Month: September 2019

Hello again! I have decided to keep with the theme of last week’s post and tell the story of another legendary song from another outstanding artist. This week, I will dive into the backstory and success of Eric Clapton’s ethereal single, “Tears In Heaven.”

The date was March 20th, 1991. In Manhattan, NY, Eric Clapton’s four-and-a-half year old son Conor Clapton, was living with his mother Lori Del Santo in a duplex apartment. During an early morning cleaning, a housekeeper was making the rounds through the apartment when a window was accidentally left open. What followed could very easily be described as every parent’s worst nightmare – Conor darted past the housekeeper into the room and, not seeing the window, tripped out of the window and landed on a four story building directly adjacent to the apartment complex. Within twenty minutes of Conor’s fall, Clapton was called to the apartment. The death would ultimately be deemed accidental by New York Police, and Eric Clapton stated that, “It couldn’t be anybody’s fault – even the man who opened the window. I don’t know if he knew there was a child in the apartment, so he can’t be held to blame.” Clapton, though forgiving and understanding, which incredibly grief stricken, and thus fatefully turned to his music to cope.

Eric Clapton with his son, Conor Clapton.

Amidst recording sessions for the soundtrack of 1991’s film Rush, Clapton was working with lyricist Will Jennings, who was best known for his work with Steve Winwood. Clapton found a place in the film where another song for the soundtrack could fit, though he confided in Jennings, “I want to write a song about my boy.” With only one verse written, he turned to Jennings to complete the rest, which Jennings would ultimately do despite initial reluctance given the deeply personal subject of the song. Following the song’s completion, Clapton grew increasingly uncertain of whether or not the song would work out in the film after all, though was convinced by Rush director Lili Zanuck. According to Clapton, “her argument was that it might in someway help someone, and that got my vote.”

The critically acclaimed Rush soundtrack, through which “Tears in Heaven” made its debut. 

Despite Rush’s short-lived run in theaters and swift fade into obscurity, that intimate story of encountering a loved one in the afterlife dubbed “Tears in Heaven” swiftly rose to critical acclaim. On March 28th, 1992, over a year after Conor Clapton’s tragic fall, “Tears In Heaven” would peak at #2 on the Billboard Hot 100. On August 18th, 1992, “Tears In Heaven would become the centerpiece of Clapton’s now renowned acoustic album Unplugged. Several months later, Eric Clapton would sweep the 1993 Grammy’s in taking home a total of 6 Grammys, with “Tears in Heaven” winning Record of the Year, Song of the Year, and Best Pop Vocal Performance, Male. The other three Grammy’s were awarded to the legendary “Layla” for best Rock Song, and Unplugged for Album of the Year and Rock Vocal Performance.

 

An elated Clapton, pictured with his six Grammys. 

 

Unplugged

As time wore on, Clapton would find himself increasingly  distanced from the heartache of his son’s death, and subsequently “Tears In Heaven.” Following a series of concerts in Japan, Clapton would announce in 2004 that “Tears in Heaven” and the similarly acclaimed single “My Father’s Eyes” (also written in ’91 with Conor’s death in mind) would be phased out of his set lists. Clapton, in talks with the Associated Press, admitted “I didn’t feel the loss anymore, which is so much a part of performing those songs… I really have to connect with the feelings that were there when I wrote them… they’re kind of gone and I really don’t want them to come back, particularly. My life is different now.” Clapton would go onto describe feeling rather conflicted when performing the two songs, citing that the two songs may “need a rest” and if he were to perform them again, he would “introduce them from a much more detached point of view.”

“Tears In Heaven” has found its place in the music industry’s history as one of the most heartfelt pieces of all time, with readers of the Rolling Stone dubbing it the number 1 saddest song of all time in a poll some years ago. In similar online searches of the saddest songs ever written, “Tears in Heaven” will more or less appear at the very least near the tops of the lists, if not at the top. Given this, “Tears In Heaven” should not be mistaken for just another 90’s acoustic pop hit. Rather, “Tears in Heaven” is a moving inquiry of whether or not we will ever meet those we have lost in our lives again. Given its resonance amongst millions at both at its peak and today, “Tears In Heaven” is a prime example of music’s unparalleled ability to make listener’s feel something they otherwise wouldn’t.

