Denny Seiwell on drums, and Denny Laine (ex-Moody Blues) on guitar and vocals. Wings became a vehicle for McCartney's post-Beatles identity, achieving massive success throughout the 1970s despite numerous lineup changes. Linda's death from breast cancer in 1998 was another devastating blow, but McCartney channeled his grief into music and activism. He married Heather Mills (2002-2008) and later Nancy Shevell (2011-present). He remains astonishingly active: touring relentlessly, releasing new albums spanning rock, classical, and electronic music, engaging in visual art, championing animal rights and vegetarianism, and collaborating with artists across generations (Kanye West, Rihanna, Dave Grohl). Knighted in 1997, he is Sir Paul McCartney, CH, MBE – a living legend whose creative fire burns as brightly as ever.

II. The Beatles Crucible: Half of the Greatest Songwriting Partnership The Lennon-McCartney partnership is arguably the most significant in 20th-century popular music. While their collaboration evolved – from intensely close early co-writing to more independent contributions later – their synergy created an unmatched body of work. McCartney's contributions were pivotal: - The Melodist: McCartney possessed an innate, seemingly effortless gift for melody. Tunes like "Yesterday," "Michelle," "And I Love Her," "Eleanor Rigby," and "Hey Jude" are instantly recognizable, timeless, and emotionally resonant. His melodies often carried a sophisticated, sometimes classical, sensibility blended perfectly with pop and rock structures. - The Musical Explorer: McCartney was often the primary driver behind The Beatles' studio experimentation. Fascinated by new sounds and techniques, he championed the use of tape loops ("Tomorrow Never Knows"), orchestral arrangements ("Eleanor Rigby," "A Day in the Life"), musique concrète ("Revolution 9"), and novel instruments (sitar on "Getting Better," Mellotron on "Strawberry Fields Forever"). His bass playing became increasingly innovative and melodic. - The Eclectic Songwriter: While Lennon often gravitated towards raw rock or introspective pieces, McCartney's songwriting showcased remarkable range: music hall pastiche ("When I'm Sixty-Four," "Honey Pie"), hard rock ("Helter Skelter," "I've Got a Feeling"), pastoral folk ("Mother Nature's Son," "Blackbird"), soulful ballads ("Let It Be"), and avant-garde experiments ("Wild Honey Pie"). - The Bass Foundation: McCartney revolutionized the role of the bass guitar in popular music. Moving beyond simple root-note patterns, he crafted melodic, counter-melodic bass lines that were integral to the song's identity – the driving force in "Something," the lyrical counterpoint in "Penny Lane," the complex runs in "Rain," the foundational groove in "Come Together." His bass playing became a lead instrument in its own right. III. Music Style: Melody, Eclecticism, and Optimism McCartney's signature style transcends specific genres, but key characteristics define his musical DNA: - Unparalleled Melodic Genius: His ability to craft unforgettable, singable, and sophisticated melodies is his defining trait. They often feature unexpected yet perfect intervals, smooth contours, and a natural sense of phrasing. - Eclecticism: McCartney fearlessly incorporates diverse influences: rock 'n' roll, R&B, soul, country, folk, classical, music hall, jazz, reggae, electronica, and avant-garde. This refusal to be pigeonholed keeps his music fresh. - Lyrically: Ranges from poignant introspection ("Here Today") and character sketches ("Eleanor Rigby," "Band on the Run") to playful nonsense ("Uncle Albert/Admiral Halsey," "Monkberry Moon Delight"), straightforward love songs ("Maybe I'm Amazed"), and social commentary ("Too Many People"). Post-Linda, lyrics often reflect personal loss and resilience. - Vocal Style: Possesses an incredibly versatile voice – sweet and soaring tenor ("Maybe I'm Amazed"), gritty rock scream ("Oh! Darling," "Helter Skelter"), gentle whisper ("Junk"), and everything in between. His harmonies (with Lennon, later Linda, and others) are legendary. - Instrumental Versatility: Proficient on bass, guitar (rhythm and lead), piano, keyboards, drums, and numerous other instruments. This allows him to build songs from the ground up in the studio. - Underlying Optimism: Even in darker moments, a core sense of hope, resilience, and love often shines through his music ("Let It Be," "Silly Love Songs," "Hope of Deliverance"). IV. Improvisational Licks and Lead Guitar: The Underrated Soloist While primarily known as a bassist and singer, McCartney is a highly capable lead guitarist with a distinct style, often understated but melodically potent: - "Taxman" (Revolver, 1966): His first recorded guitar solo. A snarling, fuzz-drenched, angular burst of controlled aggression, perfectly matching