Where have all the record stores gone? Memories of OC record stores...

Back in the late '70s and early '80s, I used to spend so much time record shopping in Orange County that I rarely did anything else apart from go to school. I never went camping, never went bowling, never went dancing and didn't get into a whole lotta trouble. Heck, I never went to a strip club, either, and I always wanted to do that! But, there were records to be bought, music to be heard and mixtapes to be made. Hmmmm... come to think of it, I've still never been to a strip club! Any recommendations?

When I went to record stores, it was always with the people that I loved the most: friends and family. Mostly friends, though. My family didn't seem to share the same passion that I had for music. Sure, I'd go to Beggars Banquet on Beach and Ball with my brother Michael and I'd walk to Licorice Pizza on Brookhurst and Chapman with my little sister Kristin, but most of my record shopping was spent with very cool friends.

Below, I've listed a few of my favorite destinations, all of them gone now (apart from the mediocre Pepperland). So many memories attached to the music, the friends and the stores we used to spend so much time in......

MUSIC MARKET: Costa Mesa

I'd go to Music Market (on Harbor and Adams) with Jeff George, Chuck Reddick, Jannette Arnold, Bill Damron, Dana Gohs, Matthew Cibellis and many others. We always had a great time sharing our newly purchased treasures.

Memorable purchases at Music Market include an import copy of Badfinger's Straight Up LP plus hundreds of import and domestic albums by the new wave bands I loved like Four Out Of Five Doctors, The Farmer's Boys, Dexys Midnight Runners, Icehouse, The Keys, Hawks, The Elektrics, Naked Eyes, The Fixx, A Flock Of Seagulls, Fischer Z and many other bands you either don't remember or don't know! Horizontal Brian, anyone?

CAMEL RECORDS: Huntington Beach

I'd go to Camel Records on Beach Boulevard with Jeff, Jannette, Chuck, Matthew and others. I even went to a Fixx instore there with my sister Kristin, I believe? I also remember a Split Enz instore that was cancelled!

Memorable purchases at Camel include China Crisis singles, the XTC/Three Wise Men Christmas single, Wang Chung 12" singles, The Fixx "Saved By Zero" 12" single and much more!

(P.S. During our trip to Camel, we'd always stop by the Mad Greek over on Chapman and Beach. )

LICORICE PIZZA: Garden Grove, Anaheim, Fountain Valley

I would also hit each of the Licorice Pizza's in town on different occasions with Jeff, Jannette, Matthew, Chuck, David Wilcox, Gerardo Marti and whoever else felt like coming along. I remember skipping school ONCE in my senior year and going to the Licorice Pizza in Hollywood with Chuck and his friend Lisa. Didn't have $$, but saw some cool things there. I ended up working at the one on Brookhurst and Chapman.

At the LP in Garden Grove, I remember buying an import copy of the Jam's "Going Underground" double seven inch single when it first came out. And albums from Yachts, Bram Tchaikovsky, The Records, the Clash, The Jam, and many others. At the Fountain Valley location, I bought albums by The Nits, Captain Sensible and more.

RECORD TRADING CENTER (RTC): Orange

Record Trading Center on Tustin was always a favorite, but I'd usually forget how to get there since I never drove in those days! So, I'd usually tag along with a friend of they were going!

Don't remember too much that I bought there cuz they were often times too expensive, but I do remember finding the import copy of Secret Affair's Glory Boys album with a totally different cover (glossy, too) and tracklisting.

MUSIC PLUS: Garden Grove, Westminster and ?

There were a few Music Plus stores we'd go to: Harbor Ave in Garden Grove, the one near Goldenwest College and a few others that slip my mind. Music Plus was almost always good, but it was never an important stop for us. We'd usually go when we'd already hit every other store that week. I remember times with Chuck, Jeff G. and others.

I do remember buying Depeche Mode's A Broken Frame import when it first came out. And The Jam's "Start" seven inch vinyl when that first came out. Both of those were purchased at the Goldenwest one. And I remember a Music Plus on Brookhurst, where I bought the 2nd Laughing Dogs album

TOWER RECORDS: Buena Park

The Tower Records in Buena Park was the place I'd go to before even knowing about all these other record stores (bar Beggars Banquet). Sometimes, I'd even walk there from Garden Grove with a friend or two (namely Fred Grindle, who got egged once while we were walking back from a trek to Tower and Beggars). Tower was the bomb.

Bought albums from A Flock Of Seagulls, Haircut 100, Badfinger, The Rutles, The Residents and so many more. Hell, yeah. I bought TONS of stuff there!

BEGGARS BANQUET: Buena Park

Located on Beach and Ball, Beggars Banquet was the real first 'collectors' store I'd frequent. Obviously, I used to buy Beatles, Elvis and Badfinger stuff there, but then I'd scour the bins for the latest Punk and Power Pop/New Wave releases. I later worked there once a week for about a year (my day off from the bank!)

Totally remember buying the very first Plimsouls EP, Zero Hour. Heard them on Rodney On The Roq and never thought I'd be able to find their record. Lo and behold, there it was up on the wall rack, just waiting for me to buy it

PEPPERLAND: Anaheim

Pepperland was OK, and I went there with many friends but they were usually a last choice unfortunately. At this point in my life, I wanted more than just rare Beatles and '60s releases. It wasn't until later that they began to expand out of the 'collector' realm and into normal, every day releases.

I used to buy a bunch of seven inch singles from there, but don't remember much until the CD age...

Then there was always the great Zed Records in Long Beach, but I don't really consider them part of this immediate area we'd always travel in....

There's so much more to talk about, but I can see that you're getting a tad bit bored, so I'll stop there.

Nowadays, heading out to Amoeba in Hollywood is an amazing trek. It's like combining all my favorite elements from the above record stores into one. But I must admit that it's not quite as magical anymore.

Maybe it's because I don't have $$?

Maybe it's because I don't have time?

Maybe it's because I don't have friends?

Maybe it's just because music isn't as exciting as it was back then?

Hmmmm... give me some time and I'll figure it out...

Happy record shopping!

Stephen SPAZ Schnee

TENPOLE TUDOR/Made It This Far CD Review

For over three decades, I've been a fan of this British gent who goes by the names Ed Tudor Pole and Ed Tenpole. Most people know him as the frontman for Tenpole Tudor, one of the most entertaining and under-appreciated 'Rock' bands of the early '80s.

From the time I heard his wildly eccentric debut recordings on Sex Pistols' The Great Rock 'n' Roll Swindle soundtrack ("Who Killed Bambi?" and 'Rock Around The Clock") to the two albums the band released on Stiff Records in 1980 and '81 (Eddie, Old Bob, Dick & Garry and Let The Four Winds Blow), there was nothing 'average' about Tenpole Tudor. Like Marc Bolan (T.Rex) before him, Eddie took average Rock 'n' Roll chord changes and turned them upside down, adding elements that other musicians were either too stupid or too studied to add to their three-chord rockers. Of course, Tenpole Tudor sounded NOTHING like T. Rex, but both bands took simplicty and created something special out of it.

I was devasted when Tenpole Tudor broke up after their sophomore album. But then I was pleasently surprised when Eddie released his single, "The Hayrick Song", at the same time as his former bandmates, now renamed The Tudors, released their single "Tied Up With Lou Cool"! I was overjoyed that out of one band, we'd be getting two great acts! But alas, that's the last we heard of either of them....

