Tal Farlow • This Is Tal Farlow

 

Artist Biography by Scott Yanow

Nearly as famous for his reluctance to play as for his outstanding abilities, guitarist Tal Farlow did not take up the instrument until he was already 21, but within a year was playing professionally and in 1948 was with Marjorie Hyams' band. While with the Red Norvo Trio (which originally included Charles Mingus) from 1949-1953, Farlow became famous in the jazz world. His huge hands and ability to play rapid yet light lines made him one of the top guitarists of the era. After six months with Artie Shaw's Gramercy Five in 1953, Farlow put together his own group, which for a time included pianist Eddie Costa. Late in 1958, Farlow settled on the East Coast, became a sign painter, and just played locally. He only made one record as a leader during 1960-1975, but emerged a bit more often during 1976-1984, recording for Concord fairly regularly before largely disappearing again. Profiled in the definitive documentary Talmage Farlow, the guitarist can be heard on his own records for Blue Note (1954), Verve, Prestige (1969), and Concord. He died of cancer July 25, 1998, at age 77.

https://www.allmusic.com/artist/tal-farlow-mn0000790227/biography

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Biografía del artista por Scott Yanow

Casi tan famoso por su renuencia a tocar como por sus extraordinarias habilidades, el guitarrista Tal Farlow no tomó el instrumento hasta que ya tenía 21 años, pero al cabo de un año ya estaba tocando profesionalmente y en 1948 estaba con la banda de Marjorie Hyams. Mientras que con el Trío Red Norvo (que originalmente incluía a Charles Mingus) de 1949 a 1953, Farlow se hizo famoso en el mundo del jazz. Sus enormes manos y su habilidad para tocar líneas rápidas pero ligeras lo convirtieron en uno de los mejores guitarristas de la época. Después de seis meses con Gramercy Five de Artie Shaw en 1953, Farlow formó su propio grupo, que por un tiempo incluyó al pianista Eddie Costa. A finales de 1958, Farlow se estableció en la costa este, se convirtió en pintor de signos y sólo tocaba localmente. Sólo hizo un disco como líder durante 1960-1975, pero emergió un poco más a menudo durante 1976-1984, grabando para Concord con bastante regularidad antes de volver a desaparecer en gran medida. Perfilado en el documental definitivo Talmage Farlow, el guitarrista puede ser escuchado en sus propios discos para Blue Note (1954), Verve, Prestige (1969) y Concord. Murió de cáncer el 25 de julio de 1998, a la edad de 77 años.

https://www.allmusic.com/artist/tal-farlow-mn0000790227/biography


Tracklist:
1 - Lean On Me - 4:11
2 - Wonder Why - 4:52
3 - Night And Day - 4:21
4 - Stella By Starlight - 3:33
5 - The More I See You - 4:50
6 - All The Things You Are - 4:22
7 - How Long Has This Been Going On? - 4:12
8 - Topsy - 3:38


Credits:
    Bass – Bill Takas (tracks: 5 to 8), Knobby Totah
    Drums – Jimmy Campbell
    Guitar – Tal Farlow
    Liner Notes – Nat Hentoff
    Photography By [Cover Photo] – Herman Leonard
    Piano – Eddie Costa
    Producer – Norman Granz

Notes:
Recorded at WOR Sound Studio, New York City

Label: Verve Records ‎– MG V-8289
Series: Clef Series
Released:  1958
Genre:  Jazz
Style: Post Bop, Cool Jazz

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Bill Heid & The Detroit Blues Masters • We Play The Blues

Artist Biography by Michael G. Nastos

Keyboardist/vocalist Bill Heid was born August 11, 1948, in Pittsburgh, PA. A natural and virtuosic musician who was inspired to play jazz and blues by listening to the radio, he played in both piano and organ groups. His brother is the well-respected drummer and producer George Heid. Originally influenced by Jimmy Smith and Don Patterson, Heid heard the chitlin' circuit greats at the Hurricane Bar, including Smith and Patterson, Jack McDuff, Jimmy McGriff, and Dr. Lonnie Smith. Down the street at the Crawford Grill were the jazz bands led by Freddie Hubbard, Max Roach, Gene Harris, Bobby Timmons, and Wynton Kelly.