Harrison's acerbic lyrics. It's short, sharp, and highly memorable. - "Good Morning Good Morning" (Sgt. Pepper, 1967): A chaotic, feedback-laden, almost free-form solo mirroring the song's hectic theme. Shows his willingness to experiment sonically. - "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" (Sgt. Pepper, 1967): A driving, bluesy rock solo, full of energy and melodic hooks. - "The End" (Abbey Road, 1969): Takes the final guitar solo in the famous three-way trade-off with Harrison and Lennon. His section is lyrical, flowing, and harmonically rich, showcasing melodic invention over technical flash. - "Maybe I'm Amazed" (McCartney, 1970): While primarily a piano ballad, the soaring, emotionally charged guitar solo is quintessential McCartney – melodic, passionate, and perfectly serving the song. - Style: He favors melodic invention over shredding. His solos often feel like vocal lines translated to guitar – singable, with clear phrasing and a strong sense of the underlying harmony. He uses blues bends sparingly but effectively and often incorporates double-stops and chord fragments. His tone ranges from clean and chimey to heavily distorted, depending on the song's needs. V. Chord Progressions and Music Harmony: Beyond the Basics McCartney's harmonic language is sophisticated yet accessible, moving far beyond simple three-chord rock: - Modal Interchange (Borrowed Chords): Frequently borrows chords from parallel minor/major scales for color and surprise. - "Michelle" (Rubber Soul): The iconic verse uses a descending chromatic line over a static F bass, but the genius lies in the bridge: "I love you, I love you, I love you…" moves from C minor to F minor (borrowed from C Phrygian or F Dorian) to the unexpected and achingly beautiful F# diminished 7th (acting as a passing chord) resolving to G7. This creates a sophisticated, melancholic yearning. Later, the famous "ma belle" section uses a Gm7♭5 (half-diminished) chord – a jazz staple rarely heard in pop then – adding profound depth. - "Yesterday" (Help!): Primarily in F major, but the line "Suddenly, I'm not half the man I used to be" uses an E7 chord (V of vi, a secondary dominant) resolving unexpectedly to A minor (the vi chord), creating poignant tension. - "Penny Lane" (Magical Mystery Tour): The line "Behind the shelter in the middle of the roundabout" features a sudden shift to B major (the non-diatonic III chord in Bb major), creating a bright, unexpected lift. - Secondary Dominants: Used extensively to create stronger pulls towards non-tonic chords. - "And I Love Her" (A Hard Day's Night): The verse progression (Am | Dm | G | C | F | Bdim | E7 | Am) uses E7 (V of vi) leading strongly to Am (vi). - "I've Just Seen a Face" (Help!): Uses numerous secondary dominants (like the G7 leading to C in the key of D) to propel the energetic folk-rock feel. - Chromaticism: Weaving chromatic notes and chords smoothly into diatonic progressions. - "Eleanor Rigby" (Revolver): While harmonically driven by the strings, the vocal melody and the stark E minor tonality are punctuated by chromatic movement in the counterpoint ("Ah, look at all the lonely people"). - "Hello, Goodbye" (Magical Mystery Tour): The outro's famous "Hela hey" chant uses a simple but effective chromatic descent in the bass (G, F#, F, E). - Unexpected Cadences: Avoiding the predictable V-I. - "Blackbird" (White Album): Resolves phrases with deceptive cadences (V-vi) or moves from the IV chord (F) directly back to the tonic (G) without the dominant. - "Junk" (McCartney): Features gentle, meandering progressions with unresolved tensions and plagal ("Amen") cadences. - Bass-Led Harmony: As a bassist, he often constructs harmony from the bottom up. His bass lines frequently imply chord extensions (7ths, 9ths) or create passing chords through chromatic movement ("Something," "Come Together"). VI. Influences: A Rich Tapestry McCartney's musical DNA is woven from countless threads: - Early Rock 'n' Roll & R&B: Little Richard (vocal style, energy), Chuck Berry (guitar, song structure), Elvis Presley, Buddy Holly (songwriting, persona), Fats Domino, Carl Perkins, The Everly Brothers (harmonies). - American Pop & Jazz: Broadway show tunes (Gershwin, Porter, Rodgers & Hammerstein), standards sung by his father (e.g., "Stairway to the Stars"), jazz greats like Miles Davis and John Coltrane (influencing later harmonic exploration). - British Music Hall & Skiffle: George Formby, variety show tunes, Lonnie Donegan. - Classical Music: Bach (counterpoint, structure), Stockhausen and Cage (avant-garde spirit), Delius, Vaughan Williams (pastoralism). - Contemporary Peers: Motown (The Temptations, Smokey Robinson), Stax/Volt (Otis Redding), Bob Dylan (lyrical depth), The Beach Boys (Pet Sounds specifically, inspiring Sgt. Pepper's studio ambition).

