Allan Williams, the Beatles’ first manager (aka “the man who discovered the Beatles"), passed on last week.
In August 1960, Williams booked the young Liverpool band for a three-month residency in Hamburg, Germany, where they transformed themselves from a raggedy dance band into a tight concert act, which put them on the map in Liverpool as a top draw. As a result, we can safely say: no Allan Williams, no Beatles.
By the following spring the band dropped Williams in a contract dispute and eight months later picked up the more urbane Brian Epstein to manage them. In truth, there would be no Beatles without either Williams or Epstein. One kept them alive in their scuffling days; the other cleaned up their act, found them national gigs, and got them a record deal which helped launch them to international fame.
One lesson here is that a business may need one kind of management to get it off the ground, but another kind to get it into the global market. This week let us give thanks to the former. RIP, Alan Williams.
It’s great to see the pop music community continue to resist the roar from the cave in American politics, as we await the changing of the guard in two weeks. Rock/pop artists are not always paragons of virtue, but they can be counted on to speak out against the most virulent forms of prejudice they witness. The campaign of the President-Elect has promoted the most toxic brew of racism, jingoism, xenophobia, bigotry, and sexism I've seen in American politics in my lifetime, so it's no wonder the PEOTUS can’t find a single A-list entertainer to play at his inauguration, as mentioned here.
A funny thing happened on the way to the U.S. presidential inauguration. No rock star has offered to perform for it. And no pop artist of substance has agreed to play either. Their collective silence has been deafening.
In a recent post I predicted that the rock/pop community would take the lead in the mounting protest against the President-Elect. But I didn’t think it would happen so quickly. Unlike in the past—when, for example, U2, Bruce Springsteen, and Stevie Wonder played at Obama’s first inauguration—not one A-list act has agreed to show up this time, and the PEOTUS is not pleased.
The Prexy-to-be has had to settle for the Mormon Tabernacle Choir who, based on past performance at least, are unlikely to kick out the jams or rock the house.
In some cases this snub may be simple economics. The top stars understand a fundamental business lesson of rock: don't risk a fan backlash by appearing to endorse a cause or celebrity that is antithetical to their values. (In marketing terms, they don't want their brand to go negative by association—as I once wrote about here.)
Talking to many blog readers this week, I'm realizing how many of you are looking for a respite from the post-election madness and the holiday blues. (Or is it the post-election blues and the holiday madness?)
Either way, you've come to the right place. For a wonderful four-minute escape, check out this video of a Chicago tune performed by a Ukrainian cover band, Leonid & Friends. This is SO charming I couldn't resist!
I have to admit that Chicago was not one of my favorite groups. A bit too much of a lounge band for my rock & roll tastes when I was younger. But from watching L&F meticulously reproduce the finer points of the arrangements I can better appreciate Chicago’s craftsmanship. (If you want more, here's a cover of a rockier Chicago hit.) Of course I love the fact that some of these dudes are older than me!
And what's the business lesson here? Quality is quality. It stands the test of time, even when Philistines (like, uh, me) don’t appreciate it at first. Through their flawless performance, Leonid & Friends have demonstrated their own virtuosity as well as the brilliance of Chicago’s compositions and arrangements.
Here’s another point: great artists, craftsmen, and innovators often begin by closely imitating—sometimes painstakingly replicating—the work of others. That’s one way to “get good.” I predict that this cover band will—if they haven’t already—become first-rate musical arrangers and players.
I’ve written before about the controversy surrounding the authorship of “Jingle Bell Rock.” Here's an update.
Singer Bobby Helms and renowned session guitarist Hank “Sugarfoot” Garland maintained till their dying days that they wrote it but were denied songwriting royalties. (See my 2013 post, “Jingle Bell Robbery.”)
This week I spoke with Hank Garland’s younger brother Billy and heard for the first time about the threats against Hank's life when he began speaking out against the music publishing scams and overall corruption of the Nashville music business in the 50s. (Such corruption was not limited to Music City of course, but Nashville had its own “small-town” brand of it.)
According to Billy, the career-ending auto crash that Hank suffered at the wheel of his Chevy Nomad station wagon in 1961—and the many electro-shock treatments he received during his recovery—were all part of the fix to keep him quiet. (Hank believed a gunshot blew out his tire, an eyewitness saw a man nearby with a rifle, and photos of his damaged car show bullet holes in the window.) The story is captured—with some artistic license—in the 2008 independent movie, “Crazy,” starring Waylon Payne and Ali Larter. Meanwhile Bobby Helms, who also complained about lost royalties, had numerous threats against his career and never regained his stature as a recording star.
Ok, I admit this isn’t one of John Lennon’s more coherent tunes, but it does serve to get us into the discussion: “Revolution” is trending again.
Some use the term to describe what’s happening in the U.S. as Donald Trump prepares to take over as President in January. “Revolution” is defined as "a violent overthrow of government," but most people are using the term to mean a radical change in the governing system. The Prez-elect has used the term himself, leading many of his supporters to expect no less in the months ahead.
In the Presidential primaries earlier this year, Bernie Sanders was talking revolution too. His proposed revolution was from the Left, while Trump’s revolution is mostly from the Right, though much of the attention-deficited American electorate seems to have missed the polarity there.
At any rate, those voters from either side who feast on the revolution sauce seem to forget how the US system of government was designed to retard radical change, given the checks and balances built into the government and even into the larger “system.”