Breaking news is that Levon Helm, the singer and drummer of The Band as well as a solo artist, just passed away, surrounded by family in friends. Heaven just got a great singer and drummer. Check out a recent interview with Helm, and check out this video of “The Weight” with John Hiatt. RIP man.
Also here is Helm’s haunting vocals on “The Night They Drove Old Dixie Down” from Martin Scorsese’s The Last Waltz.
On his Facebook page yesterday, The Band’s Robbie Robertson wrote of going to visit Helm one last time, concluding, “Levon is one of the most extraordinary talented people I’ve ever known and very much like an older brother to me. I am so grateful I got to see him one last time and will miss him and love him forever.” So will we all.
At around 5 a.m. on April 19, 1775, approximately 700 British troops marched toward Lexington, Massachusetts. Their plan was to seize weapons and Patriot leaders Samuel Adams and John Hancock.
As the soldiers approached Lexington, they encountered 77 minutemen with arms. During the encounter, “the shot heard ’round the world” was fired by an unidentified musket, and the Patriots were routed. Eight Colonists died from the battle. Ten more were wounded, with one British solder injured.
But that as not the end of the fight. Due to warnings by Patriots Paul Revere and William Dawes, the British encountered more Patriots on their journey through Lexington and Concord. The result was 300 British casualties by the time they returned to Boston. The American Revolution had begun, and the world would never be the same.
The Beatles’ “Revolution”
Another revolution with both American and British connections is the song, “Revolution,” written by John Lennon and performed by the Beatles. The song was a reaction to political protests occurring in early 1968.
The Beatles released the rock version of the song that you usually hear as a B-side to “Hey Jude” on August 26, 1968. That version, which Rolling Stone ranks as the thirteenth greatest Beatles song, appears at the end of this post.
The Beatles recorded another slower version of the song first. They called this slower version “Revolution 1.” That version appeared on the 1968 double album The Beatles (aka “The White Album“). The band recorded “Revolution 1” before “Revolution,” remaking the song for the single release. Below is the original slow “Revolution 1.”
The White Album also included the experimental “Revolution 9.” The Beatles created this song out of parts of what was originally in “Revolution 1.”
Although the rock “Revolution” did not have quite the same impact as the American Revolution, it did cause some controversy. Many focused on the line, “But when you talk about destruction / Don’t you know that you can count me out.” Some on the far left saw the “out” as a betrayal. And those on the other end questioned the ambiguity of the “Revolution 1” version which stated the line as “count me out . . . in.”
Most agree though that “Revolution” preached a different kind of revolution than the violent American Revolution. The song was still causing controversy in 1987. That year, many Beatles fans hated to see the music they loved being commercialized when “Revolution become the first Beatles song licensed for a commercial (for Nike).
But the legacy of the song is that it will come up anytime someone talks about a revolution. It is the first song you think of when you think about revolutionary changes.
The opening scream of “Revolution” is the revolution heard round the world.
BONUS TRIVIA: The live television performance above appears to be from The Smothers Brothers Show in 1968. Although you see Paul McCartney doing the scream at the beginning of the performance above, on the record Lennon’s voice does the scream. McCartney does the scream in the live video because Lennon could not do the scream and be ready to sing the first line. Finally, do you know how many times does the word “revolution” appear in “Revolution”? Answer will appear in the comments.
What do you think of “Revolution”? Leave your two cents in the comments.
Dick Clark passed away from a heart attack this morning at the age of 82. As a TV host and producer, Clark is known for a number of shows such as New Year’s Rockin’ Eve and the game show The 10,000 Pyramid. But he forever will be considered one of the early great promoters of rock and roll with his show, American Bandstand. Clark originally started out as a substitute host on a local Pennsylvania show Bob Horn’s Bandstand, taking over full time in 1956 and then renaming the show American Bandstand when it moved to ABC in 1957. The show ran regularly — first every weekday and later weekly — through 1987 and then a few more years in syndication. As Clark himself described the show, “I played records, the kids danced, and America watched.”