Eddie has continued to be involved with music, although very little info has drifted over to the U.S. He's even been an emcee at Punk shows, festivals and such, which has managed to help remind people of his musical legacy. But before anyone labels Eddie a Punk, think again. Eddie has a DIY/Punk ethic, but his true inspiration lies in Rock 'n' Roll. Tenpole Tudor, the band, were only punks in spirit. Go back and give 'em another listen and you'll hear a great, loud Rock 'n' Roll band with heart.

So, 28 years after their last album, Tenpole Tudor has returned with the excellent 'new' album Made It This Far. The tracks on the album were recorded over a 20+ year period at different studios, with different budgets but the outcome is a treat for fans of the band and the man.

While Eddie remains the only 'original' member of the line-up that created the first two albums, it is very apparent that he was, and will always be, the true heart and soul of the band. The songwriting, dynamics, harmonies and unbriddled energy is still intact, although the huge, sometimes overbearing, wall of guitars from the old days have been stripped away, allowing the songs to breathe a little easier. And the songs are really what matters in the end...

Made It This Far is not a Rockabilly album, nor is it an acoustic album, a Punk album or a straight Rock 'n' Roll album: it is all of these and more! With his energy, attitude, songwriting skills and voice intact, Eddie and his new (and revolving) cast of merry men have created a 16 track album that may the most consistent Tenpole Tudor album to date! Now, don't get me wrong, I still love and stand by the two original albums but almost every track here is more than worthy of the Tenpole legacy and the album has a comfortable flow that allows the listener to drift along with it.

While it may not have the BIG production of the early albums, Eddie has taken his original vision and continued with it regardless of the ever-changing musical landscape. These songs could have been created by no one else but Eddie Tenpole. Or Eddie Tudor Pole. Whatever you wanna call him.

Eddie is at the forefront of every song, although he is ably assisted by guitars, fiddles, bass, accordians, drums and any other instrument they could bring into the studio.

"Yippee Yi Yay", a re-recording of the non-album "Real Fun", "Mohican" and the title track are just a few of the standouts. Eddie's vocal on "Such Desire" is certainly one of his best, proving that he has still got 'it' in spades!

Made It This Far? Yes, you have, Eddie! GO TENPOLE!

There are no clips of tracks from the album available on youtube, but here's a track that represents what Eddie is all about:

Wunderbar,
Stephen SPAZ Schnee

Where have all the record stores gone? MUSIC MARKET on myspace!

MUSIC MARKET, the late, great record store that was located in Costa Mesa (on Harbor & Adams) has a myspace page! Well, one of the former employees has a Music Market myspace page, actually, but it's way cool. Features some pics from inside the store, which brings back fond memories!

Back in the late '70s and early '80s, Music Market was my Disneyland!


MySpace - Music Market - 21 - Female - COSTA MESA, California - myspace.com/musicmarket92626

P.S. This pic is from the site and features former employees of this grand establishment. I am not one of them!

LET THEM KNOW: THE STORY OF YOUTH BRIGADE AND BYO RECORDS box sets! Coming 9/22/2009

Let Them Know: The Story of Youth Brigade and BYO Records

DVD/CD/Coffee Table Book DVD/2LP/Coffee Table Book

A lasting tribute and testament to over 25 years of BYO, Youth Brigade and the DIY spirit that has inspired and continues to inspire so many to change the world... Told through interviews and rare footage of the explosive LA punk rock scene from the 80's until now, Let Them Know: The Story of Youth Brigade and BYO Records is a full length documentary feature film that looks at the last 25 years of the influential L.A. Punk band Youth Brigade and BYO Records. This movie documents the early L.A. punk and D.I.Y. scene. Riots, harassment from the law, amazing bands, crazy stories, and best of all, The Sterns Family's earnest desire to change the world through punk rock are captured in this moving documentary.

Founded by brothers, Shawn and Mark Stern from the band Youth Brigade, the BYO was part political movement, part business venture that began as a way to organize punks to take positive action to help sustain their scene and their way of life. The ideals upon which BYO was founded helped countless bands put on shows, release records, and otherwise get their music out to the world. It allowed for the making of the landmark punk documentary Another State of Mind and it spawned BYO Records, which stands today as one of the oldest surviving independent punk rock labels in the world.

BYO, Youth Brigade, and the Stern family are three intertwined entities that comprise one of the too-often-overlooked chapters in the history of punk.

Interviews with Ian MacKaye (Fugazi, Minor Threat, founder of Dischord Records), Fat Mike (NOFX, Me First & The Gimme Gimmes, founder of Fat Wreck Chords), Steve Soto (Adolescents, Manic Hispanic), Matt Skiba (Alkaline Trio), Gary Tovar (founder of Goldenvoice Promotions), Brendan Mullen (founder of The Masque Club, author of Lexicon Devil: The Fast Times and Short Life of Darby Crash and The Germs), members of The Bouncing Souls, Swingin' Utters, 7 Seconds, and many others involved in the So Cal Punk Scene.

Let Them Know... comes in two different configurations. Both feature the documentary DVD (with bonus material) and a beautiful coffee table book containing photos, quotes and more. One box is available with a 31 track CD while the other contains two colored vinyl LPs with those 31 tracks spread over four sides!

GREAT BUILDINGS/Apart From The Crowd CD review

Back in '79, PUNK ROCK had seemingly run it's course but certainly had made a huge impact on the charts. There were still plenty of worthy Punk bands from all over the world (and still are) but, although the Punk scene had kick-started the indie label scene, the major labels tended to avoid all but the most melodic of the Punk breed (The Clash, The Jam, 999, Buzzccocks, The Stranglers, etc.).

Slowly but surely, the musicians that were energized by the whole movement began creating a new sound that retained the energy of Punk but added melodic hooks and a clean, commercial polish. This sound was called NEW WAVE and it became one of the biggest musical movements since... well, Punk! The New Wave sound was a lot easier to promote and had a better chance of chart action, so the major labels began snapping up any band capable of writing a catchy hook.

One of New Wave's most respected 'sub-categories' was Power Pop. Power Pop was certainly not new, since early '70s bands like Raspberries and Badfinger had achieved great success years earlier but the scene was re-energized when The Knack became the first Power Pop superstars of the New Wave generation. In 1979, their single "My Sharona" and the album Get The Knack became major hits and practically every label started searching the underground New Wave nightclubs for 'the next Knack'.

Thankfully, there were plenty of worthy bands to sign including 20/20, The Plimsouls, The Beat (AKA Paul Collins' Beat) and many many others. Even quirky outfits like Jules & The Polar Bears (fronted by Jules Shear) became part of this burgeoning scene. In no time, L.A. became THE place to find the perfect Power Pop band.

Great Buildings were a quartet with roots stretching back to the mid-'70s. Vocalist Danny Wilde and bassist Ian Ainsworth had been members of the Sparks-inspired band The Quick, who had released their Mondo Deco album in 1976. The Quick actually ended up spawning some of L.A.'s finest: drummer Danny Benair, went on to help form The Three O'clock while guitarist Steven Hufsteter played in bands like The Dickies before forming The Cruzados.

But anyway, back to Great Buildings...

A while after The Quick split, Wilde and Ainsworth joined forces with guitarist Phil Solem and drummer Richard Sandford in a quartet they christened Great Buildings. Though they weren't immediately caught up in the Power Pop scene in '79, within a year, the labels came sniffing around and the band were eventually signed, releasing their debut album, Apart From The Crowd, in 1981.

And thanks to Wounded Bird, we get to experience this fab platter in all it's glory... ON CD!

