Harmonica_header

See See Rider

Key: C

Genre: Blues

Harp Type: Chromatic

Skill: Any

6 -5 4 3
See see rid-er,
6 -5 4 3 -3*
see what you have done,
6 -5 4
Law’d, Law’d, Law’d
-3 -5 5 -5
Made me love you,
-3 -5 5 -3 3
now your gal done come
6 6 -5 -4 3
You made me love you,
6 6 3 -3 4
now your gal done come

6 6 5-5*-5 5 3
I’m goin’ a-way, ba-by,
6 6 -5 5 3 -3*
I won’t be back till fall,
6 -5 5
Law’d, Law’d, Law’d
-3 5 -5 5 -5
Goin’ a-way, ba-by,
-3 -5 5 -3 3
won’t be back till fall
6 6 6 -5-5 -4 3
If I find me a good man,
6 6 3 -3 5
won’t be back at all

I’m gonna buy me a pistol,
just as long as I am tall,
Law’d, Law’d, Law’d
Shoot my man, and catch a cannonball
If he won’t have me,
he won’t have no gal at all

See See Rider,
where did you stay last night?
Law’d, Law’d, Law’d
Your shoes ain’t buttoned
and your clothes don’t fit you right
You didn’t come home
till the sun was shining bright

Lyrics


Low Rider (complete)

Key: C

Genre: Blues

Harp Type: Chromatic

Skill: Any

Vocal
All my friends know the Low Rider
The Low Rider is a little higher
Riff
-3 -3 -3 -3 -3 4 -4
-2 -3 4 -3 -2
-3 -3 -3 -3 -3 4 -4
-2 -3 4 -3 -2
b-2 b-2 b-2 b-2 b-2
b-2 b-2 b-2 b-2 b-2
b-2 -2……………
Low Rider drives a little slower
Low Rider is a real goer
RIFF (as above)
Low Rider knows every street, yeah
Low Rider is the one to meet, yeah
RIFF
Low Rider don`t use no gas now
Low Rider don`t drive too fast
RIFF
Take a little trip, take a little trip
take a little trip and see
Take a little trip, take a little trip
take a little trip with me
RIFF

I use a C harp. Lee Oskar did the harp work
in this song when he was with the band “WAR”

Lyrics


Wildwood Flower (Billygoat Riders)

Key: C

Genre: Blues

Harp Type: Chromatic

Skill: Any

(Play along on G harmonica)

+5+5 -5 +6 -6 +7 +5 -5 +5 -4 +5 -4 +4
– Oh I’ll twine with my mingles and waving black hair

+5 -5 +6 -6 +7 +5 -5 +5 -4 +5 -4 +4
With the roses so red, and the lilies so fair

+6 +7 +8 +8 -8 +7 +6 +6 -6 +7 -6 +6
And the mirtles so bright with the e-me-rald dew

+4 -4 +5 +5 -4 +5 +6 +5 -4 +5 -4 +4
With the pale and the leader and eyes look like blue

2nd position

-3 +4 -4 +5 +6 -3 +4 -3 -3″ -3 -3″ -2

-3 +4 -4 +5 +6 -3 +4 -3 -3″ -3 -3″ -2

-4 +6 -7 -7 -6 +6 -4 -4 +5 +6 +5 -4

-2 -3″ -3 -3 -3″ -3 -4 -3 -3″ -3 -3″ -2

I will dance I will sing and my laugh shall be gay
I will charm every heart in each crown I will sway
When I woke from my dreaming my idols were clay
All portions of love had all blown away

Oh he taught me to love him and promised to love
And to cherish me over all others above
How my heart is now wondering no misery can tell
He’s left me no warning no words of farewell

Oh he taught me to love him and call me his flower
That was blooming to cheer him through life’s dreary hour
Oh I long to see him and regret the dark hour
He’s gone and neglected his pale wildwood flower

Lyrics


Willie Nelson

Key: C

Genre: Blues

Harp Type: Chromatic

Skill: Any

Willie Hugh Nelson (born April 29, 1933) is an American musician, actor, and activist. The critical success of the album Shotgun Willie (1973), combined with the critical and commercial success of Red Headed Stranger (1975) and Stardust (1978), made Nelson one of the most recognized artists in country music. He was one of the main figures of outlaw country, a subgenre of country music that developed in the late 1960s as a reaction to the conservative restrictions of the Nashville sound. Nelson has acted in over 30 films, co-authored several books, and has been involved in activism for the use of biofuels and the legalization of marijuana.

