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News
making-sgt-pepper-starry-night-benefit-feature-sir-george-martin

"The Making Of Sgt. Pepper," Starry Night Benefit To Feature Sir George Martin

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THE GRAMMYs
GRAMMYs
Dec 2, 2014 - 4:06 pm

Legendary GRAMMY-winning producer to participate in pair of GRAMMY Foundation events

GRAMMY.com

On July 11, Sir George Martin will take part in "The Making Of Sgt. Pepper," an intimate reception and multimedia presentation. Presented by the GRAMMY Foundation — along with the Los Angeles Chapter and the Producers & Engineers Wing — and sponsored in part by Best Buy and Harman International, the event will take place at Bovard Auditorium on the University of Southern California campus and begin at 7 p.m.

Friday, July 11
"The Making Of Sgt. Pepper"
Bovard Auditorium, University of Southern California
7 p.m. Reception; 8 p.m. Presentation

Saturday, July 12
Starry Night Gala Honoring Sir George Martin
McCarthy Quad, University of Southern California
6 p.m. Reception; 7:30 p.m. Dinner;
9 p.m. Award Presentation and Concert

Moderated by Martin, "The Making Of Sgt. Pepper" will take the audience on a historical ride through Abbey Road Studios highlighted by music from the Beatles and video appearances by Phil Collins, George Harrison, Paul McCartney and Ringo Starr. Click here to download a "The Making Of Sgt. Pepper" ticket order form.

Additionally, the GRAMMY Foundation's annual signature gala Starry Night — presented by Gibson Foundation — will honor Martin, a Recording Academy Trustees Award recipient, six-time GRAMMY winner and legendary producer, arranger, composer and author. The event will take place on July 12 at 7:30 p.m. at McCarthy Quad on the University of Southern California campus.

Starry Night will feature tribute performances by some of the most celebrated artists in the world including acclaimed pianist and singer/songwriter A Fine Frenzy (aka Alison Sudol), GRAMMY-winning group America, multi-GRAMMY-winning artist Burt Bacharach, multi-GRAMMY-winning musician Jeff Beck, two-time GRAMMY nominee Chris Botti, multi-GRAMMY nominee Kurt Elling, multi-GRAMMY-winning arranger/composer Dave Grusin, GRAMMY-winning artist Sir Tom Jones, pianist William Joseph, multi-GRAMMY-winning artist Michael McDonald, vocalist/actress Renee Olstead, singer/songwriter Naomi Sommers and multi-GRAMMY-winning artist Jimmy Webb. In addition, members of the Gibson/Baldwin GRAMMY Jazz Ensembles will perform. Multi-GRAMMY Award-winning producer and former GRAMMY Foundation Board member David Foster will serve as the evening's musical director.

Click here to download a Starry Night ticket order form.

GRAMMYs

 I DONT KNOW HOW BUT THEY FOUND ME 

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Press Play At Home: iDKHOW press-play-home-i-dont-know-how-they-found-me-social-distance-toxicity-leave-me-alone

Press Play At Home: I DONT KNOW HOW BUT THEY FOUND ME Social Distance From Toxicity In "Leave Me Alone"

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Learn about iDKHOW and their debut album, 'Razzmatazz,' on the latest episode of Press Play At Home
GRAMMYs
Jan 7, 2021 - 11:30 am

Salt Lake City duo I DONT KNOW HOW BUT THEY FOUND ME (iDKHOW) delivers an intimate performance of their infectious new single "Leave Me Alone" recorded live at June Audio studios in Provo, Utah. Learn about iDKHOW and their debut album, Razzmatazz, finished by email due to the pandemic, below.  

iDKHOW | Press Play At Home

Vote: What's Your 2021 Musical New Year's Resolution?

Dave Mason

Dave Mason

Photo: Chris Jensen

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Why Dave Mason Remade 'Alone Together' In 2020 dave-mason-interview-alone-together-again

Dave Mason On Recording With Rock Royalty & Why He Reimagined His Debut Solo Album, 'Alone Together'

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The ex-Traffic guitarist has played with everyone from Jimi Hendrix to George Harrison to Fleetwood Mac—now, he's taken another stab at his classic 1970 debut solo album
Morgan Enos
GRAMMYs
Jan 4, 2021 - 3:33 pm

Dave Mason is charmingly blasé when looking back at his life and career, which any guitarist would rightfully give their fretting hand to have. "I did 'All Along The Watchtower' with Hendrix," he flatly tells GRAMMY.com, as if announcing that he checked the mail today. "George [Harrison] played me Sgt. Pepper's at his house before it came out," he adds with a level of awe applicable to an evening at the neighbors' for casserole. 