VII. Legacy: The Enduring Melody Paul McCartney's legacy is monumental and multi-faceted: - Songwriting: He co-wrote the most influential and successful song catalog in popular music history with Lennon. His solo/Wings output adds hundreds more classics. His melodic gift is unmatched in pop/rock. - Bass Playing: Revolutionized the instrument, elevating it from a rhythmic anchor to a melodic and harmonic force. Influenced countless bassists (Sting, Geddy Lee, John Deacon, Flea). - Studio Innovation: A pioneer in using the recording studio as an instrument, pushing boundaries in production, arrangement, and sonic experimentation with The Beatles and beyond. - Musical Longevity & Relevance: Sustained massive success across six decades, constantly evolving and collaborating, remaining a major touring and recording force into his 80s. - Cultural Icon: Embodies the optimism, creativity, and transformative power of 1960s music. A symbol of British culture and popular music's global reach. His life story is intertwined with modern history. VIII. Works: Beyond The Beatles McCartney's post-Beatles output is vast and varied: - Solo Albums: McCartney (1970), Ram (1971 - with Linda), McCartney II (1980), Tug of War (1982), Flaming Pie (1997), Chaos and Creation in the Backyard (2005), Memory Almost Full (2007), New (2013), Egypt Station (2018), McCartney III (2020). - Wings Albums: Wild Life (1971), Red Rose Speedway (1973), Band on the Run (1973), Venus and Mars (1975), Wings at the Speed of Sound (1976), London Town (1978), Back to the Egg (1979). - Classical/Orchestral Works: Liverpool Oratorio (1991), Standing Stone (1997), Working Classical (1999), Ecce Cor Meum (2006), Ocean's Kingdom (2011). - Electronic/Experimental: Strawberries Oceans Ships Forest (1993 - as The Fireman, with Youth), Rushes (1998 - The Fireman), Electric Arguments (2008 - The Fireman). IX. Filmography: On Screen and In Sound - Acting: A Hard Day's Night (1964), Help! (1965), Magical Mystery Tour (1967 - also director), Let It Be (1970), Give My Regards to Broad Street (1984 - also writer/producer). - Documentaries: The Beatles Anthology (1995), Wingspan (2001), The Love We Make (2011), Good Evening New York City (2009), McCartney 3,2,1 (2021). - Music Films: Live and Let Die (Theme Song, 1973), Vanilla Sky ("Vanilla Sky" song, 2001). - Animation: Yellow Submarine (1968 - voice/music), Tropic Island Hum (short, 2003). X. Discography Highlights (Solo/Wings): - Band on the Run (1973) - Critically lauded, multi-platinum, featuring "Jet," "Bluebird," "Let Me Roll It," "Mrs. Vanderbilt." - Ram (1971) - Cult favorite, eclectic masterpiece ("Too Many People," "Uncle Albert/Admiral Halsey," "The Back Seat of My Car"). - McCartney (1970) - Intimate, home-recorded debut ("That Would Be Something," "Every Night," "Maybe I'm Amazed"). - Venus and Mars (1975) - Polished Wings rock ("Listen to What the Man Said," "Rock Show," "Magneto and Titanium Man"). - Tug of War (1982) - Star-studded comeback ("Ebony and Ivory" with Stevie Wonder, "Take It Away," "Here Today"). - Flaming Pie (1997) - Late-career gem ("The World Tonight," "Young Boy," "Beautiful Night"). - Chaos and Creation in the Backyard (2005) - Acclaimed, introspective work ("Fine Line," "Jenny Wren," "Riding to Vanity Fair"). - Egypt Station (2018) - No. 1 Billboard debut ("I Don't Know," "Come On to Me," "Fuh You"). - McCartney III (2020) - Pandemic-era solo recording ("Find My Way," "Women and Wives," "The Kiss of Venus"). XI. Most Known Compositions & Performances: - With The Beatles (Lennon-McCartney): "Yesterday," "Hey Jude," "Let It Be," "Penny Lane," "Eleanor Rigby," "Michelle," "Blackbird," "Can't Buy Me Love," "All My Loving," "And I Love Her," "I Saw Her Standing There," "Helter Skelter," "Get Back," "The Long and Winding Road," "Sgt. Pepper's Lonely Hearts Club Band," "A Day in the Life" (co-written, primary music for orchestral crescendo sections), "She Loves You," "I Want to Hold Your Hand." - Solo/Wings: "Maybe I'm Amazed," "Live and Let Die," "Band on the Run," "Jet," "Silly Love Songs," "Let 'Em In," "Listen to What the Man Said," "My Love," "Uncle Albert/Admiral Halsey," "Another Day," "Junior's Farm," "Mull of Kintyre," "Ebony and Ivory," "Say Say Say" (with Michael Jackson), "No More Lonely Nights," "Pipes of Peace," "Coming Up," "Wonderful Christmastime." - Iconic Performances: The Beatles on The Ed Sullivan Show (1964), Shea Stadium (1965), Rooftop Concert (1969); Wings Over America Tour (1976); Live Aid (1985); "Car Pool Karaoke" (2018); Glastonbury Festival (2022). The Ever-Present Beatle Paul McCartney's story is one of relentless creativity, profound musical intelligence, and an unquenchable passion for making music. From the sweaty clubs of Hamburg to the rooftop of Savile Row, from the pastoral calm of "Ram" to the orchestral bombast of "Live and Let Die," his journey has constantly pushed boundaries while retaining an uncanny knack for melody that connects with millions. Read the full article