On occasion he would sit in with some of these groups and pester them for information. Spending time in Chicago and later in New York, he met and hung out with his mentor, Larry Young, often visiting the family-owned Newark Club in Young's hometown of Newark, NJ. He was also privy to playing with the best organ drummers like Joe Dukes and Billy James. And he heard the local contingent of jazz greats like Ahmad Jamal, Art Blakey, Erroll Garner, George Benson, Eddie Jefferson, Mary Lou Williams, and Stanley Turrentine.

His quest for musical knowledge found him on the road when in 1963, in search of rare 78-rpm rhythm & blues records, he began a journey/career of hitchhiking. He did this in the contiguous 48 states of the U.S.; through Canada, Mexico, the Philippines, Japan, Korea, and China; and to the Thailand/Cambodia border. His over 400,000 documented miles of thumbing a ride gained Heid a spot in The Guinness Book of World Records. Some of his journeys led him to the so-called chicken houses and organ rooms of major cities, where he interned with Jimmy Witherspoon, Jimmy Ponder, Sonny Stitt, Grant Green, David "Fathead" Newman, Ira Sullivan, and Mickey Roker, and was a pianist with Don Patterson.

A move to Chicago brought him closer to the urban blues as he worked or recorded with Muddy Waters, John Lee Hooker, and especially Son Seals, Koko Taylor, Fenton Robinson, and Roy Buchanan. He also did two LPs and played in the bands of contemporary jazz guitarist Henry Johnson. Moving to Detroit, he spent two decades there playing in his own groups; helping to revive the career of a local legend of blues guitar and vocals, Johnnie Bassett, as the music director of his Blues Insurgents; and backing the veteran singer Alberta Adams. During and since his time in Detroit, Heid could be found making music soundtracks for adult films in Los Angeles, then touring worldwide for the U.S. State Department as a jazz ambassador, particularly on tours of Japan and Vietnam. In August 2003, Heid played more of the Pacific Rim in Sri Lanka, Indonesia, Malaysia, and Singapore.

Upon moving back to the Eastern United States, he could be heard on organ and piano engagements at various venues in the Washington, D.C., area. Of his mindset, Heid was quoted as saying "I can't live a day without playing 1-4-5s," incorporating those standard blues changes with cool McCoy Tyner minor riffs, vicious funk songs in Japanese, and what he calls Talifunk. "I approach this thing like total war and have been lucky to have avoided a day job." His hip vernacular, unique vocal language, and risqué sense of humor, melded with his passion for baseball, have made him an entertainer nonpareil.

https://www.allmusic.com/artist/bill-heid-mn0000079817/biography

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Biografía del artista por Michael G. Nastos

El tecladista y vocalista Bill Heid nació el 11 de agosto de 1948 en Pittsburgh, PA. Músico natural y virtuoso que se inspiró en el jazz y el blues escuchando la radio, tocó tanto en grupos de piano como de órgano. Su hermano es el respetado baterista y productor George Heid. Originalmente influenciado por Jimmy Smith y Don Patterson, Heid escuchó a los grandes del circuito de chitlin' en el Hurricane Bar, incluyendo a Smith and Patterson, Jack McDuff, Jimmy McGriff, y el Dr. Lonnie Smith. Al final de la calle en el Crawford Grill estaban las bandas de jazz lideradas por Freddie Hubbard, Max Roach, Gene Harris, Bobby Timmons y Wynton Kelly.

En ocasiones se sentaba con algunos de estos grupos y los molestaba para obtener información. Pasando tiempo en Chicago y más tarde en Nueva York, conoció y pasó tiempo con su mentor, Larry Young, visitando a menudo el Newark Club, propiedad de la familia, en la ciudad natal de Young, Newark, Nueva Jersey. También tuvo la oportunidad de tocar con los mejores bateristas de órgano como Joe Dukes y Billy James. Y escuchó al contingente local de grandes del jazz como Ahmad Jamal, Art Blakey, Erroll Garner, George Benson, Eddie Jefferson, Mary Lou Williams y Stanley Turrentine.