Last year, Mason re-recorded his 1970 debut solo album, Alone Together, which most artists would consider a career-capping milestone. When describing the project's origins, he remains nonchalant: "It was for my own amusement, to be honest with you." 

Fifteen years ago, when the Rock And Roll Hall Of Famer started to kick around the album's songs once again in the studio, he didn't think it was for public consumption—until his wife and colleagues encouraged him to reverse that stance. On his latest release, Mason gives longtime listeners and new fans an updated take on the timeless Alone Together, this time featuring his modern-day road dogs, a fresh coat of production paint and a winking addendum in the title: Again.

Alone Together…Again, which was released last November physically via Barham Productions and digitally via Shelter Records, does what In The Blue Light (2018) and Tea For The Tillerman² (2020) did for Paul Simon and Yusuf / Cat Stevens, respectively. It allows Mason, a prestige artist, to take another stab at songs from his young manhood. Now, songs like "Only You Know And I Know," "Shouldn't Have Took More Than You Gave" and "Just A Song," which demonstrated Mason's ahead-of-the-curve writing ability so early in his career, get rawer, edgier redos here.

Mason cofounded Traffic in 1967 and appeared on the Birmingham rock band's first two albums, Mr. Fantasy (1967) and Traffic (1968). The latter featured one of Mason's signature songs: "Feelin' Alright?" which Joe Cocker, Three Dog Night and The Jackson 5 recorded. After weaving in and out of Traffic's ranks multiple times, Mason took the tunes he planned for their next album and tracked them with a murderers' row of studio greats in 1970. (That year, Traffic released John Barleycorn Must Die, sans Mason, which is widely regarded as their progressive folk masterpiece.)

Over the ensuing half-century, Mason has toured steadily while accruing an impressive body of work as a solo artist; Alone Together...Again is a welcomed reminder of where it all began. 

GRAMMY.com caught up with Dave Mason to talk about his departure from Traffic, his memories of the original Alone Together and why the new 2020 takes are, in his words, "so much better."

This interview has been edited and condensed for clarity.

Where do you feel Alone Together stands in your body of work? Is it your favorite album you've made?

No, I wouldn't say it's the favorite, but it's sort of spread out. When people ask me, "Well, what's your favorite music? What are you listening to?" I'm like, "I don't know. Which genre do you want me to talk about?" I can't pick it out and say it's my all-time favorite. There are other things I like just as much.

I mean from your solo canon, specifically.

Well, even from a solo thing, 26 Letters, 12 Notes, which I put out [in 2008], went right under the radar, because trying to put new stuff out these days is … an exercise in futility. And that was a great album! Really good. [Alone Together] definitely had great songs on it, and it still holds up, redone. So, from that point of view, it's great. It's probably one of my faves, yes.

When you made the original album, you had just left Traffic, correct?

Pretty much after the second album [1968's Traffic], I moved over here in 1969, to the U.S., for a couple of reasons. Traffic was not a viable option for me anymore, from the other three's point of view. So I decided to come to the place where everything originated from, which is America. Bluegrass, which had its roots in Europe and everything else, is uniquely American music. So that, and probably the 98-cents-to-the-dollar taxes, too. But I mostly came here for musical reasons.

Which divergent creative directions did you and the other Traffic guys wish to go in?

Had that not have happened, all those songs on Alone Together would have been on the next Traffic album.

Read: WATCH: Dave Mason & The Quarantines Uplift With New Video Version Of "Feelin' Alright"

You had quite an ensemble for the original Alone Together: pianist Leon Russell, vocalist Rita Coolidge, bassist Chris Etheridge and others. Were there specific creative reasons for involving these musicians? Or was it more in the spirit of getting some friends together?

