“Elton John’s Greatest Hits” reaches #1

Year
1974
Month Day
November 30

On November 30, 1974, Elton John’s Greatest Hits began a 10-week run atop the Billboard 200 pop album chart on its way to selling more than 24 million copies worldwide.

Elton John was born and raised as Reginald Dwight in suburban London, and if you’d rearranged his DNA or his childhood environment just a bit, he might have become an RAF fighter pilot instead of one of the biggest pop stars of all time. His father, Stanley, wanted young Reginald to follow his footsteps into the British military, but his mother Shirley Dwight’s Elvis Presley records sparked his interest in rock and roll, and her uncritical devotion made it possible for the bespectacled boy to pursue his dream of rock stardom without discouragement. And he displayed remarkable tenacity in pursuing that dream, even to the point of ruining his vision by wearing a pair of Buddy Holly-style eyeglasses until his eyes adjusted to their strong prescription.

An accomplished pianist with a gift for composing original melodies, Reg Dwight toured extensively with a band called Bluesology while still a teenager in the mid-1960s, but his path toward stardom really began when he landed a 9-to-5 songwriting job at DJM Records in 1967 and was paired with a lyricist named Bernie Taupin. Taking the stage-name Elton John in 1969, Dwight began recording original material written with Taupin while still turning out bland, commercial ballads by the hundreds as part of his day job. His debut album, Empty Sky (1969) failed to catch on in the UK and was not released in the United States until years later, but his follow-up, Elton John (1970), was a breakthrough smash thanks to “Your Song,” his first top-20 hit on both sides of the Atlantic.

Over the next four years, John would produce new material at a rate that is utterly astonishing by today’s standards. Prior to the November 1974 release of Elton John’s Greatest Hits, he released six full-length studio albums—Tumbleweed Connection (1970), Madman Across the Water (1971), Honky Château (1972), Don’t Shoot Me I’m Only the Piano Player (1973), Goodbye Yellow Brick Road (1973) and Caribou (1974)—and scored 14 American top 40 hits, 10 of which were included on the greatest-hits album that reached #1 on this day in 1974.

Over the subsequent decades of his phenomenal career, Elton John would release further volumes of greatest hits, sell tens of millions of albums worldwide and establish an American chart record that may never be equaled by placing at least one hit on the Billboard Top 40 in each of 30 consecutive years from 1970 through 1999.

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Elvis Presley records “That’s All Right (Mama)”

Year
1954
Month Day
July 05

History credits Sam Phillips, the owner and operator of Sun Records in Memphis, Tennessee, with the discovery of Elvis Presley, which is perfectly fair, though it fails to account for the roles of four others in making that discovery possible: The business partner who first spotted something special in Elvis, the two session men who vouched for his musical talent and the blues figure who wrote the song he was playing when Sam Phillips realized what he had on his hands. The song in question was “That’s All Right” by Arthur “Big Boy” Crudup, and Elvis’ unrehearsed performance of it—recorded by Sam Phillips on July 5, 1954—is a moment some regard as the true beginning of the rock-and-roll revolution.

The sequence of events that led to this moment began when a young truck driver walked into the offices of Sun Records and the Memphis Recording Service on a Saturday night in the summer of 1953 and paid $3.98 plus tax to make an acetate record as a birthday present to his mother. Sam Phillips recorded Elvis singing “My Happiness” and “That’s When Your Heartaches Begin,” and he told his business partner Marion Kreisler something that made her write down “Good ballad singer. Hold” in her notes. It was Kreisler who was impressed enough by the incredibly shy young singer that she repeatedly brought his name up to Phillips over the next year and mentioned that he seemed worth following up with. In early July 1954, Phillips finally sent two of his favorite session musicians, guitarist Scotty Moore and bassist Bill Black, to go meet with Elvis and report back to him with their assessment. After talking and jamming a bit with Presley, Moore and Black gave Phillips a report that was hardly enthusiastic. “He didn’t knock me out,” Moore told Phillips, “[but] the boy’s got a good voice.” Phillips decided to take a flyer and schedule a recording session with Presley for July 5.