Su búsqueda de conocimientos musicales lo encontró en la carretera cuando en 1963, en busca de raros discos de rhythm & blues de 78 rpm, comenzó un viaje/carrera de autostop. Lo hizo en los 48 estados contiguos de Estados Unidos; a través de Canadá, México, Filipinas, Japón, Corea y China; y hasta la frontera entre Tailandia y Camboya. Sus más de 400.000 millas documentadas de hacer dedo pulgar le valieron a Heid un lugar en el Libro Guinness de los Récords Mundiales. Algunos de sus viajes lo llevaron a los llamados gallineros y salas de órganos de las principales ciudades, donde trabajó con Jimmy Witherspoon, Jimmy Ponder, Sonny Stitt, Grant Green, David "Fathead" Newman, Ira Sullivan y Mickey Roker, y fue pianista de Don Patterson.

Un traslado a Chicago lo acercó al blues urbano al trabajar o grabar con Muddy Waters, John Lee Hooker, y especialmente con Son Seals, Koko Taylor, Fenton Robinson y Roy Buchanan. También hizo dos LPs y tocó en las bandas del guitarrista de jazz contemporáneo Henry Johnson. Trasladándose a Detroit, pasó dos décadas tocando en sus propios grupos; ayudando a revivir la carrera de una leyenda local de la guitarra y la voz blues, Johnnie Bassett, como director musical de sus Blues Insurgents; y apoyando a la veterana cantante Alberta Adams. Durante y desde su estancia en Detroit, Heid pudo ser encontrado haciendo bandas sonoras para películas para adultos en Los Ángeles, y luego viajando por todo el mundo para el Departamento de Estado de los Estados Unidos como embajador de jazz, particularmente en giras por Japón y Vietnam. En agosto de 2003, Heid jugó más en la costa del Pacífico en Sri Lanka, Indonesia, Malasia y Singapur.

Al regresar al este de los Estados Unidos, pudo ser escuchado en conciertos de órgano y piano en varios lugares del área de Washington, D.C. De su modo de pensar, Heid fue citado diciendo "No puedo vivir un día sin tocar 1-4-5", incorporando esos cambios estándar del blues con los riffs menores de McCoy Tyner, canciones funk viciosas en japonés, y lo que él llama Talifunk. "Me acerco a esto como si fuera una guerra total y he tenido suerte de haber evitado un trabajo diurno." Su lenguaje vernáculo de cadera, su lenguaje vocal único y su risueño sentido del humor, unido a su pasión por el béisbol, lo han convertido en un artista sin parangón.

https://www.allmusic.com/artist/bill-heid-mn0000079817/biography

Tracklist:
1 - I'm Glad She's Gone - 4:03
2 - Love Is Bunk - 5:04
3 - Complainin' - 3:30
4 - Nothing Is Forever - 5:26
5 - I'm No Good - 4:30
6 - We Play The Blues - 5:24
7 - Two Wrongs - 4:26
8 - Soul Gumbo - 5:45
9 - It's Raining - 4:03
10 - The Quide Song - 4:06
11 - Don't Hold Back - 6:17
12 - Boogie On - 6:47
13 - Feels Like The Blues - 4:54


Credits:
    Alto Saxophone – Russ Miller
    Artwork – Henry Van Kleeff
    Baritone Saxophone – Keith Kaminski
    Bass – Pat Prouty
    Drums – R.J. Spangler
    Electric Guitar – Johnnie Bassett
    Flugelhorn – Dwight Adams
    Harmonica – Brian Miller) (tracks: 6, 11)
    Mastered By – Wil Hesen
    Mixed By – Rick Matle
    Photography By – Dan Hall , David Koether
    Piano – Bill Heid
    Producer – Bill Heid
    Recorded By – Rick Matle
    Rhythm Guitar – Rick Matle (tracks: 13)
    Tenor Saxophone – Keith Kaminski, Russ Mille
    Trumpet – Dwight Adams
    Vocals – Bill Heid (tracks: 1, 2, 3, 5, 6, 9, 10, 11, 12, 13), Johnnie Bassett (tracks: 2, 4, 7, 12)


Notes:
Recorded January 17-21, 2000 Roseview Studio, Rochester Hills, Michigan, USA
Production Assistance: R. J. Spangler
Mastered at Farmsound Studio, Heelsum, The Netherlands


Label: Black Magic Records (2) ‎– 9042
Country: Netherlands
Released: 2000
Genre: Blues
Style: Jump Blues, Rhythm & Blues

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Barefoot in Babylon The Creation of the Woodstock Music Festival, 1969

 

 

The perfect gift for music fans and anyone fascianated by Woodstock, Barefoot in Babylon is an in-depth look at the making of 1969’s Woodstock Music Festival—one of Rolling Stone’s “50 Moments That Changed the History of Rock and Roll.”