[bamboomusiclist]

4/7 4/8 おはようございます。Zapp / Computer Love 0-20440 等更新完了しました。

Claude Williamson / Claude Williamson Trio h6502 Johnny Smith / Jazz at Nbc Rlp413 Harry Leahey / Silver Thread n1042 Norman Granz / Jamming for Clef Mgc4005 John Jenkins / Jazz Eyes MG12201 Johnny Clarke / Girl I Love Yo Johnny Clarke / Wondering irc8005 Prince Jammy / Uhuru in Dub cslp2 Bunny Wailer / Arab Oil Weapon 12-NH-1001 Linval Thompson / Follow My Heart Br1006lp Hugh Mundell / Africa Must Be Free by 1983 Augustus Pablo / East of the River Nile pbl1003 日野皓正 / Hi Nology sl-5104n 坂田明 / Tenoch Sakana yp2502n 石川晶とザゲンチャーズ / Golden Drum CD-5016 Oscar Peterson / At The Stratford Shakespearean Festival MV4011 Stan Getz And J.J. Johnson / At The Opera House MV4017 Tal Farlow / The Swinging Guitar Of Tal Farlow MV4018 Soesja Citroen / Sings Thelonious Monk tpr30001 Peggy Lee / Basin Street East sm1520 Dave Pike / Manhattan Latin dl74568 Mitch Kerper / A Real Melody cv001 Phineas Newborn Jr / the Great Jazz Piano s7611 Gary McFarland / Soft Samba Strings v6-8682 Dizzy Gillespie / Dizzy Rollins & Stitt V8477 Tete Montoliu / Jazz 30148B/30147B Gene Harris / In A Special Way Bn-la634g Ron Carter / Uptown Conversation Sd521 John Stevens / Touching On vs105 Zapp / Computer Love 0-20440 Bob Dylan / John Wesley Harding sbpg63252 Bob Dylan / Nashville Skyline kcs9825 Moondog / Moondog s63906 Charlie Ventura / Carnegie Hall Concert 23MJ3397 Anita O'Day / Anita MV4023 Anita O'Day / Anita Sings The Most mv4022

[majorlycelliers]

Random rock facts for you!

Before becoming "The Beatles," the band from Liverpool was known as "Johnny and the Moondogs".

In 1984, when Ozzy Osbourne was on a drug and alcohol fueled tour, he took a straw and used it to snort a line of ants

When Slash was 8 years old he walked in on David Bowie having sex with his mother

HEHEHEHE I KNOW ABOUT THESEEE THEY ARE SO SILLY LOL

thanks for the facts hehe

[koushizzy]

omggg johnny and the moondogs! i remember learning about that one

Some of my favorite proto-Beatles band names

[firewireblog-blog]

We Are The Beatles (Ordinary People Change The World) By Brad Meltzer

John Lennon, Paul McCartney, George Harrison, and Ringo Starr were four kids from a small town in England who loved music. They began as Johnny and the Moondogs, and they weren’t very good. But these teens who loved music more than anything kept working at their craft and playing on any small stage they could find. And eventually they became the most recognizable, most influential rock and roll…

[javelinbk]

I really loved the new chapter!!! The flashback tugging at my heartstrings, jp reminiscing, paul coming up with a word for John's song, them constantly ogling each other, paul letting loose on the dancefloor... so much goodness!!! I might want to kill johnny moondog with hammers and shake paul like a ragdoll to put some sense into him, but that's the best part of the reading experience! I know the delicious resolution you're cooking will be soooo rewarding <3

Thank you! I always struggle with middle chapters and didn't really like the flow of this one, but I do like a lot of the moments in it. All my chapters are my children, even the troubled ones!

And you're so right about Johnny Moondog… what a dick

(p.s. has anyone actually spotted what John's song was yet?)