Photographers’ Gallery: Poor Andy Warhol Exhibition
Negligible photos badly printed. This was the only one I liked, mainly for John Oates’ T-Shirt.
In a pile of things, I find the launch issue of The Rocking Vicar, Mark Ellen’s pre-Word “magazine”, which grew out of an early email newsletter. My favourite nugget is David Quantick’s Jazz Names: adding your dad’s nickname to the place you live. Mine at this time? Bilco Fitzrovia. Send in more!
Nothing about the Music Business ever changes
March 1, 2014: David Palmer, who sang lead for Steely Dan in the early days, is suing his old band. In a suit filed in Los Angeles Palmer claims that he is owed money as a result of royalties earned via satellite and streaming services. Palmer is contractually listed as a founding member of the group, and therefore entitled to one-sixth of all royalties earned from songs on which he performed. – Hollywood Reporter. Palmer sang on five songs on Steely Dan’s 1972 debut, Can’t Buy a Thrill, including the lead on “Brooklyn (Owes the Charmer Under Me)” and the hit “Dirty Work”, and background vocals on several songs on 1974’s Countdown to Ecstasy. Back then, he also sang lead in concert because Donald Fagen was not yet comfortable singing lead. Palmer was fired in April 1973 due to, as reported in Brian Sweet’s bio Steely Dan: Reelin’ in the Years, concerns about both his ability to interpret the songs and his habit of performing under the influence of alcohol. The lawsuit may have resulted in the song “Dirty Work” being left off the CD release of the American Hustle soundtrack. Apparently Steely Dan refused to allow “Dirty Work” on the OST CD whereas all the other ’70s acts did.– Ultimateclassicrock.com
Carla Jean Whitney Calls…
and she’s writing a book on Muscle Shoals, and she’s found a picture that I took of the sign, “Welcome To Muscle Shoals, Hit Recording Capital of the World”. Looking for images for her, I find my favourite picture, of Heather and great bass player Bob Wray, recording at 1000 Alabama Avenue, and this business card that I didn’t know I had.
Rewatching the film on BBC4 I found myself wishing for less of the Singing River stuff, waaaaay less of Bono (he ever record there? No. His music influenced much by what was recorded there? No.) and much more music. What was there was fantastic, especially the Wilson Pickett sessions (love the look on Roger Hawkins’ face when he recalls Pickett complimenting him on his drumming) and, of course, Spooner at the Wurlitzer playing those immortal chords…
Sad (or maybe not) Site Of The Week: Forgotify