Phillips knew that something was brewing in the music world of 1954, and he had a pretty good idea what it would take to make the pot boil: A white singer who could sing “black” rhythm and blues. However, the first several hours of the July 5 session did nothing to convince Sam Phillips that Elvis was the one he’d been looking for. Elvis’s renditions of “Harbor Lights” and “I Love You Because” were stiff and uninspired, and after numerous takes and re-takes, Phillips called for a break. Rather than shoot the breeze with his fellow musicians or step outside for a breath of fresh air, Elvis began to mess around on the guitar, playing and singing “That’s All Right,” but at least twice as fast as the original.

Through an open door in the control room, Sam Phillips heard this unfamiliar rendition of a familiar blues number and knew he’d found the sound he’d been looking for. “[Phillips] stuck his head out and said ‘What are you doing?’” Scotty Moore later recalled. “And we said, ‘We don’t know.’ ‘Well, back up,’ Sam said, ‘try to find a place to start, and do it again.’”

Phillips continued recording with Elvis over the next two evenings, but he never captured anything as thrilling as he did that first night. Released to Memphis radio station WHBQ just two days after it was recorded, and then as a single two weeks later, Elvis Presley’s “That’s All Right (Mama)” became an instant regional hit and set him on his path toward stardom.

READ MORE: 7 Fascinating Facts About Elvis Presley

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Ella Fitzgerald wins Amateur Night at Harlem’s Apollo Theater

Year
1934
Month Day
November 21

On the evening of November 21, 1934, a young and gangly would-be dancer took to the stage of Harlem’s Apollo Theater to participate in a harrowing tradition known as Amateur Night. Finding herself onstage as a result of pure chance after her name was drawn out of a hat, the aspiring dancer spontaneously decided to turn singer instead—a change of heart that would prove significant not only for herself personally, but also for the future course of American popular music. The performer in question was a teenaged Ella Fitzgerald, whose decision to sing rather than dance on this day in 1934 set her on a course toward becoming a musical legend. It also led her to victory at Amateur Night at the Apollo, a weekly event that was then just a little more than a year old but still thrives today.

Born in 1917 in Newport News, Virginia and orphaned at the age of 15, Ella Fitzgerald was a high-school dropout and a ward of New York State when she made her way to the Apollo that autumn night in 1934 with two of her girlfriends. “It was a bet,” she later recalled. “We just put our names in….We never thought we’d get the call.” But Ella did get the call, and as it happened, she came to the stage immediately after a talented and popular local dance duo. Afraid that she couldn’t measure up to the dancing talents of the preceding act, Ella was petrified. “I looked and I saw all those people, and I said, ‘Oh my gosh, what am I going to do out here?’” she told National Public Radio decades later. “Everybody started laughing and said, ‘What is she gonna do?’ And I couldn’t think of nothing else, so I tried to sing ‘The Object of My Affection.’”

By her own admission, Fitzgerald was blatantly imitating the singer who popularized that song, Connie Boswell of the Boswell Sisters, and the first few notes were a disaster. Rushing onstage to protect her from the jeers of the notoriously tough Apollo Theater crowd, however, was the famous Amateur Night master of ceremonies, Ralph Cooper, who helped Ella gather her wits and try again. On her second attempt, she brought down the house.

Within the year, Ella Fitzgerald had been discovered by Chick Webb, to whose band she was legally paroled by the State of New York while still shy of her 18th birthday. It was with Webb’s band that she scored her career-making hit, “A-Tisket A-Tasket” in 1938, but it was as a solo performer that she would become a jazz legend in the late 1940s and early 1950s as a revolutionary innovator in vocal jazz.

READ MORE: Ella Fitzgerald and Marilyn Monroe: Inside Their Surprising Friendship

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Four dozen people witness historic Sex Pistols set

Year
1976
Month Day
June 04

It seems millions of people claim to have been at Woodstock when only 500,000 or so were really there, but the biggest pop-culture event of the 1960s has nothing on one of the most pivotal of the 1970s: the Sex Pistols’ appearance at the Lesser Free Trade Hall in Manchester, England, on June 4, 1976. Proportional to the actual crowd in attendance, perhaps no event in the history of pop music has enjoyed greater retroactive audience growth than the one that’s been called “The gig that changed the world.”