Born during the Great Depression and raised by his grandparents, Nelson wrote his first song at age seven and joined his first band at ten. During high school, he toured locally with the Bohemian Polka as their lead singer and guitar player. After graduating from high school in 1950, he joined the U.S. Air Force but was later discharged due to back problems. After his return, Nelson attended Baylor University for two years but dropped out because he was succeeding in music. During this time, he worked as a disc jockey in Texas radio stations and a singer in honky-tonks. Nelson moved to Vancouver, Washington, where he wrote “Family Bible” and recorded the song “Lumberjack” in 1956. He also worked as a disc jockey at various radio stations in Vancouver and nearby Portland, Oregon. In 1958, he moved to Houston, Texas, after signing a contract with D Records. He sang at the Esquire Ballroom weekly and he worked as a disk jockey. During that time, he wrote songs that would become country standards, including “Funny How Time Slips Away”, “Hello Walls”, “Pretty Paper”, and “Crazy”. In 1960 he moved to Nashville, Tennessee, and later signed a publishing contract with Pamper Music which allowed him to join Ray Price’s band as a bassist. In 1962, he recorded his first album, …And Then I Wrote. Due to this success, Nelson signed in 1964 with RCA Victor and joined the Grand Ole Opry the following year. After mid-chart hits in the late 1960s and the early 1970s, Nelson retired in 1972 and moved to Austin, Texas. The ongoing music scene of Austin motivated Nelson to return from retirement, performing frequently at the Armadillo World Headquarters.

In 1973, after signing with Atlantic Records, Nelson turned to outlaw country, including albums such as Shotgun Willie and Phases and Stages. In 1975, he switched to Columbia Records, where he recorded the critically acclaimed album Red Headed Stranger. The same year, he recorded another outlaw country album, Wanted! The Outlaws, along with Waylon Jennings, Jessi Colter, and Tompall Glaser. During the mid-1980s, while creating hit albums like Honeysuckle Rose and recording hit songs like “On the Road Again”, “To All the Girls I’ve Loved Before”, and “Pancho and Lefty”, he joined the country supergroup The Highwaymen, along with fellow singers Johnny Cash, Waylon Jennings, and Kris Kristofferson.

In 1990, Nelson’s a*sets were seized by the Internal Revenue Service, which claimed that he owed $32 million. The difficulty of paying his outstanding debt was aggravated by weak investments he had made during the 1980s. In 1992, Nelson released The IRS Tapes: Who’ll Buy My Memories?; the profits of the double album—destined to the IRS—and the auction of Nelson’s a*sets cleared his debt. During the 1990s and 2000s, Nelson continued touring extensively, and released albums every year. Reviews ranged from positive to mixed. He explored genres such as reggae, blues, jazz, and folk.

Nelson made his first movie appearance in the 1979 film The Electric Horseman, followed by other appearances in movies and on television. Nelson is a major liberal activist and the co-chair of the advisory board of the National Organization for the Reform of Marijuana Laws (NORML), which is in favor of marijuana legalization. On the environmental front, Nelson owns the bio-diesel brand Willie Nelson Biodiesel, which is made from vegetable oil. Nelson is also the honorary chairman of the advisory board of the Texas Music Project, the official music charity of the state of Texas.

Early life

Nelson was born in Abbott, Texas, on April 29, 1933,[1] the son of Myrle Marie (née Greenhaw) and Ira Doyle Nelson. His birth was incorrectly recorded by Dr. F. D. Sims as April 30.  He was named Willie by his cousin Mildred, who also chose Hugh as his middle name, in honor of her recently deceased younger brother.[1] Nelson traces his genealogy to the American Revolutionary War, in which his ancestor John Nelson served as a major. His parents moved to Texas from Arkansas in 1929 to look for work. His grandfather, William, worked as a blacksmith, while his father worked as a mechanic. His mother left soon after he was born, and his father remarried and also moved away, leaving Nelson and his sister Bobbie to be raised by their grandparents, who taught singing back in Arkansas and started their grandchildren in music. Nelson’s grandfather bought him a guitar when he was six, and taught him a few chords, and Nelson sang gospel songs in the local church alongside Bobbie. He wrote his first song at age seven, and when he was nine, he played guitar for local band Bohemian Polka. During the summer, the family picked cotton alongside other Abbott residents. Nelson disliked picking cotton, so he earned money by singing in dance halls, taverns, and honky tonks from age 13, which he continued through high school. His musical influences were Hank Williams, Bob Wills, Lefty Frizzell, Ray Price, Ernest Tubb, Hank Snow, Django Reinhardt, Frank Sinatra, and Louis Armstrong.