“Mr. Spitz feeds us every riveting detail of the chaos that underscored the festival. It makes for some out-a-sight reading, man.”—The New York Times Book Review
 
Fifty years ago, the Woodstock Music Festival defined a generation. Yet, there was much more than peace and love driving that long weekend the summer of 1969. In Barefoot in Babylon, journalist and New York Times bestselling author Bob Spitz gives readers a behind-the-scenes look at the making of Woodstock, from its inception and the incredible musicians that performed to its scandals and the darker side of the peace movement. With a new introduction, as well as maps, set lists, and a breakdown of all the personalities involved, Barefoot in Babylon is a must-read for anyone who was there—or wishes they were.

 

 

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Billy Fury • The Sound of Fury

Ronald Wycherley (17 April 1940 – 28 January 1983), better known by his stage name Billy Fury, was an English singer from the late 1950s to the mid 1960s, and remained an active songwriter until the 1980s. Rheumatic fever, which he first contracted as a child, damaged his heart and ultimately contributed to his death. An early British rock and roll (and film) star, he equalled the Beatles' record of 24 hits in the 1960s, and spent 332 weeks on the UK chart, without a chart-topping single or album.

AllMusic journalist Bruce Eder stated, "His mix of rough-hewn good looks and unassuming masculinity, coupled with an underlying vulnerability, all presented with a good voice and some serious musical talent, helped turn Fury into a major rock and roll star in short order". Others have suggested that Fury's rapid rise to prominence was due to his "Elvis Presley-influenced hip swivelling and, at times, highly suggestive stage act."

Early years

Ronald Wycherley was born at Smithdown Hospital (later Sefton General Hospital, now demolished), Smithdown Road, Liverpool. He commenced music lessons on the piano before he was a teenager, and was bought his first guitar by the age of 14. Wycherley fronted his own group in 1955, but simultaneously worked full-time on a tugboat and later as a docker. He entered and won a talent competition, and by 1958 had started composing his own songs.

Wycherley went to meet pop manager and impresario Larry Parnes at the Essoldo Theatre in Birkenhead, hoping to interest one of Parnes' protégés, well-known singer Marty Wilde, in some of the songs he had written. Instead, in an episode that has become pop music legend, Parnes pushed young Wycherley up on stage right away. He was such an immediate success that Parnes signed him, added him to the tour, and renamed him 'Billy Fury'. However, his early sexual and provocative stage performances received censure, and he was forced to tone them down. In October 1959, the UK music magazine, NME, commented that Fury's stage antics had been drawing much press criticism.

He released his first hit single for Decca, "Maybe Tomorrow", in 1959. He also appeared in a televised play Strictly for Sparrows, and subsequently on Oh Boy! In March 1960, he reached No. 9 in the UK Singles Chart with his own composition "Colette", followed by "That's Love" and his first album The Sound of Fury (1960), which featured a young Joe Brown on lead guitar, with backup vocals by the Four Jays.

After securing more hits and jettisoning his band Georgie Fame and the Blue Flames, Parnes held auditions in Liverpool for a new group. Among those who auditioned were the Beatles, who at this time were still calling themselves the Silver Beetles. They were offered the job for £20 a week on condition that they sacked their bassist Stuart Sutcliffe. John Lennon refused and the band left[citation needed] after Lennon had secured Fury's autograph.

The Tornados were recruited as Fury's backing band and toured and recorded with him from January 1962 to August 1963. The Puppets were another band that backed Fury at a couple of gigs for 12 months.