By June 1976, the Sex Pistols had been playing together under that name for only seven months, and though their look, their sound and their nihilistic attitude were already in place, they and the entire British punk scene were still a few months away from truly breaking out. They had drawn just enough attention in the British music press, though, to inspire two young men from Manchester named Howard DeVoto and Pete Shelley to go down and see them play in London in February. From this experience, two things happened: DeVoto and Shelley arranged for the Sex Pistols to come up north and play the Lesser Free Trade Hall; and then they formed their own new band, called the Buzzcocks. News of the June 4 gig in Manchester spread mostly by word of mouth, such that on the night of the show, perhaps as few as 40 people showed up in a room that could hold hundreds. In that small crowd, however, were some names that would help shape the course of pop music over the next decade:

Howard Devoto and Pete Shelley: Their band, the Buzzcocks, would go on to enjoy enormous popularity and influence in the UK both during and after the punk era.

Ian Curtis, Bernard Sumner and Peter Hook: The very next day, Hook would buy his first guitar, and the three young Mancunians would become a band. That band—originally called the Stiff Kittens and later Warsaw—was Joy Division, one of the best-known and most influential of all the early New Wave bands.

Mark E. Smith: Following the Sex Pistols gig, he started The Fall, a post-punk band that never had a true hit record but influenced generations of followers from Nirvana to Franz Ferdinand.

Steven Patrick Morrissey, aka Morrissey: The last of these notables to make a name for himself, but one of the most successful, both as leader of The Smiths in the mid-1980s and as a solo artist thereafter.

Tony Wilson: Manchester TV news presenter who would be inspired to start the record label Factory Records, which would help create the thriving Manchester scene of the 1980s and early-90s.

Just a few days after the Sex Pistols stormed Manchester on this day in 1976, they returned to London for gigs on July 4 and 6 that featured two brand-new bands as opening acts: The Clash and The Damned. Three weeks after that, their return gig at the Lesser Free Trade Hall (featuring opening act the Buzzcocks) drew hundreds, as the punk era unofficially opened.

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Fleetwood Mac reunites to play “Don’t Stop” at Bill Clinton’s first inaugural ball


Year
1993
Month Day
January 19

On January 19, 1993, the band Fleetwood Mac reunites to perform at the recently elected U.S. President Bill Clinton’s first inaugural gala.

Fleetwood Mac had faced much intra-band squabbling since their 1970s heyday, why they released one of the biggest albums of all time—Rumours—and a string of decade-defining hits like “Landslide,” “Rhiannon,” “Say You Love Me” and “Go Your Own Way.” And then, of course, there was “Don’t Stop” (as in “thinking about tomorrow”), which was candidate Bill Clinton’s unofficial theme song during the 1992 presidential campaign.

Along with Truman’s “I’m Just Wild About Harry,” Eisenhower’s “I Like Ike” and Ross Perot’s “Crazy,” Clinton’s “Don’t Stop” can certainly be placed within the catchy-and-memorable subset of Presidential campaign songs—in contrast to, say, “Buckle Down with Nixon,”  “Get on a Raft with Taft” and “Huzzah for Madison.” Clinton’s theme song may have lacked specificity regarding his political agenda, but it had a good beat, a warm vibe and a chorus that audiences could sing along to. Fleetwood Mac’s 1977 recording of “Don’t Stop” played in a seemingly endless loop from the night of Clinton’s nomination at the 1992 Democratic National Convention that previous summer through to election night in November, so that by the time January rolled around, the mere playing of the record would have seemed a disappointing way to end the evening of the inaugural ball.

And so the Clinton transition team sprang into action and accomplished a political feat that certainly seemed to bode well for the new president’s ambitious plans to bring peace and stability to Haiti and overhaul the nation’s health-care system. It had been more than five years since Lindsay Buckingham, Mick Fleetwood, Christine McVie and Stevie Nicks had shared a stage, but in a true coup of diplomacy, the Clinton team convinced the entire Rumours-era lineup of Fleetwood Mac to reunite for a truly historic live performance of “Don’t Stop” on this day in 1993.