Nelson attended Abbott High School, where he was a halfback on the football team, guard on the basketball team, and shortstop in baseball. He also raised pigs with the Future Farmers of America. While still at school, he sang and played guitar in The Texans, a band formed by his sister’s husband, Bud Fletcher. The band played in honky tonks, and also had a Sunday morning spot at KHBR in Hillsboro, Texas. Meanwhile, Nelson had a short stint as a relief phone operator in Abbott, followed by a job as a tree trimmer for the local electric company, as well as a pawn shop employee. After leaving school in 1950, he joined the U.S. Air Force for eight to nine months. Upon his return in 1952, he married Martha Matthews, and from 1954 to 1956 studied agriculture at Baylor University, where he joined the Tau Kappa Epsilon fraternity, until dropping out to pursue a career in music. He worked as a nightclub bouncer, autohouse partsman, saddle maker, and tree trimmer again. He later joined Johnny Bush’s band.

Nelson moved with his family to Pleasanton, Texas, where he auditioned for a job as a DJ at KBOP. The owner of the station, Dr. Ben Parker, gave Nelson the job despite his lack of experience working on radio. With the equipment of the station, Nelson made his first two recordings in 1955: “The Storm Has Just Begun” and “When I’ve Sung My Last Hillbilly Song”. He recorded the tracks on used tapes, and sent the demos to the local label SARG Records, which rejected them.  He then had stints working for KDNT in Denton, KCUL, and KCNC in Fort Worth, where he hosted The Western Express, taught Sunday school, and played in nightclubs. He then decided to move to San Diego but, when he was unable to find a job there, he hitchhiked to Portland, Oregon, where his mother lived.[15] When nobody picked him up, he ended up sleeping in a ditch[19] before hopping a freight train bound for Eugene. A truck driver drove him to a bus station and loaned him $10 for a ticket to reach Portland.

Music career

Beginnings (1956–1971)

Nelson was hired by KVAN in Vancouver, Washington and appeared frequently on a television show. He made his first record in 1956, “No Place for Me”, that included Leon Payne’s “Lumberjack” on the B-side. The recording failed. Nelson continued working as a radio announcer and singing in Vancouver clubs. He made several appearances in a Colorado nightclub, later moving to Springfield, Missouri. After failing to land a spot on the Ozark Jubilee, he started to work as a dishwasher. Unhappy with his job, he moved back to Texas. After a short time in Waco, he settled in Fort Worth, and quit the music business for a year. He sold bibles and vacuum cleaners door-to-door,[ and eventually became a sales manager for the Encyclopedia Americana.

After his son Billy was born in 1958, the family moved to Houston, Texas. On the way, Nelson stopped by the Esquire Ballroom to sell his original songs to house band singer Larry Butler. Butler refused to purchase the song “Mr. Record Man” for $10, instead giving Nelson a $50 loan to rent an apartment and a six-night job singing in the club. Nelson rented the apartment near Houston in Pasadena, Texas, where he also worked at the radio station as the sign-on disc jockey. During this time, he recorded two singles for Pappy Daily on D Records “Man With the Blues”/”The Storm Has Just Begun” and “What a Way to Live”/”Misery Mansion”. Nelson then was hired by guitar instructor Paul Buskirk to work as an instructor in his school. He sold “Family Bible” to Buskirk for $50 and “Night Life” for $150. “Family Bible” turned into a hit for Claude Gray in 1960.

Nelson moved to Nashville, Tennessee in 1960, but was unable to find a label to sign him. During this period he often spent time at Tootsie’s Orchid Lounge, a bar near the Grand Ole Opry frequented by the show’s stars and other singers and songwriters. There Nelson met Hank Cochran, a songwriter who worked for the publishing company Pamper Music, owned by Ray Price and Hal Smith. Cochran heard Nelson during a jam session with Buddy Emmons and Jimmy Day. Cochran had just earned a raise of $50 a week, but convinced Smith to pay Nelson the money instead to sign him to Pamper Music. On hearing Nelson sing “Hello Walls” at Tootsie’s, Faron Young decided to record it.  After Ray Price recorded Nelson’s “Night Life”, and his previous bassist Johnny Paycheck quit, Nelson joined Price’s touring band as a bass player. While playing with Price and the Cherokee Cowboys, his songs became hits for other artists, including “Funny How Time Slips Away” (Billy Walker), “Pretty Paper” (Roy Orbison), and, most famously, “Crazy” by Patsy Cline. Nelson and Cochran also met Cline’s husband, Charlie Dick at Tootsie’s. Dick liked a song of Nelson’s he heard on the bar’s jukebox. Nelson played him a demo tape of “Crazy.” Later that night Dick played the tape for Cline, who decided to record it. “Crazy” became the biggest jukebox hit of all time.