 

Although an “official” video and audio exists (linked here), the version below is from the Unplugged album. Personally, I found that the song’s emotional exudation is infinitely more prominent with the compliments of the instrumental ensemble, background vocalists, and view of Clapton as he feels through the tune. 

https://www.youtube.com/watch?v=_82Dtdjf8mQ

 

 

 

Welcome back! For this week’s post, I have decided to take a close look at the story behind one of Bob Dylan’s most legendary, enduring works – Hurricane. Written in 1975, Dylan co – wrote the single with Jacques Levy after meeting the incarcerated boxer-turned-alleged killer Rubin “Hurricane” Carter.

The legendary singer-songwriter live in concert.

The story began when Rubin “Hurricane” Carter and friend John Artis were convicted in May of 1966 for  gunning down three white men at the Lafayette Bar and Grill in Paterson, New Jersey (not too far from where I am from!). Artis and Carter were near the scene of the crime, and shortly after the shootings the two were stopped by police. The police brought the men to one of the dying victims at a nearby hospital to be potentially identified as the killers. The pair was not I.D.’d, and legal investigations lead to a decision to not indict the men. However, the two would still be convicted, due to an accusation by career criminal Alfred Bello. Bello had been near the Lafayette the night of the crime, and as a bid to acquire leniency from the police, claimed he could I.D. the two then on-the-loose killers. As a result, Carter and Artis were both charged with triple murder and sentenced to three life prison terms. 

By 1975, a copy of Carter’s autobiography newly written The 16th Round: From Number 1 Contender to Number 45472 made its way to Bob Dylan (amongst various other celebrities) as part of a start-up campaign for Carter’s release. The 1974 autobiography tells of how Carter’s running as the top contender for the world middleweight boxing champion title was stopped short by the controversial conviction. The autobiography additionally covers the topics of growing up black in in the United States, his personal experience growing up in and out of prison, and his intense fights as a boxer. Dylan, encapsulated by Carter’s story, met the man within thirty days of reading the book. The two men hit it off quickly, with Carter remarking that “We sat and talked for many hours, and I recognized the fact that here was a brother.” Dylan stated in a similar light, “I realized that the man’s philosophy and my philosophy were running down the same road, and you don’t meet too many people like that.” Following this meeting, Dylan quickly grew dead-set on writing a song.

A young Rubin “Hurricane” Carter during his prolific, promising boxing career.

Dylan was coming off of the heels of his comeback album Blood on the Tracks, and had moved to Greenwich Village, New York in search of creative inspiration. Dylan quickly found a chemistry with theatre legend and songwriter Jacques Levy, and the pair spent several a period of time co-writing songs. Eventually, Levy’s theatre-influenced visual writing style coupled with Dylan’s craftiness would give birth to the enduring “Hurricane.”

In its earliest form, Columbia Records asked that slight changes be made in the song to omit potentially libelous references. After recutting the song to meet the label’s requests, “Hurricane” would be re-recorded in October and released in November as a single. With a total runtime of 8:33, the track was not only a vivid, immersive recreation of the fateful night that landed Carter behind bars, but a passionate rally cry against the seemingly racist nature of the questionable conviction. Soon after completion of the studio recording in October, though, Dylan took to the road with his Rolling Thunder Revue, staring Joan Baez, Joni Mitchell, Allen Ginsburg, and Roberta Flacka. The group performed a number of successful shows with Dylan’s motive being to spread the free-Carter message behind his impassioned creation.

 

The 1975 vinyl featuring “Hurricane” -broken into two parts due to the song’s 8:33 runtime – as a single prior to its album release in January of 1976. 

Following the launch of the tour, the Hurricane story snowballs toward its climax. On December 7th, sometime into the touring, a notable show took place in which Dylan and his Revue played at Carter’s prison in New Jersey. The following night, Dylan’s show would garner over $100,000 for Carter’s legal fund from a sold out Madison Square Garden show. The following month on January 5th, 1976, Bob Dylan’s next album Desire released with “Hurricane” as the opening track. Weeks later would see the success of “Hurricane II,” another charity concert held for Carter at the Houstons’ Astrodome. Dylan’s act was joined by various venerable musicians including Steven Stills, Carlos Santana, and Stevie Wonder.