Apart From The Crowd is about as perfect as a Power Pop album gets. Hell, it's a perfect Rock album and a perfect New Wave album, too! The melodies are infectious, the production is timeless and the harmonies are heavenly. The album's lead track (and single) "Hold On To Something", should have made these guys stars. It's catchy as sin and the arrangement is flawless. The energy and joy that leaps from the speakers during the song's 3 minutes and 47 seconds makes you want to go back and hear it again. And again. And again!

Thankfully, "Hold On To Something" is just the beginning of an exceptional album that definitely has stood the test of time (has it really been 28 years since this gem was released?). "One Way Out", "...And The Light Goes On", "Combat Zone" and "Love Goes Blind" are filled with all the same ingredients and also beg for repeated listenings. In fact, before you know it, 40 minutes after you push play, the album is over and you'll find yourself leaping up to start it all over again!

Robert Palmer must have felt this way since he ended up covering the track "Maybe It's You" on his Maybe It's Live release!

If you're hip to what Power Pop is all about, then this is essential listening. If you want to know what Power Pop is all about, then this is essential listening. If you just want to hear some great songs to cruise along to, then this is essential listening. If you're not picking up what I'm laying down, then let me spell it out: E-S-S-E-N-T-I-A-L!

Sadly, this is the band's sole release. They recorded a second album but it was never released and it languishes in the vaults.

Solem and Ainsworth eventually left the band, leaving Wilde and Sandford to carry on. They continued using the Great Buildings name for a few years, but the momentum was gone and they quietly split. Sadly, Sandford died a few years later.

Danny Wilde later signed a solo deal with Island, recruited Solem into his band and recorded the Great Buildings-like album The Boyfriend. Solem split again and Wilde continued as a solo artist. In 1990, Wilde and Solem reappeared on the music scene as The Rembrandts, scoring a hit with "That's Just The Way It Is Baby" and then, in 1995, hit paydirt with "I'll Be There For You", the theme song from the hit TV show, Friends!

Thus ends our lesson for today! There will be a quiz at the end of the week, so don't forget to study!

Hold on to something,

Stephen SPAZ Schnee

NEIL FINN and friends return with 7 WORLDS COLLIDE project

The first 7 Worlds Collide album, a collection of amazing musical talents from across the globe in aid of Médecins Sans Frontières, was a unique live performance experience, fusing the varied talents of a stellar cast across a range of cover versions to create a series of shows that culminated in the live album of the same name.

Seven years after that project, instigator Neil Finn has upped the ante with the new 7 Worlds Collide project, The Sun Came Out, a double album of original songs created and recorded by many of the original cast alongside notable new additions in an intense three weeks in his native New Zealand. This time the beneficiaries of this album will be Oxfam, as well as music lovers worldwide.

Familiar faces from the original album abound, Johnny Marr, Ed O’Brien and Phil Selway of Radiohead but this album, first and foremost presents the listener with new songs rather than interpretations of old favourites. The Sun Came Out also features a whole host of new guest talents such as KT Tunstall and Wilco and heart stopping firsts, including Phil Selway's songwriting and vocal debut as well as dream collaborations such as those between Johnny Marr and Wilco's Jeff Tweedy; and KT Tunstall and Neil Finn .

At the heart of the record is Neil Finn. His enthusiasm and drive persuaded the likes of celebrated producer Jim Scott, Lisa Germano, Johnny Marr and Wilco’s Jeff Tweedy, Pat Sansone, John Stirratt and Glenn Kotche (amongst others) to spend their Christmas holiday in New Zealand and even interrupted KT Tunstall’s honeymoon in the process.

With families welcome, the studio became a constant whirl of creativity and energy throughout the three weeks allocated to create the record. Johnny Marr returned from a run on the beach with the basis of ‘Too Blue’, where Jeff Tweedy was waiting to add his talents; KT Tunstall stopped Neil retiring to his bed to complete ‘Hazel Black’; a wandering Johnny Marr added a chorus melody to Liam Finn’s ‘Red Wine Bottle’; Ed O’Brien fashioned ‘Bodhisattva Blues’ from a Tibetan chant. In this atmosphere, anything was possible and Neil’s wife Sharon found herself laying down her debut vocal on ‘Little By Little’ whilst Phil Selway also took his vocal bow and unveiled a hitherto unknown songwriting talent with his solo turn ‘The Ties That Bind Us’ in one take.

From Neil’s original doubts over the idea, “I thought, what is this? Is it just an ego thing,” came a double album of astounding collaborations for the listener and amazing memories for all those concerned in the recording. At the center of it all stands Neil Finn, too humble to take the glory himself, it is left to KT Tunstall to give the credit due to the man who made this happen: “It’s Neil. It all comes from him. There’s something about him that made everyone open up creatively.”

Jeremy Hobbs, Director of Oxfam International said: "7 Worlds Collide is a great project. I hope The Sun Came Out is a huge success. Not just because it's a unique musical experience but because each CD sold will make a difference -- raising money to fund Oxfam's work to fight poverty."

The complete tracklisting and credits for the 2-CD set is below:

Disc 1

1. Too Blue – (Johnny Marr/Jeff Tweedy) – Johnny Marr and Neil Finn vocals Elroy Finn & Glenn Kotche (drums), Phil Selway (percussion), John Stirratt (stand-up bass), Johnny Marr & Ed O’Brien (guitars), Pat Sansone (piano), Nile Marr & Neil Finn (acoustic guitars), and Lisa Germano (violins)

2. You Never Know – (Jeff Tweedy) – Jeff vocals Jeff Tweedy (acoustic & electric guitars), Glenn Kotche (drums), Pat Sansone (acoustic 12 string guitar & piano), John Stirratt (bass), Neil Finn (Wurlitzer piano, fuzz guitar), Liam Finn (additional fuzz guitar), Nels Cline (electric/slide guitar), and Mikael Jorgensen (organ/synth)

3. Little By Little – (Sharon Finn/Neil Finn) – Neil and Sharon vocals
Glenn Kotche (drums & percussion), Liam Finn (additional drums), Sharon Finn (bass), and Neil Finn (guitars, Chamberlin, Jupiter 8, marimba)

4. Learn To Crawl – (Ed O’Brien/Johnny Marr/Liam Finn/Neil Finn) – Neil and Liam vocals Glenn Kotche (drums), Ed O’Brien, Johnny Marr, Pat Sansone (acoustic guitar arpeggio), Neil Finn (bass), Pat Sansone (background harmonies), Jeff Tweedy (disembodied voice), and Lisa Germano (violin)

5. Black Silk Ribbon – (KT Tunstall/Bic Runga) – KT and Bic vocals Luke Bullen (drums, thigh slap), KT Tunstall & Bic Runga (acoustic guitars), Sebastian Steinberg (stand up & bowed bass), and Lisa Germano (violin)

6. Girl, Make Your Own Mind Up – (Don McGlashan) - Don vocals Don McGlashan (guitar), Glenn Kotche (drums), Ed O’Brien (electric guitar atmosphere), John Stirratt (bass), Ivy Rossiter (backing vocal), and Jeff Tweedy (electric guitar solo)

7. Run In The Dust – (Johnny Marr) - Johnny vocals Phil Selway (drums), Sebastian Steinberg (bass), Johnny Marr (guitar), Ed O’Brien (electric guitar), Pat Sansone (Hammond organ), Jeff Tweedy (harmonica), Neil Finn, Lisa Germano, and Pat Sansone (harmonies)