Nelson signed with Liberty Records and was recording by August 1961 at Quonset Hut Studio. His first two successful singles as an artist were released by the next year, including “Willingly” (a duet with his soon-to-be second wife, Shirley Collie, which became his first charting single and first Top Ten at No. 10) and “Touch Me” (his second Top Ten, stalling at No. 7).  Nelson’s tenure at Liberty yielded his first album entitled …And Then I Wrote, released in September 1962. In 1963 Collie and Nelson were married in Las Vegas. He then worked on the west coast offices of Pamper Records, in Pico Rivera, California. Since the job did not allow him the time to play music of his own, he left it and bought a ranch in Ridgetop, Tennessee, outside of Nashville. Fred Foster of Monument Records signed Nelson in early 1964, but only one single was released: “I Never Cared For You”.

By the fall of 1964, Nelson had moved to RCA Victor at the behest of Chet Atkins, signing a contract for $10,000 per year.[38] Country Willie – His Own Songs became Nelson’s first RCA Victor album, recorded in April 1965. That same year he joined the Grand Ole Opry,  and he met and became friends with Waylon Jennings after watching one of his shows in Phoenix, Arizona.  In 1967, he formed his backing band “The Record Men”, featuring Johnny Bush, Jimmy Day, Paul English and David Zettner. During his first few years on RCA Victor, Nelson had no significant hits, but from November 1966 through March 1969, his singles reached the Top 25 in a consistent manner. “One in a Row” (#19, 1966), “The Party’s Over” (#24 during a 16-week chart run in 1967), and his cover of Morecambe & Wise’s “Bring Me Sunshine” (#13, March 1969) were Nelson’s best-selling records during his time with RCA.[23]

By 1970, most of Nelson’s songwriting royalties were invested in tours that did not produce significant profits. In addition to the problems in his career, Nelson divorced Shirley Collie in 1970. In December, his ranch in Ridgetop, Tennessee, burned down. He interpreted the incident as a signal for a change. He moved to a ranch near Bandera, Texas, and married Connie Koepke. In early 1971 his single “I’m a Memory” reached the top 30. After he recorded his final RCA single, “Mountain Dew” (backed with “Phases, Stages, Circles, Cycles and Scenes”), in late April 1972, RCA requested that Nelson renew his contract ahead of schedule, with the implication that RCA would not release his latest recordings if he did not. Due to the failure of his albums, and particularly frustrated by the reception of Yesterday’s Wine, although his contract was not over, Nelson decided to retire from music.

Outlaw country and success (1972–1989)

Nelson moved to Austin, Texas, where the burgeoning hippie music scene (see Armadillo World Headquarters) rejuvenated the singer. His popularity in Austin soared as he played his own brand of country music marked by country, folk and jazz influences. In March, he performed on the final day of the Dripping Springs Reunion, a three-day country music festival aimed by its producers to be an annual event. Despite the failure to reach the expected attendance, the concept of the festival inspired Nelson to create the Fourth of July Picnic, his own annual event, starting the following year.

Nelson decided to return to the recording business, he signed Neil Reshen as his manager to negotiate with RCA, who got the label to agree to end his contract upon repayment of $14,000. Reshen eventually signed Nelson to Atlantic Records for $25,000 per year, where he became the label’s first country artist. He formed his backing band, The Family, and by February 1973, he was recording his acclaimed Shotgun Willie at Atlantic Studios in New York City.

Shotgun Willie, released in May 1973, earned excellent reviews but did not sell well. The album led Nelson to a new style, later stating that Shotgun Willie had “cleared his throat”. His next release, Phases and Stages, released in 1974, was a concept album about a couple’s divorce, inspired by his own experience. Side one of the record is from the viewpoint of the woman, and side two is from the viewpoint of the man. The album included the hit single “Bloody Mary Morning.” The same year, he produced and starred in the pilot episode of PBS’ Austin City Limits.

