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Back in the ’60s, George Martin probably felt unappreciated by his bosses. He was stuck on a meager salary throughout The Beatles’ and Parlophone’s commercial heyday, forcing him to go independent in 1965. Even The Beatles seemed to take his talents for granted at the end and didn’t even credit his preliminary work on Let it Be.
Special thanks to ThisDayinMusic.com.
Back in the ’60s, George Martin probably felt unappreciated by his bosses. He was stuck on a meager salary throughout The Beatles’ and Parlophone’s commercial heyday, forcing him to go independent in 1965. Even The Beatles seemed to take his talents for granted at the end and didn’t even credit his preliminary work on Let it Be.
But he’d have the last laugh. On this very day in 1996, George Martin, producer extraordinaire, was honored for all his contributions to British music with a Knighthood from the Queen of England. He was the fist of the Beatles camp to be honored so highly. Paul McCartney would have to wait another year for his.
And nobody could say that Martin’s honor wasn’t deserved. Producing music that is both artistic and commercial is nigh on impossible, but Martin managed it with apparent ease.
Of course, working with The Beatles helped him amass his 30 #1 U.K. singles and 16 #1 albums and 22 #1 singles and 19 #1 albums in North America. But at Parlophone in the early ’60s, he also produced worldwide hits for Gerry & The Pacemakers, Billy J. Kramer & The Dakotas, The Fourmost and Cilla Black. In fact, in 1963, Sir George Martin produced the #1 song on the U.K. singles charts for 37 weeks of the year.
And after his work with John, Paul, George and Ringo was done, Martin continued to be one of the world’s most in-demand producers, working with a diverse group of artists from Jeff Beck and America, to Kenny Rogers, The Mahavishnu Orchestra, The Bee Gees, Dire Straits, The Little River Band, Cheap Trick, Elton John, Elvis Costello and many, many more.
Fitting, then, that in 1996 when the British Prime Minister’s office drew up the annual Queen Elizabeth birthday honors list, selecting 1,041 British subjects from a variety of different fields and walks of life, that George Martin would be sent an official letter from the Palace.
He remembered the day it arrived to Esquire magazine in 2002. “I opened an envelope which bore the marking of the Prime Minister. It said: ‘It is my pleasure to inform you that you have been recommended to be appointed a knight by Her Majesty the Queen. If you wish to accept this honor, please let us know by filling in the enclosed form. You will not hear from us again.’ I went white and said, ‘Bloody hell!’ My wife thought something awful had happened. I couldn’t speak so I gave the letter to her. She read it, went white and said, ‘Bloody hell!’ We went to Buckingham Palace and the Queen got her sword out and tried not to cut my head off.”
For the urbane and civilized Martin, the new title sat well. Already a Commander of the British Empire (CBE) for his services, he was now Sir George Martin, a knight of the realm, and would be properly addressed as Sir George.
Special thanks to ThisDayinMusic.com.
Back in the ’60s, George Martin probably felt unappreciated by his bosses. He was stuck on a meager salary throughout The Beatles’ and Parlophone’s commercial heyday, forcing him to go independent in 1965. Even The Beatles seemed to take his talents for granted at the end and didn’t even credit his preliminary work on Let it Be.
But he’d have the last laugh. On this very day in 1996, George Martin, producer extraordinaire, was honored for all his contributions to British music with a Knighthood from the Queen of England. He was the fist of the Beatles camp to be honored so highly. Paul McCartney would have to wait another year for his.
And nobody could say that Martin’s honor wasn’t deserved. Producing music that is both artistic and commercial is nigh on impossible, but Martin managed it with apparent ease.
Of course, working with The Beatles helped him amass his 30 #1 U.K. singles and 16 #1 albums and 22 #1 singles and 19 #1 albums in North America. But at Parlophone in the early ’60s, he also produced worldwide hits for Gerry & The Pacemakers, Billy J. Kramer & The Dakotas, The Fourmost and Cilla Black. In fact, in 1963, Sir George Martin produced the #1 song on the U.K. singles charts for 37 weeks of the year.
And after his work with John, Paul, George and Ringo was done, Martin continued to be one of the world’s most in-demand producers, working with a diverse group of artists from Jeff Beck and America, to Kenny Rogers, The Mahavishnu Orchestra, The Bee Gees, Dire Straits, The Little River Band, Cheap Trick, Elton John, Elvis Costello and many, many more.
Fitting, then, that in 1996 when the British Prime Minister’s office drew up the annual Queen Elizabeth birthday honors list, selecting 1,041 British subjects from a variety of different fields and walks of life, that George Martin would be sent an official letter from the Palace.
