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For SATB’s 200th episode (more or less), we’re doing something special: returning with guest photographer/writer Ethan Russell, one of this most storied individuals in rock history through his iconic visual documentation of The Beatles, the Rolling Stones and The Who, to name three (scores more as well). Ethan was the official rock photographer of the Rock ‘n’ Roll Circus, the Let It Be sessions, the final Beatles group photo shoot, as well as behind tons of other classic images, most of which have been gathered up and published in his latest book, Photographs – a singular monograph of superlative visuals presented in stunning quality. It’s available only at his website: www.ethanrussell.com
I spoke with Ethan last year and this follow on covers more details of his work with the Fabs: his impressions of them individually – of Yoko – of the Let It Be project and Michael Lindsay-Hogg, as well as of Peter Jackson (of whose upcoming work Ethan got a peek). Ethan came of age in San Francisco and went to London in 1967 – within a year he was in the orbit of the top British acts of the day. As a chronicler of the times, his work and observations are impeccable.
Another interesting ‘cast! It reminded me that it’s very important to get eyewitness accounts from people who saw certain things happen back then (and who are still with us): like many, I’m sure, I’d love to know if it’s true (or not) that George punched out John at some point in January ’69. Glyn Johns took the approach, in his book, that it wasn’t his job to talk about frictions between the members of The Beatles, choosing discretion over candour (but leaving a lingering question mark in doing so).
Another interesting ‘cast! It reminded me that it’s very important to get eyewitness accounts from people who saw certain things happen back then (and who are still with us): like many, I’m sure, I’d love to know if it’s true (or not) that George punched out John at some point in January ’69. Glyn Johns took the approach, in his book, that it wasn’t his job to talk about frictions between the members of The Beatles, choosing discretion over candour (but leaving a lingering question mark in doing so).
I think this episode brought up an interesting contradiction. It was stated that the birth of Rock started with Good Rocking Tonight by Roy Bown in in 1947 but with a brass section instead of guitar and bass. At the same time it was stated that Hip Hop is in a different dimension but without giving a reason. No mention of early Gospel, 1920s Talking Blues or 1950s Chuck Berry, 1960s Watts Prophets, The Last Poets, Gill Scott-Heron, are mentioned. These were all elements of early Rap which became Hip Hop in the late 1980s. But there would not have been Rap/ Hip Hop without Rock, R&B, Jazz, Blues, Gospel, Country, Zydeco etc..
I state this because the guest, Ethan Russell acknowledges that the history of Rock started with Jump Blues, an uptempo style of blues and R&B. But he isolates it from Hip Hop as if the latter were a bubble when it’s origins are actually part of the same history of American music.
It would be nice to have someone like musicologists Greg Tate (Flyboy in the Buttermilk, Midnight Lightning, Miles Davis: the complete illustrated history) speak on the fluidity of all these music genres and why the Beatles and other kids in the UK were able to benefit so much from imported American music during the 1950s. This musically eclectic experience teens in England received paved the way for the British Invasion simply because Black music in America was segregated and relegated to Black radio stations. Ethan Russell whose published seminal books on important cultural events; Let it be sessions, Rock & Roll Circus should at least consider having notes about music he doesn’t listen to and early Rock pioneers like Roy Brown or Ike Turner (Rocket 88).
All music is extremely fluid and we could benefit by understanding the complex relationship and hybridity within all these different genres. The Beatles are no exception specially since they were aware of this and benefitted greatly from it. This is why Tomorrow Never Knows recorded in 1966 sounds like Hip Hip, House, Trip Hop, Drum & Bass but listen to Bo Didley’s drumming in all of his songs and you will hear the unique syncopated rhythms that would eventually influence the drumming for Tomorrow Never Knows. Didley’s syncopated drum sounds are more common in Ra Ra and Guaguanco music and West African music. It wasn’t until the late 1960s that drummers like Ginger Baker and Mitch Mitchell would incorporate this style into their drumming. It isn’t any surprise that Ginger Baker later moved to Nigeria (West Africa) and befriended musician Fela Kuti. Baker also suggested Paul McCartney record in Lagos, Nigeria because of the unique sounds in that city. McCartney, was looking to be inspired the same way he nicked, Nigerian musician, Jimmy Scott-Emuakpor’s “obla di ob la da” phrase in 1968, sans financial compensation. Fela did meet McCartney and told him to stop trying to steal the Afrobeat music popular in Lagos. Interesting to note that the rhythmic sounds of Band on the Run LP are more eclectic than any previous or later LP releases Wings produced.
I think this episode brought up an interesting contradiction. It was stated that the birth of Rock started with Good Rocking Tonight by Roy Bown in in 1947 but with a brass section instead of guitar and bass. At the same time it was stated that Hip Hop is in a different dimension but without giving a reason. No mention of early Gospel, 1920s Talking Blues or 1950s Chuck Berry, 1960s Watts Prophets, The Last Poets, Gill Scott-Heron, are mentioned. These were all elements of early Rap which became Hip Hop in the late 1980s. But there would not have been Rap/ Hip Hop without Rock, R&B, Jazz, Blues, Gospel, Country, Zydeco etc..
I state this because the guest, Ethan Russell acknowledges that the history of Rock started with Jump Blues, an uptempo style of blues and R&B. But he isolates it from Hip Hop as if the latter were a bubble when it’s origins are actually part of the same history of American music.
It would be nice to have someone like musicologists Greg Tate (Flyboy in the Buttermilk, Midnight Lightning, Miles Davis: the complete illustrated history) speak on the fluidity of all these music genres and why the Beatles and other kids in the UK were able to benefit so much from imported American music during the 1950s. This musically eclectic experience teens in England received paved the way for the British Invasion simply because Black music in America was segregated and relegated to Black radio stations. Ethan Russell whose published seminal books on important cultural events; Let it be sessions, Rock & Roll Circus should at least consider having notes about music he doesn’t listen to and early Rock pioneers like Roy Brown or Ike Turner (Rocket 88).
All music is extremely fluid and we could benefit by understanding the complex relationship and hybridity within all these different genres. The Beatles are no exception specially since they were aware of this and benefitted greatly from it. This is why Tomorrow Never Knows recorded in 1966 sounds like Hip Hip, House, Trip Hop, Drum & Bass but listen to Bo Didley’s drumming in all of his songs and you will hear the unique syncopated rhythms that would eventually influence the drumming for Tomorrow Never Knows. Didley’s syncopated drum sounds are more common in Ra Ra and Guaguanco music and West African music. It wasn’t until the late 1960s that drummers like Ginger Baker and Mitch Mitchell would incorporate this style into their drumming. It isn’t any surprise that Ginger Baker later moved to Nigeria (West Africa) and befriended musician Fela Kuti. Baker also suggested Paul McCartney record in Lagos, Nigeria because of the unique sounds in that city. McCartney, was looking to be inspired the same way he nicked, Nigerian musician, Jimmy Scott-Emuakpor’s “obla di ob la da” phrase in 1968, sans financial compensation. Fela did meet McCartney and told him to stop trying to steal the Afrobeat music popular in Lagos. Interesting to note that the rhythmic sounds of Band on the Run LP are more eclectic than any previous or later LP releases Wings produced.
I remember in 1981 hearing Emmylou Harris namecheck Russell on “The Midnight Special” for directing her video of “Mr. Sandman” (her only Top 40 single pop hit).
I remember in 1981 hearing Emmylou Harris namecheck Russell on “The Midnight Special” for directing her video of “Mr. Sandman” (her only Top 40 single pop hit).