Nelson then moved to Columbia Records, where he signed a contract that gave him complete creative control, made possible by the critical and commercial success of his previous albums. The result was the critically acclaimed and massively popular 1975 concept album Red Headed Stranger. Although Columbia was reluctant to release an album with primarily a guitar and piano for accompaniment, Nelson and Waylon Jennings insisted. The album included a cover of Fred Rose’s 1945 song “Blue Eyes Crying in the Rain”, that had been released as a single previous to the album, and became Nelson’s first number one hit as a singer. Throughout his 1975 tour, Nelson raised funds for PBS-affiliated stations across the south promoting Austin City Limits. The pilot was aired first on those stations, later being released nationwide. The positive reception of the show prompted PBS to order ten episodes for 1976, formally launching the show.

As Jennings was also achieving success in country music in the early 1970s, the pair were combined into a genre called outlaw country, since it did not conform to Nashville standards. The album Wanted! The Outlaws in 1976 with Jessi Colter and Tompall Glaser cemented the pair’s outlaw image and became country music’s first platinum album. Later that year Nelson released The Sound in Your Mind (certified gold in 1978 and platinum in 2001) and his first gospel album Troublemaker (certified gold in 1986).

In the summer of 1977, Nelson discovered that Reshen had been filing tax extensions and not paying the Internal Revenue Service (IRS) since he took over as his manager. In June, a package containing cocaine was sent from Reshen’s office in New York to Jennings in Nashville.  The package was followed by the DEA, and Jennings was arrested. The charges were later dropped, since Reshen’s a*sistant, Mark Rothbaum stepped in and took the charges. Rothbaum was sentenced to serve time in jail. Impressed by his attitude, Nelson fired Reshen and hired Rothbaum as his manager. In 1978, Nelson released two more platinum albums. One, Waylon & Willie, was a collaboration with Jennings that included “Mammas Don’t Let Your Babies Grow Up to Be Cowboys”, a hit single written and performed by Ed Bruce. Though observers predicted that Stardust would ruin his career, it went platinum the same year. Nelson continued to top the charts with hit songs during the late 1970s, including “Good Hearted Woman”, “Remember Me”, “If You’ve Got the Money I’ve Got the Time”, and “Uncloudy Day”.

During the 1980s, Nelson recorded a series of hit singles including “Midnight Rider”, a 1980 cover of the Allman Brothers song which Nelson recorded for The Electric Horseman,[68] the soundtrack “On the Road Again” from the movie Honeysuckle Rose, and a duet with Julio Iglesias titled “To All the Girls I’ve Loved Before”.[69]

In 1982, Pancho & Lefty, a duet album with Merle Haggard produced by Chips Moman was released.[70] During the recording sessions of Pancho and Lefty, session guitarist Johnny Christopher and co-writer of “Always on My Mind”, tried to pitch the song to an uninterested Haggard. Nelson, who was unaware of Elvis Presley’s version of the song asked him to record it. Produced by Moman, the single of the song was released, as well as the album of the same name. The single topped Billboard’s Hot Country Singles, while it reached number five on the Billboard Hot 100. The release won three awards during the 25th Annual Grammy Awards: Song of the Year, Best Country Song and Best Male Country Vocal Performance. The single was certified platinum; while the album was certified quadruple-platinum, and later inducted into the Grammy Hall of Fame in 2008.

Meanwhile, two collaborations with Waylon Jennings were released;WWII in 1982, and Take it to the Limit, another collaboration with Waylon Jennings was released in 1983. In the mid-1980s, Nelson, Jennings, Kristofferson, and Johnny Cash formed The Highwaymen, who achieved platinum record sales and toured the world. Meanwhile, he became more involved with charity work, such as singing on We are the World in 1984. In 1985, Nelson had another success with Half Nelson, a compilation album of duets with a range of artists such as Ray Charles and Neil Young. In 1980, Nelson performed on the south lawn of the White House. The concert of September 13 featured First Lady Rosalynn Carter and Nelson in a duet of Ray Wylie Hubbard’s “Up Against the Wall Redneck Mother”. Nelson frequently visited the White House, where according to the biography by Joe Nick Patoski, Willie Nelson: An Epic Life, he smoked marijuana on the White House roof.

Later career (1990–present)

In 1996, Nelson re-recorded the tracks “Hello Walls” with the band The Reverend Horton Heat, and “Bloody Mary Morning” with the Supersuckers for Twisted Willie, a tribute album featuring rock versions of Nelson’s songs performed by artists such as Johnny Cash, Kris Kristofferson, Jerry Cantrell, Mark Lanegan, L7, The Presidents of the United States of America, and Jello Biafra, among others. Proceeds from the sale of the record benefit Nelson’s Farm Aid.

