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Today was the day that music died in 1959


 “Look up in the sky, up towards the north
There are three new stars, brightly shining forth
They’re shining oh so bright, from heaven above
Gee we’re gonna miss you, everybody sends their love”
– Eddie Cochran

The Day the Music Died, dubbed so by Don McLean’s song “American Pie”, was an aviation accident that occurred on February 3, 1959, near Clear Lake, Iowa, killing rock and roll musicians Buddy Holly, Ritchie Valens, J. P. “The Big Bopper” Richardson, and the pilot Roger Peterson. After terminating his partnership with The Crickets, Buddy Holly assembled a new band consisting of Waylon Jennings, Tommy Allsup, and Carl Bunch, to play on the ‘”Winter Dance Party” tour. The tour also featured rising artist Ritchie Valens and Big Bopper Richardson, who were promoting their own recordings as well. The tour was to cover 24 Midwestern cities in three weeks.

daythemusicdied2                 The_Day_the_Music_Died 1

Radio news flash:

Buddy Holly terminated his association with The Crickets and his manager Norman Petty during a reunion in Lubbock, Texas, on November 3, 1958. For the start of the “The Winter Dance Party” tour, he assembled a band consisting of Waylon Jennings (bass), Tommy Allsup (guitar), and Carl Bunch (drums). The tour was set to cover 24 Midwestern cities in as many days. New hit artist Ritchie Valens, J. P. “The Big Bopper” Richardson and Dion DiMucci, joined the tour to promote their recordings and make an extra profit.

Buddy Holly – Peggy Sue:

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Gene Clark released Two Sides To Every Story in January 36 years ago

Gene Clark – Two Sides To Every Story

Released January, 1977
Recorded 1976
Genre Country rock
Label RSO
Producer Thomas Jefferson Kaye

Gene Clark will always be best remembered for years  as a vocalist with the Byrds. A fine legacy to be sure, but the shame of it is that there was far more to Clark’s body of work than that; he was a superb songwriter, one of the founding fathers of country-rock, and recorded a number of fine albums with an impressive array of collaborators whose quality far outstripped their modest sales figures.  (Read more at allmusic.com)

This is an album that has been difficult to get. But now it is finally beeing rereleased on cd (according to Uncut magazine), it was planned released in the summer of 2011, sadly it didn’t happen. I’m hoping all legal issues have been solved now, and that we finally can get a new and, hopefully, remastered version of this forgotten masterpiece. Update: I read somewhere that august 2013 is the new release month for the re-issue, fingers crossed!

Edit: I have done a bit research on different releases, and there appears to have been at least two cd releases before. Well, I cannot find them and have to wait for the much talked about re-release.

I have an old vinyl lp that I have ripped to digital format (I have put the record player away on the loft somewhere…), it doesn’t sound as good but it’s what I got at the moment. I really look forward to getting the re-issue.

Two Sides was Gene Clark’s last solo album for a major label. Signed to RSO Records shortly after his wildly experimental (and occasionally engaging) 1974 Elektra album, No Other, which is often cited as his masterpiece, Clark and producer Thomas Jefferson Kaye released this. Two Sides is a much lower-key affair, and it succeeds on many more levels than the more heralded No Other. Clark’s explorations into country music are much more at home on this album, as tracks such as “Mary Lou” and “Kansas City Southern” demonstrate. Oddly, one of the highlights of this record is a non-Clark composition, the traditional “In the Pines,” which showcases Clark’s brilliant (and underrated) vocal ability. The following year would see Clark team up with ex-Byrd mates Roger McGuinn and Chris Hillman on the forgettable McGuinn, Clark & Hillman project. Two Sides shows Clark in full command of his awesome gifts. Essential for Gene Clark enthusiasts.

– Matthew Greenwald

Two Sides To Every Story came out in January 1977 (exact date ?), and for the most part offered more characteristic Gene Clark country-rock. The ballads are the highlights on the records, especially “Give my love to Marie”, “Hear the wind” and the last two songs on the album are outstandig.