I knew Rita and a few other people from early on, being in Delaney & Bonnie. All those people kind of knew each other. Leon Russell was new. I think Rita was going out with Leon at the time. A lot of them were gathered together by Tommy LiPuma, who coproduced Alone Together with me. Otherwise, I was just new here. I didn't know who was who.
Many of those guys were the top session guys in town: [drummers] Jim Keltner, Jim Gordon and [keyboardist] Larry Knechtel, for instance. Leon, I had him play on a couple of songs because I'd met him, I knew him, and I wanted his piano style to be on a couple of things. He put the piano on after the tracks were cut.

Let's flash-forward to Alone Together… Again. Tell me about the musicians you wrangled for this one.

Well, that's my band, the road band that I tour with. [Drummer] Alvino Bennett, [guitarist and background vocalist] Johnne Sambataro—Johnne's been with me for nearly 40 years, on and off—and [keyboardist and bassist] Tony Patler. 

Other than the slight differences in arrangements, there's more energy in the tracks. Other than the vocals, they were pretty much all cut live in the studio. The solos were cut live, because that's my live road band. "Only You Know And I Know," "Look At You Look At Me," "Shouldn't Have Took More Than You Gave," all those songs have been in my set for 50 years, on and off, so they knew them.

If I never had that session band on the original album and could have taken them on the road for a month, then that original album would have had a little more of an edge to it, probably. This new incarnation of it has more of that live feel. Those boys knew the songs. They didn't really have to think about them, but just get in there and play.

Aside from that, there are slightly different arrangements. "World In Changes" is a major departure, "Sad And Deep As You" was basically a live track cut on XM Radio probably 12, 14 years ago and "Can't Stop Worrying, Can't Stop Loving" is a little bit more fleshed out, which I like. The other songs pretty much stick to the originals. 

"Just A Song," I think, has a little more zip to it. It's got the addition of John McFee from The Doobie Brothers, who put that banjo on it, which is cool. Then there's Gretchen Rhodes, who does a lot of the girl background vocals on these tracks.

What compelled you to change up the rhythm of "World In Changes"?

I just wanted to see what would happen, taking one of my songs and adapting it to something else. I have a version of it cut the way it was originally done, and it was a question of whether I stick to that and put that on the album or do something exciting and totally different. To me, it came out so cool. The sentiment is timeless, and I wanted something on there that was new—an older song, done in a new way.

It seems like you still feel poignancy and urgency in these songs. Besides the fact that the album's 50th anniversary just passed, why did you return to the well of Alone Together?

Well, I started playing around with doing this 15 years ago. Mostly, it was for my own amusement, to be honest with you. But then, as it started to come together, and it was approaching 50 years since the [release of the] original, my wife and some people around me were like, "You should put this out." That's how it all led up to this.

Any other lyrical or musical changes that the average listener may not notice?

As to whether this ever reaches the ears of some new people, it would be nice. It seems unless you have some Twitter trick or social media thing happen, trying to get people aware [is difficult]. In other words, if a younger audience could hear this, I'm pretty sure they would like it. You'll probably have some people out there—the purists—but otherwise, I don't know. 

"Sad And Deep As You" is so much better than the original version, frankly. To me, it holds up. I think my vocals are better, which is one of the big reasons why I decided to redo it in the first place.

When you said "purists," there was an edge in your voice.

[Long chuckle.] Everybody's got their tastes and opinions, and that's the way that is. Same reason they booed Bob Dylan when he had The Band behind him. Some people are that way.

Even if people aren't familiar with the original album, I'd think your backstory would resonate with them. Your role in George Harrison's All Things Must Pass comes to mind.

Yeah, I played on a bunch of things. With All Things Must Pass, I pretty much just played acoustic guitar stuff in there with a group of people … George gave me my first sitar and played me Sgt. Pepper's at his house before it came out. I did "All Along The Watchtower" with Hendrix.

A lot of it's available on my website. There's a lot of cool stuff on there. On my YouTube channel, there's a great live version of "Watchtower" from the Journey and Doobie Brothers tour we did four years ago. But we'd be here for another half hour or more if we went over everybody I appeared with and everything I've been on.

Read: It's Not Always Going To Be This Grey: George Harrison's 'All Things Must Pass' At 50

Regarding Hendrix, that's an experience that not many other people can say they've had.

Very few. Very few. There are a lot of great guitar players out there, but there are no more Jimi Hendrixes.

You also played with Fleetwood Mac in the '90s, yeah?