In this interview from several years ago on Up Close with Patsy Smullin, Clark talks about his career.
I’d like to think that somewhere Clark is sitting in a crowd of teenagers holding up a record album and introducing Buddy Holly. RIP gentlemen.
As reported extensively in the press about the 2012 Rock and Roll Hall of Fame inductions, Axl Rose wanted nothing to do with the induction of Guns N’ Roses due to his differences with the band members. But the show must go on, and it did last night in Cleveland. So here are Guns N’ Roses — Slash, Duff McKagan, Steven Adler, and Gilby Clarke — tearing it up on “Sweet Child O’ Mine”with Myles Kennedy (of Alter Bridge) on vocals.
Green Day’s Billie Joe Armstong inducted Guns N’ Roses, saying, “The thing that set them apart from everybody else was guts, heart and soul. Most important, they told the truth.” At the ceremony, though, none of the band members mentioned Axl Rose by name.
What do you think about Axl Rose rejecting the honor — childish snub or understandable choice not to appear with former band mates? Leave your two cents in the comments.
On April 12, 1954, Bill Haley & the Comets recorded the rock and roll classic, “(We’re Gonna) Rock Around the Clock.” During the recording session, the band spent most of the time on another song. It would be in the final forty minutes of that three-hour session where the band would make history, with a little later help by a 10-year-old kid.
The Rushed Recording Session
The band went in the recording studio for Decca Records that day and worked on the song “Thirteen Women (and Only One Man in Town)” for most of the three-hour session. Finally, with forty minutes left, they turned to “(We’re Gonna) Rock Around the Clock.”
At the start of that forty minutes, the group played “Rock Around the Clock” one time. Then, because the first recording of “Rock Around the Clock” did not sound right, they then ran through a second take, leaving Sammy Davis Jr. in the hallway waiting for his turn in the studio.
Time was running out. So, an engineer was able to put together the two takes to make the classic record we know today.
The Guitar Solo
Because of the rushed nature of the recording of “Rock Around the Clock” the guitarist for the session, Danny Cedrone, did not have time to put together a unique guitar solo for the song. So he stuck in a solo he had used two years earlier with Haley on a song called “Rock This Joint.”
You may hear the familiar solo that Cedrone took from “Rock This Joint” in the video below.
The B-Side Release and Modest Sales
That spring, Decca released “Rock Around the Clock” as the B-side to the song on which the Comets spent most of the recording session, “Thirteen Women (and Only One Man in Town).”
The single “Thirteen Women” and B-side “Rock Around the Clock” had modest sales that year. Perhaps the record would have remained a modest hit if not for a little boy.
Glen Ford’s Son Saves the Song
A 10-year-old named Peter Ford fell in love with the B-side of his new record. Peter eventually played the song for his father, the actor Glen Ford.
Ford was preparing to star in a movie called Blackboard Jungle (1955). Ford took the record, along with some others, from his son’s collection to the movie’s producers (or some accounts have the producers hearing the song at Ford’s home).
“(We’re Gonna) Rock Around the Clock” was selected to be played over the opening credits of the film about juvenile delinquency that also starred Sidney Poitier. With the boost from the movie, “Rock Around the Clock” sold more than a million copies in one month in 1955.
“Rock Around the Clock” Lives On
Twenty years later the song was familiar for another generation when it appeared on the soundtrack of American Graffiti (1973) and was used as the opening of the TV series Happy Days (1974-1984) for its first two seasons.
Funny how a rushed job, a 10-year-old kid, and a little luck created one of the most memorable records of the early rock era. It also helped send the late Bill Haley to the Rock & Roll Hall of Fame. And on April 14, 2012, a few days after the fifty-eighth anniversary of the recording of “Rock Around the Clock,” the Comets were finally inducted too.
What do you think of “Rock Around the Clock” and inducting the Comets into the Hall of Fame? Leave your two cents in the comments.
“). The band recorded “Revolution 1” before “Revolution,” remaking the song for the single release. Below is the original slow “Revolution 1.”