8. Red Wine Bottle – (Liam Finn/Chris Garland/Johnny Marr) - Liam vocals Glenn Kotche (drums), John Stirratt (bass), Liam Finn (acoustic guitars, guitar loops and solo, Hammond mash), Neil Finn (Hammond flourish), Johnny Marr (electric guitar), Eliza Jane Barnes & Cecilia Herbert (harmonies)

9. The Ties That Bind Us – (Phil Selway) - Phil vocals Phil Selway (acoustic guitar), Glenn Kotche (drums, percussion), Pat Sansone (acoustic guitar, celeste), Sebastian Steinberg (standup & bowed bass), Lisa Germano (violin & whisper), Don McGlashan (euphium, flugelhorn), and Jeff Tweedy (additional arrangement)

10. Reptile – (Lisa Germano) - Lisa vocals Lisa Germano (electric guitar, Theremin), Sebastian Steinberg (bass), Spencer Tweedy (drums), Glenn Kotche (toys and robots drumming), Pat Sansone (12 string guitar), Neil Finn (xylophone), Sonny Marr, Nile Marr, Sam Tweedy, Jeff Tweedy, Louise Callaghan, Emma Scott, Pearl McGlashan, mae Moreno, Sharon Finn, Julia Connolly, Sebastian Steinberg, and Milla (humans & dogs singing background vocals)

11. Bodhisattva Blues – (Ed O’Brien/Liam Finn) – Ed and Neil Finn vocals Ed O’Brien (electric guitar), Elroy Finn (drums), Liam Finn (guitar), Neil Finn (Wurlizer piano, bass), Jeff Tweedy (guitar solo, vocal response & scream), and Johnny Marr (guitar solo)

12. What Could Have Been – (Jeff Tweedy) - Jeff vocals
Glenn Kotche (drums, percussion), Jeff Tweedy (acoustic guitar), John Stirratt (bass), Neil Finn (vibes, electric guitar, harmony), and Pat Sansone (piano, Wurlitzer organ)

Disc 2

1. All Comedians Suffer – (Neil Finn) - Neil vocals Glenn Kotche (drums), Neil Finn (electric guitar), Pat Sansone (acoustic guitar), Liam Finn (bass, electric guitar, harmonies), and Jeff Tweedy (chorus fuzz, electric guitar solo)

2. Duxton Blues – (Glenn Richards) - Glenn vocals Glenn Richards (guitar), Liam Finn (drums, guitar & vocal loops), Johnny Marr (electric guitar), Sebastian Steinberg (bass), Bic Runga & Neil Finn (background vocals)

3. Hazel Black – (KT Tunstall/Neil Finn) – KT and Neil vocals KT Tunstall (acoustic guitar, handclaps, background vocals), Luke Bullen (drums, handclaps), John Stirratt (bass), Johnny Marr & Pat Sansone (electric guitars), Neil Finn (piano, harmony), Glenn Kotche (handclaps), Sonny Marr & Bic Runga (back-ground vocals)

4. Riding The Wave – (Tim Finn) – Tim vocals Tim Finn (piano), Elroy Finn (drums), Neil Finn (acoustic guitar, slide guitar, harmony), Liam Finn (harmonies), Sebastian Steinberg (bass), Johnny Marr (electric guitar), and Pat Sansone (Hammond organ)

5. The Witching Hour – (Phil Selway) - Phil vocals Phil Selway (acoustic guitar), Bic Runga & KT Tunstall (background vocals), Lisa Germano (violin), and Jeff Tweedy (Optigan organ, piano)

6. Over And Done – (John Stirratt) - John vocals John Stirratt (guitar), Glenn Kotche (drums), Pat Sansone (bass, piano), Don McGlashan (Euphonium, Flugelhorn), and Neil Finn & Pat Sansone (harmonies)

7. A Change Of Heart – (Bic Runga/Dan Wilson) – Bic vocals Bic Runga (acoustic guitar), Glenn Kotche (drums), John Stirratt (bass), Neil Finn (piano), Pat Sansone (Hammond organ), and Don McGlashan (humming)

8. Don’t Forget Me – (Pat Sansone) – Pat vocals Pat Sansone (guitar), Glenn Kotche (drums), John Stirratt (bass), and Johnny Marr (electric guitar)

9. Long Time Gone – (Don McGlashan) - Don vocals Don McGlashan (guitar), Phil Selway (drums), Pat Sansone (bass), Ed O’Brien (electric guitar), and Johnny Marr (12 string & 6 string acoustic guitars, backing vocals)

10. The Cobbler – (Elroy Finn) - Elroy vocals Elroy Finn (guitar), Lisa Germano (violin), and Sebastian Steinberg (bowed bass)

11. 3 Worlds Collide – (Glenn Kotche/Phil Selway/Neil Baldock) Glenn Kotche & Phil Selway (drums, percussion)

12. The Water – (Sebastian Steinberg) - Sebastian vocals Sebastian Steinberg (guitars, bass), Neil Finn (piano), Glenn Kotche (drums), and Johnny Marr (ghost guitar)

Produced by Jim Scott and Neil Finn, additional production Neil Baldock

About Oxfam America

Oxfam America is an international relief and development organization that creates lasting solutions to poverty, hunger, and injustice. Together with individuals and local groups in more than 100 countries, Oxfam saves lives, helps people overcome poverty, and fights for social justice. We are an affiliate of Oxfam International.

http://www.oxfamamerica.org/

THE LAUGHING DOGS/The Laughing Dogs & ...Meet Their Makers CD review!

Yes, folks, the first two albums by THE LAUGHING DOGS have been officially released on one CD, courtesy of the American Beat label.

I've been a fan of this relatively unknown band for three decades and can still remember the first time I heard each of these fab albums. In fact, I even reviewed the individual albums (then only on out of print vinyl) for All Music Guide.

Now that they've been made available on CD, I get another go round to heap my praises on these two albums... and I'll share my All Music Guide reviews with you right here on this blog!



First off, here's the review I did for the first album (The Laughing Dogs):

"Born out of the New York underground music scene of the late '70s, the Laughing Dogs were a band looking for a good time. With a cache of snappy pop songs chiefly written by main men Ronnie Carle (vocals/bass) and James Leonard (vocals/guitar), the band's sound was elegantly arranged with the help of keyboardist/guitarist/vocalist Carter Catchcart, and fueled by the powerhouse drumming of Moe Potts. None of the members were new to the music scene, so each brought plenty of creative ideas and strong musicianship. By borrowing from the past, the Dogs created a timeless sound that was as exciting as the explosive punk scene, but was also completely different. This was power pop with a raw edge, yet very commercial. If Billy Joel's Glass Houses album was recorded by a band with 'street cred', then that band would have been the Laughing Dogs. "Get 'Im Outta Town" and "Reason For Love" should have been huge radio hits worldwide, both filled with catchy hooks, bubbly harmonies, and real joyous energy. "No Lies" and "It's Alright, It's OK" could have been unpretentious Steely Dan if they had been formed during the new wave era. "Round And Round" mixes classic rock clichés with a White Album flair. That's not Badfinger's Tom Evans and Joey Molland singing the chorus to "It's Just The Truth," but if you close your eyes and pretend....Even the rock and roll basics of "Johnny Contender" and "I Need A Million" are fun. A gem of an album just waiting for you to discover it." (Stephen SPAZ Schnee-All Music Guide)

And here's the review I did for the second album (The Laughing Dogs Meet Their Makers):