UK chart and film success

Fury concentrated less on rock and roll and more on mainstream ballads, such as "Halfway to Paradise" and "Jealousy" (which reached No. 3 and No. 2 respectively in the UK Singles Chart in 1961). Fury confessed to the NME that "I wanted people to think of me simply as a singer – and not, more specifically, as a rock singer. I'm growing up, and I want to broaden my scope. I shall continue to sing rock songs, but at the same time my stage act is not going to be as wild in the future". It was Decca's decision to mould Fury into a teen idol after his last self-penned song, "My Christmas Prayer", had failed to chart. The years 1961 through 1963 were Fury's best years chartwise. In 1962, he appeared in his first film, Play It Cool, modelled on the Elvis films. It featured Helen Shapiro, Danny Williams, Shane Fenton and Bobby Vee, who appeared with the Vernons Girls. The hit single from the film was "Once Upon a Dream". There were other notable performances by several British actors and performers such as Richard Wattis, Lionel Blair and Dennis Price.

Fury's We Want Billy! (1963) was one of the first live albums in UK rock history, and featured renditions of his hits and cover versions of several R&B songs such as "Unchain My Heart".

In 1965 he appeared in the film I've Gotta Horse, which also featured his backing group the Gamblers, the Bachelors, Amanda Barrie, Michael Medwin and Jon Pertwee. The album from the film was made available in stereo. Fury left Decca Records in 1966, after signing to a five-year recording contract with Parlophone.

Having had more UK hits, such as "It's Only Make Believe" and "I Will" (written by Dick Glasser, not to be confused with the Paul McCartney song), both in 1964, and "In Thoughts of You" (1965), Fury began a lengthy absence from the charts in 1967, and underwent surgery for heart problems in 1972 and 1976 which led to his abandoning touring. Despite spending many weeks in the charts, Fury never achieved a number one single, but he remained popular even after his hits stopped. "I Will" became a US hit for Dean Martin (1965) and for Ruby Winters (1977).

Later years

In 1973, Fury emerged from a period of semi-retirement to star as 'Stormy Tempest' in the film That'll Be the Day. Also starring David Essex and Ringo Starr, it was roughly based on the early days of the Beatles. Starr was from the Dingle area of Liverpool, as was Fury, and had originally played drums for Rory Storm & the Hurricanes, whom the Stormy Tempest group were said to be modelled on.

In the mid-1970s Fury went out on the road with Marty Wilde. Away from the spotlight, he focused on wildlife preservation. Fury's health deteriorated and he underwent two open heart surgeries - the first was in 1972, and the second in 1976. In 1978 he was declared bankrupt for unpaid taxes to the Inland Revenue. The taxes dated back to 1962, and amounted to £16,780. Fury was also forced to sign over his royalties and publishing income. A new release, "Be Mine Tonight" (1981), failed to make an appearance in the UK Singles Chart. Worse was to follow in March 1981 when Fury, working on his own farm, collapsed and almost died. He returned to touring later that year, and his next two singles, "Love or Money" and "Devil or Angel", just dented the UK chart.

In 1981 and 1982, Fury was signed to Polydor Records by A&R man Frank Neilson, and recorded a comeback album, The One and Only (released posthumously) with Shakin' Stevens' producer Stuart Colman. Owing to his health, Fury did little touring to promote the new album. His last public appearance was at the Sunnyside pub, Northampton, on 4 December 1982. A few days before he died, Fury recorded a live performance for the Channel 4 television show, Unforgettable, featuring six of his old hits, although, at the request of his mother, only four of them were broadcast.[citation needed]

Personal life

Fury lived with "Lady Lee" Middleton from 1959 to 1967. During this time, he had a short relationship with actress Amanda Barrie, his co-star in I've Gotta Horse.

He married Judith Hall in May 1969, but later left her for heiress Lisa Voice (née Rosen). They lived together in London, and sometimes on Fury's farm in Wales, from 1971 until his death, although they were leading separate lives for the last two years. Fury was a keen birdwatcher.

Death

After returning from a recording session in the early hours of 28 January 1983, Fury collapsed from a heart attack at his home in London. His manager Tony Read found him unconscious the next morning. He was taken to St Mary's Hospital in Paddington, but died later in the afternoon, aged 42. A week later a funeral service was held at the St John's Wood church in London, for which his body was embalmed by Desmond Henley. Among the mourners were Larry Parnes, Marty Wilde, Jess Conrad, Eden Kane, Tony Read, Hal Carter and Mick Green, in addition to family members, friends and fans. The choir sang a special version of Billy's Decca hit "I'm Lost Without You". After the service Fury's body was buried at Mill Hill cemetery, in North London. A song issued posthumously entitled "Forget Him" became his final chart hit.