He remembered the day it arrived to Esquire magazine in 2002. “I opened an envelope which bore the marking of the Prime Minister. It said: ‘It is my pleasure to inform you that you have been recommended to be appointed a knight by Her Majesty the Queen. If you wish to accept this honor, please let us know by filling in the enclosed form. You will not hear from us again.’ I went white and said, ‘Bloody hell!’ My wife thought something awful had happened. I couldn’t speak so I gave the letter to her. She read it, went white and said, ‘Bloody hell!’ We went to Buckingham Palace and the Queen got her sword out and tried not to cut my head off.”
For the urbane and civilized Martin, the new title sat well. Already a Commander of the British Empire (CBE) for his services, he was now Sir George Martin, a knight of the realm, and would be properly addressed as Sir George.
Gwen Stefani couldn’t contain her glee at the prospect of a new No Doubt album in an interview with Rolling Stone. According to the band, the record is about two months away from being done.
“It’s so exciting to have a record coming out,” Stefani said. “And we all want the same thing: for it to be modern and catchy and addictive. Once you make music that connects with people, it’s like you taste blood – you can’t go back.”
It’s been 10 years since the last full-length studio album from No Doubt (2001’s Rocksteady), but Stefani explained that the intervening years have been anything but a vacation.
“A lot of stuff happened during that time period,” she said. “Marriages, babies and, for me, two records and two clothing lines. So if you really worked out the math, you’d be like, ‘Wow, you guys are going fast.’”
Gwen Stefani couldn’t contain her glee at the prospect of a new No Doubt album in an interview with Rolling Stone. According to the band, the record is about two months away from being done.
“It’s so exciting to have a record coming out,” Stefani said. “And we all want the same thing: for it to be modern and catchy and addictive. Once you make music that connects with people, it’s like you taste blood – you can’t go back.”
It’s been 10 years since the last full-length studio album from No Doubt (2001’s Rocksteady), but Stefani explained that the intervening years have been anything but a vacation.
“A lot of stuff happened during that time period,” she said. “Marriages, babies and, for me, two records and two clothing lines. So if you really worked out the math, you’d be like, ‘Wow, you guys are going fast.’”
Gwen Stefani couldn’t contain her glee at the prospect of a new No Doubt album in an interview with Rolling Stone. According to the band, the record is about two months away from being done.
“It’s so exciting to have a record coming out,” Stefani said. “And we all want the same thing: for it to be modern and catchy and addictive. Once you make music that connects with people, it’s like you taste blood – you can’t go back.”
It’s been 10 years since the last full-length studio album from No Doubt (2001’s Rocksteady), but Stefani explained that the intervening years have been anything but a vacation.
“A lot of stuff happened during that time period,” she said. “Marriages, babies and, for me, two records and two clothing lines. So if you really worked out the math, you’d be like, ‘Wow, you guys are going fast.’”
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Wake Me Up When September Ends
Green Day’s second single to reach the Billboard Hot 100 Top 10 was 2005′s “Wake Me Up When September Ends.” It was the fourth single off of Green Day’s seventh album and first concept album, American Idiot. While it appears as part of a concept album, the song is not about a character like most of the album. It is actually an homage to his late father, a jazz musician who died on September 10th, 1982. The song heavily features Green Day’s backup guitarist, Jason White, as it requires more than Green Day’s usual one guitar, bass and drums.
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Get the officially licensed TAB for “Wake Me Up When September Ends” Available Here
Green Day Wake Me Up When September Ends Guitar Tab
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National Folk Festival
By: Staff
Nashville Mayor Karl Dean and Tennessee Governor Bill Haslam have announced that the National Folk Festival will be parking in Nashville’s Bicentennial Capitol Mall State Park for the 2011, 2012 and 2013 Labor Day weekends.
The festival, which changes locations every three years, celebrates the roots of American folk music and culture. The Bicentennial Capitol Mall State Park is right in downtown Nashville, a 19-acre monument to Tennessee’s 1996 bicentennial celebration.
According to a press release, the National Folk Festival is the longest-running traditional American arts festival in the country. It was started in 1934 by the National Council for the Traditional Arts, and it features traditional music, food, storytelling, dance and crafts in celebration of American culture. The Nashville edition of the festival will have six stages populated by more than 250 performers.
“Celebrating the arts is a Nashville tradition, and Bicentennial Mall—located in the heart of our city—is a perfect place for a celebration of the traditional arts,” gushed Nashville Mayor Dean. “I’m proud that the music industry, the business sector, and the nonprofit community came together to bring the Folk Festival to town, and I look forward to enjoying some great performances this Labor Day Weekend.”
Performers include Massive Monkees, Genticorum, Phil Wiggins & Reverend John Wilkins, Llyod Arneach, The Shams Ensemble, Oyama & Nitta, with many more to be announced soon.