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Guns N’ Roses make popular breakthrough with “Sweet Child O’ Mine”

Year
1988
Month Day
July 23

In the 1980s, Los Angeles was a mecca for so-called “glam rock” bands and the “sex, drugs and rock and roll” lifestyle with which they came to be associated. On any given night inside clubs like the Troubadour and the Whisky a Go Go, you could not only hear bands like Hanoi Rocks and Mötley Crüe or, later, Winger and Warrant, but you could also witness an expression of that lifestyle as decadent as any the music world had seen. The rise of “grunge” bands like Nirvana and alternative rock effectively put an end to that scene in the early 1990s, but the first blow was struck by one of their own: Guns N’ Roses, the band that made its big popular breakthrough on July 23, 1988, when their first hit single, “Sweet Child O’ Mine” entered the Billboard Top 40.

To the guys in pop-metal groups like Poison, Guns N’ Roses might have seemed at first to be just another fellow hair band, but Axl Rose and the rest of the classic GN’R lineup—Slash, Izzy Stradlin, Duff McKagan and Steven Adler—were interested in rock and roll that was much more raw, angry and honest than what the pop-metal bands were playing. Originally formed out of the ashes of two other groups—L.A. Guns and Hollywood Rose—Guns N’ Roses played in a style that owed much more to the pure hard rock of the 1970s than to the showy heavy metal of the 1980s. Signed to Geffen in 1986, GN’R released their first full-length album, Appetite For Destruction, the following summer, and with it their debut single, “Welcome To The Jungle.” Appetite For Destruction would eventually be certified 15-times Platinum, and “Welcome To The Jungle” would become a massively popular Top 10 hit, but neither the album nor its first single was an immediate success. It took nearly a year of touring and the release of a second single, “Sweet Child O’ Mine,” to earn Guns N’ Roses a place in music history.

Built around an opening riff that GN’R guitarist Slash considered a silly throwaway, “Sweet Child O’ Mine” went on to become not just a #1 hit on this day in 1988, but also a true rock classic. Voted onto “greatest” lists by Rolling Stone, Blender, the RIAA, BBC and the like, “Sweet Child O’ Mine” made stars out of Guns N’ Roses, and it made so-called “power ballads” like Poison’s “Every Rose Has Its Thorn” seem weak by comparison.

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Gene Vincent records “Be-Bop-A-Lula”

Year
1956
Month Day
May 04

When a music critic wants to indicate that a song lacks lyrical sophistication, he or she will often refer to its lyrics as being of the “moon in June” sort. It’s a label left over from the Tin Pan Alley era, when even great composers like Irving Berlin churned out a hundred uninspired Moon/June tunes for every highly original classic like “Blues Skies” or “Puttin’ On The Ritz.” If rock and roll has an equivalent in the area of clichéd lyrics, it is probably “Baby” and “Maybe”—a rhyming pair made most famous in the smoldering early-rock classic “Be-Bop-A-Lula,” which was recorded in Nashville, Tennessee, by the rockabilly legend Gene Vincent on May 4, 1956.

The story of how the decidedly un-complex lyrics of “Be-Bop-A-Lula” got written is shrouded in a certain amount of controversy. Officially, Gene Vincent’s business manager, Bill “Sheriff Tex” Davis, is credited as the co-writer, but Sheriff Tex, a savvy 40-year-old from Connecticut, seems an unlikely source of such naïve gem. The story that has the greater ring of truth credits a young man named Donald Graves—a buddy Gene Vincent made in a Portsmouth, Virginia, Veteran’s Hospital. Vincent—born Vincent Eugene Craddock in 1935—had just reenlisted in the U.S. Navy in the spring of 1955 when he suffered a devastating leg injury in a motorcycle accident. That injury would land him in hospital for more than a year, where a fellow patient remembers Vincent and Graves tooling around the facility working out the song that would eventually become a classic. By the time Gene Vincent’s demo tape reached Capitol Records the following spring, however, Graves had been bought out of his share in “Be-Bop-A-Lula” by Sheriff Tex, reportedly for just $25.

It wasn’t the obvious brilliance of “Be-Bop-A-Lula,” but rather the uncanny resemblance between Gene Vincent’s voice and Elvis Presley’s that explains the speed with which Capitol snapped Vincent up and got him into the studio. In fact, when Vincent and his Blue Caps recorded “Be-Bop-A-Lula” on May 4, 1956, it was as a “B” side to a now largely forgotten tune called “Woman Love.” As soon as disk jockeys began “flipping” Vincent’s debut single, however, “Be-Bop-A-Lula” became a smash, rising to #7 on the pop charts and selling more than 2 million copies in its first year of release.

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