Legacy

On 10 April 1983, a tribute concert for Billy was held at the Beck Theatre in Hayes, Middlesex. All the artists performed for free and the money raised was donated to the Billy Fury memorial fund for research into heart disease. On the bill were names including Marty Wilde with his daughter Kim Wilde, Joe Brown, Alvin Stardust, Dave Berry, Helen Shapiro and John Miles.[citation needed]

In 1999 a TV documentary about Billy called Halfway to Paradise was broadcast on the BBC channel. It was narrated by Ian Dury. Between 1999 and 2000 the song "Wondrous Place", a favourite of Fury's (he re-recorded it at least three times during his career), later received wide airplay on British television when it was used as the theme for a Toyota Yaris car advertisement. In 2005 Spencer Leigh from BBC Radio Merseyside published a biography book about Billy Fury called Wondrous Face – The Billy Fury Story. In 2008 a biographical documentary film Billy Fury: His Wondrous Story was released on DVD.

On 19 April 2003 a bronze statue of Fury was unveiled by Jack Good at the National Museum of Liverpool Life. The sculpture, by Tom Murphy, a Liverpool sculptor, was donated by 'The Sound of Fury' fan club after the money was raised by fans.

In 2010, Camden Council named a previously unnamed alleyway "Billy Fury Way" in his honour. It starts just off Finchley Road near Finchley Road & Frognal station and runs to West Hampstead Station. He had recorded at the nearby Decca Studios. The alleyway was decorated with a large mural of his face (at the West Hampstead end), which was unveiled and blessed on Friday 29 July 2011.

Eight of Fury's EMI recordings remained unreleased on mainstream CD until June 2010, when they appeared on a 29-track issue, The Complete Parlophone Singles, released by Peaksoft (PEA009). The singer's estate licensed the tracks to benefit his memorial fund, which finances equipment purchases for hospital heart units. In November 2011, further co-operation between the estate and Peaksoft resulted in the issuing of a second CD, The Lost Album (PEA014), which attempted to construct the format of an album recorded by Fury in 1967–71, but which was never released.

Fury's backing band from 1970 until 1976, when he stopped touring due to ill health, were Fury's Tornados, named by Fury and his then manager Hal Carter. They continue to tour in the theatre show "Halfway to Paradise: The Billy Fury Story". Fury is also remembered in the work of tribute bands such as another theatre show called "The Billy Fury Years". The film Play It Cool was first released on DVD on 10 February 2014.

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Billy Fury (nacido como Ronald William Wycherley, Liverpool, 17 de abril de 1940 – Londres, 28 de enero de 1983), fue un cantante de rock y pop británico. Fue una de las primeras estrellas británicas del Rock and roll y el cine , igualó el récord de 24 éxitos de los Beatles en la década de 1960, y pasó 332 semanas en la lista del Reino Unido , sin un sencillo o álbum que encabezara la lista . Originariamente integrante del ambiente Mersey-Beat de Liverpool. Fue también compositor de sus propias canciones. Su carrera se desarrolló desde fines de los años 50 hasta la década de los 80.

A los 11 años recibió su primera lección de piano y tres años más tarde su primera guitarra. Uno de sus primeros trabajos, luego de la escuela, fue en el barco "Formby", donde conoció marinos americanos, que le enseñaron los estilo country y western. Creó luego su conjunto, "Formby Sniffle Group", que actuaba en cafés. En 1957 Ronald escribió para Margo King la canción Margo (Don't Go). En 1958 grabó un demo que envió al empresario Larry Parnes, el que impresionado lo tomó bajo contrato y le sugirió cambiar su nombre por el de Billy Fury. Comenzó pronto a realizar giras, y grabó un primer éxito para la compañía discográfica Decca: "Maybe Tomorrow" en 1959, que llegó al número 20 en los charts. Para marzo de 1960, su éxito "Colette" llegó al puesto número 9 en el Reino Unido,1 al que seguirían luego "That's Love", y su primer álbum, "The Sound Of Fury" (1960). Este incluía también a un joven Joe Brown en la primera guitarra, y apoyo vocal de fondo de los "4 Jays". Ellos se convertirían en "The Fourmost" tres años más tarde.