I was with Fleetwood Mac from '94 to '96. We did an album called Time, which sort of went under the radar somehow. It didn't get promoted.

Why was that?

I don't know. It's not a bad album, but Warner Bros. was trying to force the issue of getting Stevie Nicks and whatshisname back in there.

Lindsey Buckingham?

Yeah, Lindsey. Christine McVie was on the album, but she didn't go on the road with us. It was kind of weird. The only original members were Mick [Fleetwood] and John [McVie]. It was a little bit like a Fleetwood Mac cover band, but it was cool. It was fun to do for a couple of years, but then they got back together again. C'est la vie. There you go.

Anything else you want to express about reimagining Alone Together 50 years down the road?

I don't think it's just the fact that it's my stuff because there are certain songs I've done that I would not address again. But the thing about those songs is that they all have very timeless themes. "World In Changes," I mean, that could have been written a month ago. To redo them doesn't seem that out of place to me.

Director John McDermott Talks New Jimi Hendrix Documentary, 'Music, Money, Madness … Jimi Hendrix in Maui'

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The Pretty Reckless

The Pretty Reckless

 
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#TBT: The Pretty Reckless Play "House On A Hill" pretty-reckless-house-hill-press-play-home

#TBT: The Pretty Reckless Deliver Haunting Performance Of "House On A Hill" | Press Play At Home

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Revisit the New York rock band's acoustic performance of their emotional 2014 track, which frontwoman Taylor Momsen describes as a "cry for humanity"
Ana Monroy Yglesias
GRAMMYs
Dec 31, 2020 - 10:00 am

For the latest episode of GRAMMY.com's Press Play At Home video series, we revisit a powerful acoustic performance from The Pretty Reckless of their emotional track, "House On A Hill," off their 2014 album, Going To Hell.

Taylor Momsen, the frontwoman of the New York City rock band, describes the heart-wrenching song, which is inspired by the Vietnam War, as a "cry for humanity."

The Pretty Reckless Perform "House On A Hill"

#TBT: G Herbo & Chance The Rapper Get Vulnerable On "PTSD" Performance For Press Play At Home

Johnny Flynn as David Bowie in Gabriel Range's 'STARDUST'

Johnny Flynn as David Bowie in Gabriel Range's STARDUST

Photo Courtesy of IFC Films. An IFC Films Release.

 
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Marc Maron & Johnny Flynn On 'Stardust,' Bowie marc-maron-johnny-flynn-interview-stardust-david-bowie-biopic

Marc Maron And Johnny Flynn On Why 'Stardust' Is A Cinematic Space Oddity, Not A David Bowie Biopic

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One of the most interesting music films of the year, 'Stardust' has zero aspirations to embody the big Bowie biopic daydream, instead offering an intriguing, arty interpretation of an era that ultimately helped shape the sound and style of Ziggy Stardust
Lina Lecaro
GRAMMYs
Dec 30, 2020 - 3:49 pm

The hunger for a David Bowie biopic has intensified in the four years since the icon's death and in the wake of the breakout box office success of music films like Bohemian Rhapsody and Rocketman. But despite its perfect title and marketing that might suggest otherwise, Stardust had zero aspirations to embody the big Bowie biopic daydream. 

Released last month (Nov. 25) on multiple streaming platforms, Stardust is an intriguing, somewhat arty interpretation encompassing a short but influential window of time before Bowie broke big. The film follows a young Bowie, played by British musician/actor Johnny Flynn, in his pre-Ziggy, boho-rock days. Aided by Ron Oberman, played by comic and podcast king Marc Maron, the record company PR guy tasked with promoting the singer in the U.S. at the start of his career, Bowie takes an ill-fated press trip to America in 1971 that ultimately helps shape the sound and style of one of music's most revered figures: Ziggy Stardust.

Despite a disclaimer that states "what follows is (mostly) fiction" at the start of Stardust, the film's basic premise is based on true facts. Bowie did have to stay with the real Oberman and his family in Maryland before embarking on a bare-bones road trip to promote his music, and due to visa problems, the singer was not able to play any substantial venues or even play his own music during the tour. He was clearly struggling with some identity issues as an artist before he evolved into the Starman, and as depicted in the film, his relationship with his overbearing wife, Angie (Jena Malone), became more and more strained as he grew as an artist, fleshing out his flamboyant, cosmic persona and music.  