First off, the Laughing Dogs are funny guys. The album cover has all four band members being scolded and punished by their real-life mothers (get it?). Based on that cover alone, you've got to love these guys. But you can't read an album by its cover, can you? Fortunately, the music contained within is just as fun, even when it's more commercial than their debut. Dynamic musical arrangements, fabulous harmonies, and great songs seem to be the Dogs' forte, and they use all three very wisely. Though the rawness of the debut is missing here, the sympathetic and warm production allows the songs to breathe, and the songs can be stunning. Pop meets a funky groove with the album opener, "Zombies," with great musical interplay. With originals like "Formal Letter," "Take My Chances," and "Reach Out For Me," who needs covers like "Don't Bring Me Down" (the record company, obviously)? Carter Cathcart's "Not What I Used To Be" sounds like a power pop band doing Motown with Walter Becker producing. When the band slows everything down for a ballad ("Stand Up" and "Two Who Are Willing To Share"), you can't help but reach for the hankies! Like other 'Two Album Deal' bands of this era (ie: Four Out Of Five Doctors, Scooters, Hawks, Sorrows, Electrics, etc), fans are torn between the raw feel of the first album, and the 'label pressure' vibe of the second. Whichever way you choose, you can't lose." (Stephen SPAZ Schnee-All Music Guide)

And finally, here's the CD review (which does contain a few elements from the above... but not much):

"When I first reviewed the first two Laughing Dogs albums years ago, they were only available on black wax… and long out of print. Heck, I was certain that no label would ever be brave or smart enough to actually put these albums out on CD! But, lo and behold, American Beat has risen to the occasion and now you can own these two great Power Pop albums on one CD. Though they never made much of a dent in the charts, the Dogs’ reputation as skilled musicians is legendary. The fact that they would masquerade as The Kojaks (complete with bald caps) and be their own opening act is STILL talked about! But none of this holds a candle to their knack for serving up melodic hooks galore on these two albums.
The quartet’s 1979 self-titled debut was energetic and laced with musical nods to their ‘60s influences, right down to the production. Still, the band were able to maintain their own identity and forge a ‘Laughing Dogs’ sound, especially with album opener “Get ‘im Outta Town” (a sound which they fully explored on their second album). Apart from that lead-off track, album highlights include the Pop-errific “Reason For Love”, “No Lies” and the Beatles-esque “Low Life”.
Their sophomore album, …Meet Their Makers, was released in 1980 and showed a maturity in the band’s songwriting and arrangements. Though the rawness of the debut is missing here, the sympathetic and warm production allows the songs to breathe, and they are often stunning. With originals like "Formal Letter," "Take My Chances," “Zombies” and "Reach Out For Me," who needs covers like "Don't Bring Me Down" (the only lukewarm tune here). When the band slows everything down for a ballad ("Stand Up" and "Two Who Are Willing To Share"), you can't help but reach for the Bic lighter!
This Laughing Dogs two-fer is an essential purchase for any Power Pop and Rock music fan. Although they may have been lumped in with the other New York-based Punk and New Wave bands from the late ‘70s and early ‘80s, the Laughing Dogs were a Rock ‘n’ Roll band at heart and this excellent release proves it." (Stephen SPAZ Schnee-All Music Guide)

And, finally, here's a clip of the band performing the fabulous "Get 'im Outta Town":

So, do you own this CD already? What are you waiting for?

Get Spaz Outta Town,

Stephen SPAZ Schnee

BANANARAMA/Love Comes: the NEW video!

Yep, BANANARAMA are back with a new album (Viva) due later in September. Here's the video for "Love Comes", the first single lifted from the album!

KIM WILDE/Reissues of the first three albums!

There are two things I thought of when British Pop vocalist Kim Wilde scored her first U.S. hit in 1981 with "Kids In America":

1. Hey, this is a cool song!

2. What a total babe!

Yes, in that order. I've always been a music geek and I have a tendency to listen to the TUNE before even paying attention to what the lyrics are or what the artist looks like. And remember, back in '81, you didn't have easy access to videos and such. Sure, MTV launched in August of that year, but not many folks had cable at that time.

So, the only real option I had was to concentrate on the music, which is the most important thing, right?

(But I gotta admit that Kim was second only to Debbie Harry in the 'rockin' sex kitten' category!)

Though Kim's reign in the upper regions of the U.S. charts only lasted for that one glorious single, she continued to release some fine POP singles and albums in the UK, Europe, Japan and beyond and all of them are worthy additions to any of you looking to build up your Power Pop, New Wave, Pop/Rock, Girl Pop or '80s collections.

Nearly 30 years after she debuted, the fine folks at Cherry Pop have released digitally remastered and expanded editions of Kim's first three albums and they look and sound great! Each release has an extensive booklet featuring info, lyrics, song comments from Marty and Ricky Wilde (Kim's dad and brother, who wrote most of the tunes), pictures of single sleeves and more. The packaging is wonderful, to be honest: nothing extravagant, mind you, but very tasteful and informative. Certainly worth the price of replacing your old vinyl LPs!

Released in 1981, KIM WILDE is the album most music fans are familiar with, mainly because it contains the aforementioned hit "Kids In America". While much of the album tends to lean heavily towards the same musical formula that made that song a hit, there are a few songs that break away from the early Blondie influences of "Kids...".

"Everything We Know" has a lovely melody that glides upon a Police-like Reggae rhythm while the playful "26580" ups the Reggae BPM to a Ska beat, adding a horn section and an instantly catchy chorus.

"Tuning In Tuning On" is New Wave for Acid lovers, it's Psychedelic swirls spinning around Kim's seemingly innocently coos.

"Chequered Love" takes the "Kids... " formula and adds equally catchy hooks throughout, making it equally delightful as the hit, if not more so.

"You'll Never Be So Wrong" is an absolutely wonderful Pop song that doesn't stray too far from the formula, but stands out as a great lost gem.

As for the bonus tracks, "Shane" and "Boys" are just as good as anything on the album (especially the latter). The Single Edit of "Water On Glass" is not that different from the album version, but is a welcome addition for us completists!

After the success of the Kim Wilde album, there were were only two directions that the Wilde clan could go: either record a carbon copy of the debut album or take Kim forward, embracing modern technology and wrap her Pop tunes in synthesized clothing. Thankfully, they chose the latter since they'd already taken the "Kids..." formula as far as it could go without it becoming boring and cliche-ridden.

With Select, Kim Wilde jumped head first into the future without losing any of the charm that made her self titled album such a success. While still upbeat and energetic, electronic keyboards dominate the album and the the guitar presence is toned down. Retaining the use of live drums and bass, the songs bounce along with glee, and while the production is a bit dated, it stands out as an under appreciated gem in the annals of New Wave music.

Kim's voice, while not having a huge range, is very distinctive and her vocals dominate all of her albums, so no matter what instruments you lay down, it's always going to sound like a KIM WILDE record! And from the moment she starts singing on album opener "Ego", Select is definitely a Kim Wilde record!

Though the album has fewer outstanding singles than her debut, Select is actually a better album as a whole. The hooks are more subtle and the album, overall, has a more confident quality to it.

"View From A Bridge" is most certainly a product of the '80s, but has a simplistic chorus that sticks in your head.

"Ego" sounds like Midge Ure-era Ultravox if they had been influenced by '60s girl groups.

"Words Fell Down", "Can You Come Over" and "Chaos At The Airport"sound like they could have been written for her debut but reworked into perfect little synth pop nuggets.

"Just A Feeling" is an elegant electronic pop gem that vaguely recalls some of 10cc's late '70s/early '80s recordings.

The album's centerpiece is most definitely "Cambodia", a 7+ minute opus that is broken into two halves: the moody and melodic Part One and the pulsating mostly instrumental Part Two (Reprise). It was a daring song then, yet it still sounds wonderful 25+ years later.