Luego de otros éxitos, Billy se uniría a la banda The Blue Flames que incluía al teclista Georgie Fame. The Blue Fames audicionaron para Parnes en Liverpool. Entre los que no calificaron para integrar su banda de respaldo, estaba la primera formación de "The Beatles", debido en parte, a que el primer bajista que tuvieron, Stuart Sutcliffe, tocó de espaldas al empresario. Los Beatles se desquitaron de todos modos, saliendo en gira por Escocia con Johnny Gentle y Duffy Power, que eran otros de los patrocinados por Parnes. El mencionado Power, fue el responsable del segundo cover de los Beatles en forma de sencillo: "I Saw Her Standing There".

Fury se concentraría menos en Rock and Roll, y más en baladas pop, tales como "Halfway To Paradise" y "Jealousy" (ambas de 1961, la primera llegó al número 3 y la otra al número 2 en las listas de sencillos británicos). Fue una decisión de Decca, la de moldear a Fury como ídolo de adolescentes, luego de que su segunda canción, "My Christmas Prayer", fallara en alcanzar los charts.

Billy Fury apareció en numerosos shows de TV y en series y películas. En 1962 voló junto con Larry Parnes a Los Angeles para entregarle a Elvis Presley varios discos de Plata y Oro. En ese año, Fury se convirtió en el primer cantante que actuara con Elvis Presley, fue éste quien le recomendó que grabara un tema de su nueva película, "Because Of Love".

También descubrió allí un sencillo de "Gladys Knight and the Pips", llamado "Letter Full Of Tears". El mismo año realizó su primera película: "Play It Cool", en el modelo de las películas de Elvis Presley, protagonizada por Helen Shapiro, Kenny Lynch, Shane Fenton, y Bobby Vee. El éxito de ésta película fue la canción "Once Upon A Dream".

A fines de 1963, Decca dispuso que Fury realizara un cover para lo que parecía un naciente éxito americano, el mismo que London Records había realizado recientemente con Barbara Chandler. Pero "Do You Really Love Me Too", no sería luego especialmente recordado.

Luego de aparecer en la película "I've Gotta Horse" (1965), y alcanzar otros éxitos en el Reino Unido, en 1965 Fury tuvo con "Thoughts Of You" su último Top-10-Hit. Su salud comenzaba a deteriorarse. Por un tiempo sólo redujo sus presentaciones. Su problema se remontaba a cuando de niño había padecido una fiebre reumática, que afectó su corazón en forma permanente. Billy siempre fue consciente de que no alcanzaría una edad muy avanzada. De ahí su amor por autos rápidos y una vida muy intensa. Fury desapareció de los charts y las giras desde 1966. Billy Fury fue también un amante de la ornitología y observador de pájaros destacado, actividades a las que se dedicó especialmente en ésta época de su vida.

Durante éste período de retiro, Fury escribió y grabó numerosas canciones, que no fueron éxitos comerciales, ni lanzadas hasta luego de su muerte. Se casó con Judith Hall en 1969, pero la pareja no duró mucho tiempo unida. Luego vivió con Lisa Rose. Fury sufría depresiones y problemas alcohólicos, a ello se agregaron problemas financieros.

En 1971 se realizó su primera operación al corazón. Para 1973, salió de su retiro para interpretar al rock 'n' roller Stormy Tempest en la película "That'll Be The Day". El film lo protagonizaban David Essex y Ringo Starr. Se basaba en los primeros tiempos de los Beatles. Ringo Starr era de la misma zona de Liverpool que Fury, y había tocado originalmente la batería para "Rory Storm & The Hurricanes". Fury regrabó en ésta época nuevamente su éxito de 1961: "A Thousand Stars". En 1976 se le realizó una segunda operación de corazón. Fury grabó un 'álbum retorno' entre 1981y 1982 : "The One And Only" (editado póstumamente) con el productor Stuart Coleman, incluyendo varios sencillos. Grabó también una actuación en vivo para el show de tv "Inolvidable", promocionando el nuevo álbum, tocando también algunos antiguos éxitos.