While Stardust is indeed a music film, the music logistics for the movie were no easy road. Last February, Bowie's son, Duncan Jones, announced on Twitter that he and his family would not authorize the use of his dad's music for the film. Consequently, fans quickly denounced the project. But the film's writer/director, Gabriel Range, had very specific intentions, and music wasn't necessarily essential to explore them. 

"He didn't want to give us the music, but that's great because it provided us more freedom," Maron said during a joint interview with Flynn before the release of Stardust. "We couldn't afford it anyway. The idea that we can't interpret this moment in David Bowie's life out of respect is ridiculous. David was a public figure who contributed so much to artistic innovation, to creativity in his work, and it's been out there in the world for 50 years. This idea that it's off-limits by any means to express interpretation of this man is ridiculous. They are protecting the brand more than they are protecting the person."

For his part, Flynn, who in the film sings covers Bowie often played live and does a glammy new song he wrote for Stardust called "Good Ol' Jane," didn't take the lead role lightly. 

"He's a big hero to me in lots of ways," he explained. "I passed on an earlier version of the script because I thought this is not a story that needs to be out there; it was more like the jukebox musicals that we've seen out there recently."

Flynn, an acclaimed musician in his own right and a promising actor, reconsidered when Range, working alongside writer Christopher Bell, came on board and took the film in a new direction. 

"He knew Bowie really well and he said, 'We just want to look at this tiny, tiny moment of his life," the actor explained. "I went to see the “David Bowie Is" exhibition in Brooklyn, and I was walking around the exhibit. It was so interesting. He was desperate to escape this sense of mediocrity and what he thought of as banality. [Range is] always looking for interesting truths about situations that change people's opinions of what a certain time might have been. We took things step by step, and it felt right at every step. This is such a small film and it doesn't negate or tread on the toes of a big, estate-backed film about Bowie. This can exist, too."

Indeed, it can. What's explored in Stardust would have probably taken about 10 minutes in a traditional biopic. Though its limited scope and intimate approach is far from the grandiose, glam-rock affair some might have hoped for, the film has many endearing moments music fans, if not the hardcore Bowie base awaiting a blockbuster life exploration, can enjoy. There's a nice chemistry between the two leads, for one, and in many ways, the film is a classic buddy flick/road trip, quasi-comedy featuring two opposites coming together and learning from each other. 

David Bowie's '…Ziggy Stardust…' | For The Record

Of course, the monumental undertaking of tackling a beloved and legendary figure like Bowie on film is a big risk for any actor or creative. The haters were not silent. 

Naysayers pointed to Flynn's lack of facial resemblance to Bowie, but the actor wasn't going for a gauche impersonation. 

"I tried on the wig, then we tried some songs and some scenes, just to see how we could get on with that. And each step that we took just felt like encouragement to move to the next," Flynn said of playing Bowie in the film. "I didn't know if the story we were trying to tell would work, but it felt right. And this era is the only David that I would have been happy with portraying."  

Read: "Space Oddity": 7 Facts About David Bowie's Cosmic Ballad | GRAMMY Hall Of Fame

Rock movies are often in danger of coming off as corny or cliche. Stardust, and the cast and creative team behind it, mostly avoided this by keeping the narrative ambitions specific and the acting fairly measured. 

As for the fan community and their critiques of the film, Maron is pragmatic. "I dealt with that with the Marvel idiots when I did Joker, too," he shared. "The nature of fanaticism and the idea of fans and that kind of religious dogma that goes around what they think is honoring their 'God' is really problematic in terms of moving art forward in a lot of ways."

Flynn, on the other hand, took the feedback as an indicator of Bowie's impact and lasting legacy.

"What made all the reactions interesting to me is the fact that [Bowie is] such an influence, and he's a different person to everybody," the actor added. "For Marc, it was the Scary Monsters era. For me, I discovered him during like "Space Oddity" and the early stuff, but mixed in with Ziggy and Hunky Dory, which is probably my favorite album. I think that makes it worthwhile to examine who this person was. It is fascinating, in terms of cancel culture and people saying, 'You can't touch that.' [But] I'm happy that there's a dialog around it and somebody who is such a beacon of liberal expression and artistic freedom."

David Bowie's '…Ziggy Stardust…' | For The Record

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