Track listing

  1. “Home Run King” (Clark)
  2. “Lonely Saturday” (Clark)
  3. “In the Pines” (Traditional)
  4. “Kansas City Southern” (Clark)
  5. “Give My Love to Marie” (James Talley)
  6. “Sister Moon” (Clark)
  7. “Marylou” (Obie Jessie, Sam Ling)
  8. “Hear the Wind” (Clark)
  9. “Past Addresses” (Clark)
  10. “Silent Crusade” (Clark)

Give My Love to Marie:

The Critics then didn’t fare well with the album, they were , as always, extremeley negative towards Gene Clark. This didn’t help with his self esteem, and the terrible review in Rolling Stone must have felt like the last nail in the coffin of his career. He never released an album on a major label after this.

Rolling Stone Magazine:

To those who admire Gene Clark, Two Sides to Every Story is a heartbreaker—in the worst way. (“Is this the dullest album ever made?” was my original opening sentence. “Probably” would have been the second.) Lugubrious to the point of laughableness, the once-classy Clark creeps through a series of Gibranian ballads that is so Antonioni-slow the songs actually seem to stop. Dead. Like this. Bereft of either interest or ideas, this plodding work can only be described as California-liturgidical.
Interlarded among the endlessness are some lame bluegrass (“Home Run King,” “In the Pines”), listless rock & roll (“Marylou”) and the worst train song ever (“Kansas City Southern”). Producer Thomas Jefferson Kaye is a great help, offering an interminable supply of nothing but the moldiest clichés.

This is terribly unjust and a review that is not possible to understand when listening to the album. This is an undiscovered treasure, a record that sometimes even surpasses No Other, his masterpiece.

Uncut Magazine:

Even with the chaos and missteps, this is a record that overcomes its flaws, offering moments of hard-won beauty and open-hearted grandeur from an artist fighting for his career.

Sister Moon (audio) with Emmylou Harris:

Featured guest musicians include Emmylou Harris, Byron Berline, Doug Dillard and Al Perkins. Like most of Clark’s albums, it failed to get far on the charts.

Album highlight, Hear The Wind:

– Hallgeir

Posts on Gene Clark at JV

Today: Them Again by Them was released in 1966


Them Again is the second album by Them, lead by singer and songwriter Van Morrison. The album was released by Decca Records in the UK on 21 January 1966 but it failed to chart. In the U.S. it was released in April 1966 where it peaked at #138 on the Billboard charts.

Released 21 January 1966 (UK), April 1966 (USA)
Genre Rock
Length 48:21Decca (UK), Parrot PA 61008; PAS 71008 (USA)
Producer Tommy Scott

It’s a great record and often overlooked and unfavourably compared to Them’s debut. It is allmost as good. You owe it to yourself to check it out.

Two of the original Van Morrison songs included on the album, “My Lonely Sad Eyes” and “Hey Girl”, can be seen as precursors to the poetic musings of Morrison’s later Astral Weeks album, released in 1968. “My Lonely Sad Eyes” begins with the words, “Fill me my cup, and I’ll drink your sparkling wine/Pretend that everything is fine, ’til I see your sad eyes.” The title implies that the sad eyes belong to the singer but the lyrics address the singer’s love interest. It reminds me of Rolling Stones at their most soulful.

My Lonely Sad Eyes:

The song “Hey Girl” has a pastoral feel to it, enhanced by the addition of flutes and in Brian Hinton’s opinion is a “dry run for ‘Cyprus Avenue'” from Astral Weeks.

Hey Girl:

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Today: Bobby Freeman was born in 1940


From Wikipedia:

Bobby Freeman (born June 13, 1940) is an African-American soul singer, songwriter, and record producer who recorded for theAutumn Records label in San Francisco, California. He is best known for his 1958 hit “Do You Want To Dance?” and his 1964 Top Tenhit “C’mon and Swim”.  “Do You Want To Dance?” was covered later (as “Do You Wanna Dance”) by Del Shannon, The Beach Boys,Bette Midler, John Lennon, Cliff Richard, The Mamas & The Papas and the Ramones. “C’mon and Swim” was written and produced by twenty-year-old Sylvester Stewart, later known as Sly Stone.

Freeman began his recording career at age 14 with the Romancers who recorded briefly on the Dootone label. At 17, he scored a hit with “Do You Want To Dance?” and appeared on the pop charts with various follow-ups through 1961. In 1964, he was back in the Top Ten with the dance-craze hit “C’mon and Swim”, which reached #5.

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