Joan Baez and Bob Dylan famously performing in an unusual white face during the Rolling Thunder Revue tour.

In spite of Dylan’s best efforts, the U.S. Supreme Court unanimously, though temporarily, overturned the Lafayette convictions citing that the prosecution withheld evidence potentially favorable to the defense. Ultimately, the two men were yet again convicted and sentenced to life once more. It would not be until 1985 that the New Jersey Federal District Court would overturn the conviction, and in spite of some legal backlash, Carter was set free, with John Artis being freed later on due to legal complications not related to the Lafayette murders.

As for “Hurricane”, the song remains one of Bob Dylan’s most enduring hits and one of Rock’s most impactful protest songs. Through the touring of Dylan and his Rolling Thunder Revue, “Hurricane” helped propel Carter’s case to forefront of mainstream media. Such a feat goes to show more than simply the incredible cultural impact of Bob Dylan, but the raw power of music itself.

 

Although it blends fact with some fiction, this pseudo-documentary featuring real footage from the concert and an interview with Bob Dylan is an intriguing addendum to my overview of the Rolling Thunder Revue’s remarkable performances!

 

Hello again! This week, we will be discussing one of the internet’s most beloved virtuosic musicians – Jacob Collier. For this post, I will provide a substantial overview of Jacob Collier’s life in music and what exactly makes him so special.

Performer, arranger, multi-instrumentalist and musical phenomena.

     Jacob Collier was born into a family of exceptional talent. The musicality falls more-so on his mother’s side, as she works as an instructor at the Royal Academy of Music alongside being a successful violinist. Not only is his mother a notable musician, but his grandparents on his mother’s side are also professional violinists. Given this, it shouldn’t come as much of a surprise that Collier was encapsulated by music from a young age. He was successful in teaching himself a plethora of instruments, with proficiencies in bass guitar, guitar, mandolin, and drums.  However, Collier’s skills abilities as an instrumentalist truly shine through his abilities on the piano, where his ability to improvise complex, intriguing melodies shines through. Collier had already made waves in the music industry by his early 20’s, beginning in his late teens on Youtube. Collier made dreams come true, from being signed by industry icon Quincy Jones to receiving mentorship and opportunities to play with Jazz legend Herbie Hancock. Arguably, his most notable achievement in the industry thus far has been winning two Grammys for his arrangements “You and I” and “Flinstones” in 2017. 

 

The young prodigy posed elated and humble with his new awards

     Today, Jacob continues to impress on the world stage throughout his various tours around the globe, sharing his seemingly limitless musical capacities. For the remainder of this article, however, I’d like to provide a better sense of why Collier is so special by backtracking to 2016. It was during this time that Jacob posted a complex, multi-tracked cover arrangement of the Christmas Carrol, In The Bleak Midwinter.  Jacob performed a common tonal shift known as a modulation, which occurs when a piece changes tonalities or keys at any given point in the composition. Some of the most popular examples of this are found in Michael Jackson’s “Man in the Mirror” at around 2:50 and Whitney Houston’s “I Wanna Dance With Somebody” at around 3:36. Although, these kinds of modulations and other variants are concerned with key changes to other conventional keys (i.e. “Man in the Mirror” modulates a half step from G to G sharp/A flat). Collier, whose cover began in E major, modulates to F major and then to G half-sharp major.

A still of Collier enthusiastically providing a musical masterclass to eager patrons (linked below). 

     Is this a real key? How is this possible? Collier managed to not only work his way into this “key between keys” but make it musical by way of talent-infused finesse. During a masterclass, Collier talks of his extensive exploration of harmony, and how he is aware of subtle yet notable differences between tuning systems and intervals between notes. Taking the key of D, Collier described the A432 tuning (an alternate tuning system; the A note above the middle C vibrates at 432 hertz) as feeling “indoors,” while A440 hertz (the standardized, mainstream tuning system also dubbed “concert pitch” that most all of the music you listen to is tuned to) provides a for a slightly different feeling of “outdoors.” This shifting of the very tuning system Collier is working within – exploiting the subtle, microtonal differences between notes – and this “stretching” of harmony is what Collier explains as what led him to compose the seamless transition from E Major into the “non-existent” key of G – half sharp.