En marzo de 1982 tuvo un grave infarto, con parálisis y aun ceguera temporal. Luego ya sólo se deterioraría progresivamente su salud. A pesar de estar al tanto del riesgo que correría, Billy se embarcó en una gira más, que habría de ser la final. Billy Fury murió el 28 de enero de 1983, luego de una actuación en el teatro Beck en Hayes, Hillingdon, donde hoy se exhibe una placa conmemorativa de su última presentación allí.

El bajista Roger Cover recordó que Billy sabía que iba a morir, pero no quería interrumpir la gira de ningún modo. Stuart Coleman dijo que él quiso marcharse así, en un último y glorioso final.

www.billyfury.com ...


Tracklist:
✧ 01 - That's Love (00:01:49)
✧ 02 - My Advice (00:02:05)
✧ 03 - Phone Call (00:02:43)
✧ 04 - You Don't Know (00:02:27)
✧ 05 - Turn My Back On You (00:02:24)
✧ 06 - Don't Say It's Over (00:01:54)
✧ 07 - Since You've Been Gone (00:02:26)
✧ 08 - It's You I Need (00:01:47)
✧ 09 - Alright, Goodbye! (00:02:07)
✧ 10 - Don't Leave Me This Way (00:02:42)
✧ 11 - Maybe Tomorrow (00:02:14)
✧ 12 - Gonna Type A Letter (00:02:35)
✧ 13 - Margo (00:02:36)
✧ 14 - Don't Knock Upon My Door (00:01:47)
✧ 15 - Time Has Come (00:02:45)
✧ 16 - Colette (00:01:52)
✧ 17 - Baby How I Cried (00:02:47)
✧ 18 - Angel Face (00:02:22)
✧ 19 - Last Kiss (00:02:28)
✧ 20 - Wondrous Place (00:02:26)
✧ 21 - Cross My Heart (00:02:05)
✧ 22 - Jealousy (00:02:48)
✧ 23 - I'd Never Find Another You (00:02:38)
✧ 24 - Sleepless Nights (00:02:46)
✧ 25 - Halfway To Paradise (00:02:28)
✧ 26 - My Advice (Alternate Take) (00:02:05)
✧ 27 - It's You I Need (Alternate Take) (00:01:47)
✧ 28 - My Christmas Prayer (00:03:02)
✧ 29 - A Thousand Stars (00:03:06)
✧ 30 - Push Push (00:02:09)


Credits:
    Bass – Alan Weighall, Bill Stark
    Drums – Andy White
    Guitar – Joe Brown
    Piano – Reg Guest
    Producer – Jack Good
    Written-By – Fury (tracks: A1, B1, B3, B5), Wilbur Wilberforce (tracks: A2-A5, B2, B4)

Label: Decca ‎– LF 1329
Country: UK
Released: 1960
Genre: Rock
Style: Rock & Roll, Rockabilly

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Black Popular Music in Britain Since 1945

 

Black Popular Music in Britain Since 1945 provides the first broad scholarly discussion of this music since 1990. The book critically examines key moments in the history of black British popular music from 1940s jazz to 1970s soul and reggae, 1990s Jungle and the sounds of Dubstep and Grime that have echoed through the 2000s. While the book offers a history it also discusses the ways black musics in Britain have intersected with the politics of race and class, multiculturalism, gender and sexuality, and debates about media and technology. Contributors examine the impact of the local, the ways that black music in Birmingham, Bristol, Liverpool, Manchester and London evolved differently and how black popular music in Britain has always developed in complex interaction with the dominant British popular music tradition. This tradition has its own histories located in folk music, music hall and a constant engagement, since the nineteenth century, with American popular music, itself a dynamic mixing of African-American, Latin American and other musics. The ideas that run through various chapters form connecting narratives that challenge dominant understandings of black popular music in Britain and will be essential reading for those interested in Popular Music Studies, Black British Studies and Cultural Studies. 

https://www.routledge.com/Black-Popular-Music-in-Britain-Since-1945/Stratton-Zuberi/p/book/9781138504875

 

 

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