Of the five bonus tracks, they are all worthwhile Pop tunes although the chorus of "Bitter Is Better" sounds like a rewrite of "Kids In America". The single version of "Cambodia" is included, which is essentially Part One of the full length album version.

With even more electronics, Catch As Catch Can finds Kim Wilde and company at a crossroads: should we make a Pop album or a Dance album? The end result was a mixture of both, and would serve as a transitional album for the Pop vixen. Moving even further into the electronic realm, the live drums were replaced by programmed drums and keyboards had kicked the guitar to the curb and had taken over. Still, Kim's voice sounds more passionate and confident on the album, as if she was finally comfortable in being Kim Wilde, the Pop vocalist.
"Love Blonde" is a cheeky '80s rewrite of the Peggy Lee classic "Fever" and Kim feels comfortable biting into this lighthearted slice of Pop.
"Dream Sequence" is a nice slice of Psychedelic synth pop that would have fit as the album's opener with it's long, atmospheric opening.
"Dancing In The Dark" (NOT the Springsteen tune) and "Shoot To Disable" are, to be honest, worth skipping. The less said, the better.
The original album's three closing songs ("Can You Hear It", "Sparks" and "Sing It Out For Love" are the three best tracks on the album, which is strange since they seem to be buried at the end! What's up wid dat?
Of the five bonus tracks, "Back Street Driver" is a great Pop tune that recalls the spirit and vibe of the first two albums and is practically worth the price of this CD alone. There are also two bonus versions of "Love Blonde" and....er.... "Dancing In The Dark".
Overall, Catch As Catch Can is certainly a worthwhile release that deserves your attention, but is made even sweeter by the bonus tracks. Shame about three versions of "Dancing In The Dark", though! Well, I must admit that the Nile Rodgers remix is certainly better than the album version!



So, there you have it: three more reasons why Cherry Pop is a labels that you need to start collecting right away! And for you Kim Wilde fans out there, if you don't have these, buy them now. Not tomorrow, not next Friday... NOW!

And I still think Kim Wilde is a total babe!

Dancing in the dark,
Stephen SPAZ Schnee

THE SINCEROS/The Sound Of Sunbathing review

In the late '70s and early '80s, the line between Pure Pop bands and New Wave outfits became intertwined. Most bands that played slick, melodic Beatles-influenced pop were considered Power Pop in the mid '70s but by the time bands like Squeeze, The Sinceros, 20/20, Nick Lowe, The Plimsouls and other like minded acts hit the music scene, they were quickly branded New Wave and marketed as such.

This was not necessarily a bad thing in terms of commercial sales, but we all know that when a music scene dies, it takes most of the bands with it. Some bands (Squeeze, Nick Lowe) were able to rise above but when New Wave became old news, then the bands lost label support and any momentum they had built up.

The Sinceros were an excellent Pop band consisting of four great musicians: Mark Kjeldsen (vocals/guitar), Ron Francois (bass/vocals), Don Snow (keyboards/vocals) and Bobby Irwin (drums). While Kjeldsen was the main frontman and wrote the majority of the songs, both Snow and Francois offered some tasty treats to The Sinceros' repertoire.

On The Sound Of Sunbathing, the band's 1979 debut, was a hook-filled Power Pop party dressed up in dayglo colors... with a little New Wave spice thrown in for good measure. Like Squeeze, The Sinceros' songs were instantly catchy and those lucky enough to hear them would have their melodies stuck in their heads for days, weeks, months and, for us lucky ones, decades!

The album is chock full of great tunes including Kjeldsen's "Little White Lie", "Quick Quick Slow" and "So They Know", Snow's "Hanging On Too Long" and Francois' "Good Luck (To You)", but two songs received the most attention: "World's Apart" and "Take Me To Your Leader". Unfortunately, these two tracks were, at best, average Pop tunes dressed up in quirky New Wave arrangements, which possibly made them more appealing to the masses. Thankfully, the rest of the album is loads better, so anyone suckered in by those two tracks were more than pleasantly surprised by the high quality of the rest of the material. Now, don't get me wrong, those are fine tracks, but compared to the rest of the album, they sound like b-sides!

For music fans not familiar with this great debut, the best way to describe it would be a cross between Squeeze's Cool For Cats and Argy Bargy: not quite as Pub-like as ...Cats, but not quite as accomplished as Argy.

While there's not really a bad song on the album, The Sinceros were still in the process of becoming a GREAT band, something they achieved on Pet Rock, their sophomore album (which I'm hoping is reissued soon!). After that, the band split and the members went their separate ways: Snow ended up in Squeeze (ironically enough) for their Sweets From A Stranger album; Francois joined The Teardrop Explodes and Irwin played drums for Nick Lowe for years and years. Kjeldsen unfortunately passed away in the '90s.

Cherry Red's excellent reissue of The Sound Of Sunbathing retains the UK album cover and track listing and adds three non-album bonus tracks, making this an absolutely essential purchase for any Power Pop, New Wave and '80s music fan.

I can only think of ONE reason why The Sinceros may not have clicked with the youth of the '80s: Kjeldsen's moustache! When New Wave was considered the music of the young generation, anyone with a mustache was considered uncool (including The Stranglers' Dave Greenfield!). Fortunately, Kjeldsen had a full, slightly more fashionable beard by the time of their sophomore album, but it may have been too late! The moustache did them in! Well, I'm not entirely serious... but kinda.

Pure Pop For Now People,

Stephen SPAZ Schnee

THE FARMER'S BOYS/Get Out And Walk Review

Well, Cherry Red has done it again! One of the absolute finest and most overlooked albums of the '80s has finally seen a fitting and well deserved release on CD:

THE FARMER'S BOYS' Get Out And Walk!

Here's what I had to say about it on All Music Guide:

"Sometimes, I can bang my head against the wall, wondering why certain bands ‘make it’, while other more talented combos get overlooked and, ultimately, forgotten. And often times, the band that faded into obscurity created music that stands the test of time decades down the line. Such is the case with British pop quartet The Farmer’s Boys.
The band (Baz, Stan, Mark and Frog) were certainly a bright spot on the music scene back in 1983 when they signed with EMI after a handful of indie singles. Their sound was certainly original: imagine Edwyn Collins and his Orange Juice mates jamming with The Human League’s keyboardist (complete with programmed drums) and you’ve got more than a basic idea. Add a little bit of The Smiths, a dab of Country & Western and you’ve got The Farmer’s Boys. And yes, they really do sound that cool!
Get Out And Walk was the band’s 1983 debut album and what a debut it was! It had jangly guitars, jolly melodies, catchy synth riffs, acoustic strums, danceable beats and, to top it all off, Baz’s Morrissey-like croon floating above it all. The album was fun and extremely infectious with more cool tunes per minute than 75% of the albums that came out that year.
For some reason, insanely catchy cuts like “For You”, “More Than A Dream”, “Matter Of Fact”, “Wailing Wall” and “Woke Up This Morning” didn’t receive massive airplay in the UK when they so rightly deserved it. Even the funk-heavy “Soft Drink” (with Baz in falsetto mode) didn’t make its way to the dancefloors around Europe like it should have. Yes, the band did see some chart success, but usually just out of the Top 40, which meant they barely received much-needed television exposure.
Get Out And Walk was one of the coolest records released during the ‘80s but, for whatever reason, it just didn’t click with their intended audience. Perhaps it was the band’s lack of image? Maybe because the band never really took themselves too seriously? Or it could just be a matter of bad luck?
In any case, the album still sounds fabulous today, mainly due to the songs, which will please fans of great ‘80s guitar pop. Even synth fans can find a lot to love about The Farmer’s Boys! And with this Cherry Red reissue, there are 10 bonus tracks that make it an absolutely essential purchase. The bonus tracks include non-album singles, b-sides and three extended remixes lifted from the bonus EP that came from initial pressings of the LP. Looking back, 26 years after I bought the original import vinyl LP on a whim, it was, to quote one of the band’s song titles, “probably one of the best investments I ever made”!"