The aforementioned masterclass is a wonderful exhibition of Collier’s musical intellect, and is very much representative of how deeply connected he is with music itself. Although there will always be virtuosic musicians, child prodigies and whatnot, there won’t always be other Jacob Colliers. Moreover, Collier sets himself far apart from the already gifted select few through his incredible abilities to bend the rules of music in uncharted ways. Through this, Collier crafts incredibly complex and exciting musical pieces that can wow many – from legendary record producers and jazz musicians to youtube passerby’s alike!

 

Collier tends to be very animated on stage; still taken from a show

 

Jacob performing at an NPR Tiny Desk Concert, throughout which Collier beautifully played six different instruments, though technically seven if you include his voice!

Welcome back to another post on Everything Music. This coming Friday, John Mayer – one of my favorite artists – will be releasing his second single this year (the Friday of the week this is being written). The first single released back in February, dubbed “I Guess I Just Feel Like” is an honest disclosure of Mayer’s current view on the world around him. The upcoming single, that’s BPM and length has already been disclosed on his Instagram, will be titled “Carry Me Away.” In honor of this upcoming single, and a recent reveal of an album entering the works next year, I’d like to provide a brief overview of John Mayer’s transition from mainstream pop fixation, to tabloid fixture, to one living the life all true-blue musicians long for.

An incredible documentary made by a fan of John’s that I would highly recommend, as provides an excellent timeline of John’s life in music. Mayer actually liked the documentary so much, he wrote a letter to the creator praising his work! 

John Mayer was born on October 16th, 1977 in Bridgeport, Connecticut and was raised in Fairfield, Connecticut. After younger years of developing an unyielding passion for the guitar and music, John Mayer would inevitably attract the attention of Aware Records, and then Sony’s Columbia Records, the latter of which would put out his first highly successful album Room for Squares. Alongside the album’s success, Mayer’s famous “Your Body is a Wonderland” would go on to win a Grammy for Best Male Vocal Pop Performance in 2003. Following this success, an eventful career ensued, where the only the sky seemed to truly be the limit. Mayer would go on to win 6 more Grammy’s and receive 19 nominations for various works, such as his critically acclaimed 2006 album Continuum (an album many consider his best) and hit single Daughters off of 2003’s Heavier Things.

Years go by and John Mayer still remains very much a hot topic. However, Mayer’s headlines would eventually be made for all the wrong reasons. The public became increasingly more concerned about who John Mayer’s next love affair was with, rather than when the next body of work would be released and in what direction would he take it. Mayer’s transition from musical praise to repeated tabloid features reached a devastating climax when a 2010 interview with Playboy magazine left many of Mayer’s fans in utter dismay (and myself when I first encountered it!). Following his various unsettling remarks, John Mayer would disappear from the spotlight, beginning what could be seen as the second act of his career.

Following the removal of a granuloma on his vocal chords, Mayer (with a noticeably weakened the voice that, today, has considerably improved with time) would go on to release his 2012 album Born and Raised, as well as Paradise Valley the following year. Both of these albums would be noticeably different from his formerly bluesy-adult pop, now with a more obvious country influence. However, John Mayer would make a return to his original style with 2017’s The Search For Everything, though with a new, more matured vibe.

Today, John Mayer has been living the dream he always wanted to live – to play and “make music for the rest of my life,” as he put it when thanking a crowd following a sold out show in L.A. I, myself, can attest to Mayer’s content with his current life in music, as I was very fortunate enough to witness one of his electric performances at Madison Square Garden back in July. During the show, Mayer shared several heart to hearts with the audience members, telling us the stories behind several of his enduring hits, and how he loved being able to perform them for us that night. To read of the once chart-topping pop icon’s newfound path on his long road of a musical career is one thing, but to truly experience it during his outstanding 2019 Summer Tour was another. Simply put, John Mayer is living the life of his musical dreams.

 

Some pictures from July 26th, 2019 at MSG!