I sure do hope that they plan on releasing the band's second (and final) album, With These Hands, too!

Stephen SPAZ Schnee

SPAZ reviews THE BEATLES remasters (sort of)...

The story you are about to read is not entirely true... apart from Part Four, which is an honest assessment of the Beatles remasters that I had the privilege of hearing. The rest of this blog is loosely based on real life events.

PART ONE:

So, I'm sitting at my desk, working hard when suddenly, out of the corner of my eye, I see two well dressed gentlemen approaching my desk. They are both brandishing firearms. Their firearms are pointed at me. I panic, throw myself down on the ground and beg for my life. One of them thumps me on the head with the butt of his gun and, before you know it, I'm out like a light.....

PART TWO:

I wake up and realize I am sitting up, tied to a chair and I have a blindfold on. I wimper like a wee little baby for a few minutes before I hear someone approach me. Suddenly, the blindfold is taken off and I'm face to face with an elderly gentlemen with seriously bad garlic breath. He holds up his ID (which says his name is Eddie "Ed" Edwards), and claims that he used to be with secret service back during the Kennedy administration, but now he works freelance. He doesn't tell me WHO he works for, but does manage to say the magic words: BEATLES and REMASTERS. Suddenly, I am at ease. I knew this day was coming and I have been prepared for it.

PART THREE:

Eddie places a briefcase down on a table across the room. He reaches into his pocket and pulls out a raw egg. He breaks the egg and pours the contents into his mouth. After gargling the raw egg for a few seconds, he swallows the slimy goop.... and them promptly vomits on the floor. He sifts through his recently ejected stomach debris and finds a key. With this key, he unlocks the briefcase. He reaches in and removes a compact disc. As he walks towards a CD player that is just to my right, he slips in his vomit pool and falls flat on his back, unconscious. I would have tried to help him back up, but I was still tied to the chair... so I began to wait... Roughly two hours later, he wakes up and takes a few moments before he gets his bearings straight. He still has the CD in his hand, so he stumbles towards the CD player and inserts it. He then pushes 'play'...

PART FOUR:

For the next 10 minutes, I am transfixed by the sounds emanating from the speakers. What I get to hear are 15-30 second excerpts from roughly 10 different Beatles songs. I get to hear each of those excerpts twice: the first one is the currently available mastered version and the second is taken from the newly remastered version, due for release on Sept. 9th, 2009. (09-09-09). The difference is immediately apparent and somewhat astounding! The vocals on all tracks are more crisp and clear and they sound magical. In terms of the music, there are more highs and more lows (depending on what song you're listening to). The stereo separation is much more definite and there doesn't seem to be much bleeding between the channels/tracks. The handclaps on "Eight Days A Week" are much more crisp while the strings on "The Long And Winding Road" are even more beautiful. You can hear a more pronounced separation between instruments, too. Where once you heard an electric guitar and harpsichord, you now hear an electric guitar, harpsichord and an acoustic guitar that was always there, but didn't leap out at you like it does now. You can hear some lovely little notes on "Goodnight" that were lost in the mix before. And none of these tracks were remixed! They did such an excellent job on the remastering that they sound like a new experience! Simply stunning.


PART FIVE:

Suddenly, after my allotted 10 minutes, those two armed gentlemen from Part One reenter the room. One of them slips in Eddie's vomit pool while the other knocks me unconscious with the butt of his gun... When I come to, I am back at my desk with a pounding headache. But I'm good. No worries.


EPILOGUE:

I got to hear snippets of the BEATLES REMASTERS and you didn't! Nyah Nyah Nyah Nyah Nyah!

Schnee Loves You, yeah yeah yeah!

Stephen SPAZ Schnee

LES PAUL/Exclusive Interview from 2007

Here's an interview I did with the late, great LES PAUL a few years back as he promoted his Chasing Sound DVD. Thanks to Dave Rayburn for helping out!

P.S. I know that it's too small to read. If anyone wants a copy, please let me know!

Music legend LES PAUL dies at 94

New York, NY…August 13, 2009…Les Paul, acclaimed guitar player, entertainer and inventor, passed away today from complications of severe pneumonia at White Plains Hospital in White Plain, New York, surrounded by family and loved ones. He had been receiving the best available treatment through this final battle and in keeping with his persona, he showed incredible strength, tenacity and courage. The family would like to express their heartfelt thanks for the thoughts and prayers from his dear friends and fans. Les Paul was 94.

One of the foremost influences on 20th century sound and responsible for the world’s most famous guitar, the Les Paul model, Les Paul’s prestigious career in music and invention spans from the 1930s to the present. Though he’s indisputably one of America’s most popular, influential, and accomplished electric guitarists, Les Paul is best known as an early innovator in the development of the solid body guitar. His groundbreaking design would become the template for Gibson’s best-selling electric, the Les Paul model, introduced in 1952. Today, countless musical legends still consider Paul’s iconic guitar unmatched in sound and prowess.

Among Paul’s most enduring contributions are those in the technological realm, including ingenious developments in multi-track recording, guitar effects, and the mechanics of sound in general.

Born Lester William Polsfuss in Waukesha, Wisconsin on June 9, 1915, Les Paul was already performing publicly as a honky-tonk guitarist by the age of 13. So clear was his calling that Paul dropped out of high school at 17 to play in Sunny Joe Wolverton’s Radio Band in St. Louis. As Paul’s mentor, Wolverton was the one to christen him with the stage name “Rhubarb Red,” a moniker that would follow him to Chicago in 1934. There, Paul became a bonafide radio star, known as both hillbilly picker Rhubarb Red and Django Reinhardt-informed jazz guitarist Les Paul. His first recordings were done in 1936 on an acoustic—alone as Rhubarb Red, as well as backing blues singer Georgia White. The next year he formed his first trio, but by 1938 he’d moved to New York to begin his tenure on national radio with one of the more popular dance orchestras in the country, Fred Waring’s Pennsylvanians.

Tinkering with electronics and guitar amplification since his youth, Les Paul began constructing his own electric guitar in the late ’30s. Unhappy with the first generation of commercially available hollowbodies because of their thin tone, lack of sustain, and feedback problems, Paul opted to build an entirely new structure. “I was interested in proving that a vibration-free top was the way to go,” he has said. “I even built a guitar out of a railroad rail to prove it. What I wanted was to amplify pure string vibration, without the resonance of the wood getting involved in the sound.” With the good graces of Epiphone president Epi Stathopoulo, Paul used the Epiphone plant and machinery in 1941 to bring his vision to fruition. He affectionately dubbed the guitar “The Log.” Les Paul’s tireless experiments sometimes proved to be dangerous, and he nearly electrocuted himself in 1940 during a session in the cellar of his Queens apartment. During the next two years of rehabilitation, Les earned his living producing radio music. Forced to put the Pennsylvanians and the rest of his career on hold, Les Paul moved to Hollywood. During World War II, he was drafted into the Army but permitted to stay in California, where he became a regular player for Armed Forces Radio Service. By 1943 he had assembled a trio that regularly performed live, on the radio, and on V-Discs. In 1944 he entered the jazz spotlight—thanks to his dazzling work filling in for Oscar Moore alongside Nat King Cole, Illinois Jacquet, and other superstars —at the first of the prestigious Jazz at the Philharmonic concerts.

By his mid-thirties, Paul had successfully combined Reinhardt-inspired jazz playing and the western swing and twang of his Rhubarb Red persona into one distinctive, electrifying style. In the Les Paul Trio he translated the dizzying runs and unusual harmonies found on Jazz at the Philharmonic into a slower, subtler, more commercial approach. His novelty instrumentals were tighter, brasher, and punctuated with effects. Overall, the trademark Les Paul sound was razor-sharp, clean-shaven, and divinely smooth.

As small combos eclipsed big bands toward the end of World War II, Les Paul Trio’s popularity grew. They cut records for Decca both alone and behind the likes of Helen Forrest, the Andrews Sisters, the Delta Rhythm Boys, Dick Hayes, and, most notably, Bing Crosby. Since 1945, when the crooner brought them into the studio to back him on a few numbers, the Trio had become regular guests on Crosby’s hit radio show. The highlight of the session was Paul’s first No. 1 hit and million-seller, the gorgeous “It’s Been a Long, Long Time.”

Meanwhile, Paul began to experiment with dubbing live tracks over recorded tracks, also altering the playback speed. This resulted in “Lover (When You’re Near Me),” his revolutionary 1947 predecessor to multi-track recording. The hit instrumental featured Les Paul on eight different electric guitar parts, all playing together. In 1948, Paul nearly lost his life to a devastating car crash that shattered his right arm and elbow. Still, he convinced doctors to set his broken arm in the guitar-picking and cradling position. Laid up but undaunted, Paul acquired a first generation Ampex tape recorder from Crosby in 1949, and began his most important multi-tracking adventure, adding a fourth head to the recorder to create sound-on-sound recordings. While tinkering with the machine and its many possibilities, he also came up with tape delay. These tricks, along with another recent Les Paul innovation—close mic-ing vocals—were integrated for the first time on a single recording: the 1950 No. 1 tour de force “How High the Moon.” This historic track was performed during a duo with future wife Mary Ford. The couple’s prolific string of hits for Capitol Records not only included some of the most popular recordings of the early 1950s, but also wrote the book on contemporary studio production. The dense but crystal clear harmonic layering of guitars and vocals, along with Ford’s close mic-ed voice and Paul’s guitar effects, produced distinctively contemporary recordings with unprecedented sonic qualities. Through hits, tours, and popular radio shows, Paul and Ford kept one foot in the technological vanguard and the other in the cultural mainstream.

All the while, Les Paul continued to pine for the perfect guitar. Though The Log came close, it wasn’t quite what he was after. In the early 1950s, Gibson Guitar would cultivate a partnership with Paul that would lead to the creation of the guitar he’d seen only in his dreams. In 1948, Gibson elected to design its first solidbody, and Paul, a self-described “dyed-in-the-wool Gibson man,” seemed the right man for the job. Gibson avidly courted the guitar legend, even driving deep into the Pennsylvania mountains to deliver the first model to newlyweds Les Paul and Mary Ford. “Les played it, and his eyes lighted up,” then-Gibson President Ted McCarty has recalled. The year was 1950, and Paul had just signed on as the namesake of Gibson’s first electric solidbody, with exclusive design privileges. Working closely with Paul, Gibson forged a relationship that would change popular culture forever. The Gibson Les Paul model—the most powerful and respected electric guitar in history—began with the 1952 release of the Les Paul Goldtop. After introducing the original Les Paul Goldtop in 1952, Gibson issued the Black Beauty, the mahogany-topped Les Paul Custom, in 1954. The Les Paul Junior (1954) and Special (1955) were also introduced before the canonical Les Paul Standard hit the market in 1958.

With revolutionary humbucker pickups, this sunburst classic has remained unchanged for the half-century since it hit the market. “The world has lost a truly innovative and exceptional human being today. I cannot imagine life without Les Paul. He would walk into a room and put a smile on anyone’s face. His musical charm was extraordinary and his techniques unmatched anywhere in the world,” said Henry Juszkiewicz, Chairman and CEO of Gibson Guitar. “We will dedicate ourselves to preserving Les’ legacy to insure that it lives on forever. He touched so many lives throughout his remarkable life and his influence extends around the globe and across every boundary. I have lost a dear, personal friend and mentor, a man who has changed so many of our lives for the better.”

“I don’t think any words can describe the man we know as Les Paul adequately. The English language does not contain words that can pay enough homage to someone like Les. As the “Father of the Electric Guitar”, he was not only one of the world’s greatest innovators but a legend who created, inspired and contributed to the success of musicians around the world,” said Dave Berryman, President of Gibson Guitar. “I have had the privilege to know and work with Les for many, many years and his passing has left a deep personal void. He was simply put – remarkable in every way. As a person, a musician, a friend, an inventor. He will be sorely missed by us all,”

With the rise of the rock ’n’ roll revolution of 1955, Les Paul and Mary Ford’s popularity began to wane with younger listeners, though Paul would prove to be a massive influence on younger generation of guitarists. Still, Paul and Ford maintained their iconic presence with their wildly popular television show, which ran from 1953-1960. In 1964, the couple, parents to a son and daughter, divorced. Paul began playing in Japan, and recorded an LP for London Records before poor health forced him to take time off—as much as someone so inspired can take time off. In the 1977, Paul resurfaced with a Grammy-winning Chet Atkins collaboration, Chester and Lester. Then the ailing guitarist, who’d already suffered arthritis and permanent hearing loss, had a heart attack, followed by bypass surgery.

Ever stubborn, Les recovered, and returned to live performance in the late 1980s. Even releasing the 2005 double-Grammy winner Les Paul & Friends: American Made World Played, featuring collaborations with a veritable who’s who of the electric guitar, including dozens of illustrious fans like Keith Richards, Buddy Guy, Billy Gibbons, Jeff Beck, Eric Clapton, and Joe Perry. In 2008, The Rock and Roll Hall of Fame paid tribute to Les Paul in a week-long celebration of his life which culminated with a live performance by Les himself. Until recently Les continued to perform two weekly New York shows with the Les Paul Trio, at The Iridium Jazz Club in New York City, for over twelve years where a literal who’s who of the entertainment world has paid homage. It has been an honor to have Les Paul perform at The Iridium Jazz Club for the past twelve years hosting such luminaries as Paul McCartney, Keith Richards and others and is a tragic loss to owner Ron Sturm both personally and professionally. Iridium intends to celebrate Les Paul's music and legacy every Monday night.

Les Paul has since become the only individual to share membership into the Grammy Hall of Fame, the Rock and Roll Hall of Fame, the National Inventors Hall of Fame, and the National Broadcasters Hall of Fame. Les is survived by his three sons Lester (Rus) G. Paul, Gene W. Paul and Robert (Bobby) R. Paul, his daughter Colleen Wess, son-in-law Gary Wess, long time friend Arlene Palmer, five grandchildren and five great grandchildren. A private Funeral service will be held in New York. A service in Waukesha, WI will be announced at a later date. Details will follow and will be announced for all services. Memorial tributes for the public will be announced at a future date.

The family asks that in lieu of flowers, donations be made to the Les Paul Foundation, 236 West 30th Street, 7th Floor, New York, New York 10001. probably whip the guy with 20 notes."