During the 1990s and 2000s, Nelson toured continuously, recording several albums including 1998’s critically acclaimed Teatro,  and performed and recorded with other acts including Phish, Johnny Cash, and Toby Keith. His duet with Keith, “Beer for My Horses”, was released as a single and topped the Billboard Hot Country Songs charts for six consecutive weeks in 2003, while the accompanying video won an award for “Best Video” at the 2004 Academy of Country Music Awards. A USA Network television special celebrated Nelson’s 70th birthday, and Nelson released The Essential Willie Nelson as part of the celebration. Nelson also appeared on Ringo Starr’s 2003 album, Ringo Rama, as a guest vocal on “Write One for Me”.

Nelson was featured on the album True Love by Toots and the Maytals, which won the Grammy Award in 2004 for Best Reggae Album, and showcased many notable musicians including Eric Clapton, Jeff Beck, Trey Anastasio, Gwen Stefani, and Keith Richards. In the following year of 2005, Nelson released a reggae album entitled Countryman which featured Toots Hibbert of Toots and the Maytals on the song “I’m a Worried Man”.

Nelson headlined the 2005 Tsunami Relief Austin to Asia concert to benefit the victims of the 2004 Indian Ocean earthquake, which raised an estimated $75 thousand for UNICEF. Also in 2005, a live performance of the Johnny Cash song “Busted” with Ray Charles was released on Charles’ duets album Genius & Friends. Nelson’s 2007 performance with jazz trumpeter Wynton Marsalis at the Lincoln Center, was released as the live album Two Men with the Blues in 2008; reaching number one in Billboard’s Top Jazz Albums and number twenty on the Billboard 200. The same year, Nelson recorded his first album with Buddy Cannon as the producer, Moment of Forever. Cannon acquainted Nelson earlier, during the production of his collaboration with Kenny Chesney on the duet “That Lucky Old Sun”, for Chesney’s album of the same name. In 2009 Nelson and Marsalis joined with Norah Jones in a tribute concert to Ray Charles, which resulted in the Here We Go Again: Celebrating the Genius of Ray Charles album, released in 2011.

In 2010, Nelson released Country Music, a compilation of standards produced by T-Bone Burnett. The album peaked number four in Billboard’s Top Country Albums, and twenty on the Billboard 200. It was nominated for Best Americana Album at the 2011 Grammy Awards. In 2011 Nelson participated in the concert Kokua For Japan, a fund raising event for the victims of the 2011 Tōhoku earthquake and tsunami in Japan which raised $1.6 million.

In February 2012, Legacy Recordings signed a deal with Nelson that included the release of new material, as well as past releases that would be selected and complemented with outtakes and other material selected by him. With the new deal, Buddy Cannon returned to produce the recordings of Nelson. After selecting the material and the sound of the tunes with the singer, Cannon’s work method consisted in the recording of the tracks with studio musicians, with the takes later completed on a separate session by Nelson with his guitar. Cannon’s a*sociation to Nelson also extended to songwriting, with singer and producer composing the lyrics by exchanging text messages.

Nelson’s first release for the Legacy Recordings was Heroes, that included guest appearances by his sons Lukas and Micah of the band Insects vs Robots, Ray Price, Merle Haggard, Snoop Dogg, Kris Kristofferson, Jamey Johnson, Billy Joe Shaver and Sheryl Crow. The album reached number four on Billboard’s Top Country Albums.  His 2013 release To All the Girls…, a collection of duets with all female partners, featured among others Dolly Parton, Loretta Lynn, Rosanne Cash, Sheryl Crow, Mavis Staples, Norah Jones, Emmylou Harris, Carrie Underwood and Miranda Lambert. The album entered Billboard’s Top Country Albums at number two, marking his highest position on the chart since the release of his 1989 A Horse Called Music, and extending his record to a total of forty-six top ten albums on the country charts. Nelson scored as well his second top ten album on the Billboard 200, with the release entering at number nine.

His following release was Band of Brothers, in 2014, the first Nelson album to feature the most newly self-penned songs since 1996’s Spirit. Upon its release, it topped Billboard’s Top Country albums chart, the first time since 1986’s The Promiseland, the last Nelson album to top it. The release reached number five on the Billboard 200, Nelson’s highest position on the chart since 1982’s Always on My Mind. In December 2014, a duet with Rhonda Vincent, “Only Me”, topped Bluegrass Unlimited’s National Airplay chart. In June 2015, his collaboration with Haggard Django and Jimmie topped Billboard’s Top Country albums chart and reached number seven on the Billboard 200.

In 2017, Nelson released God’s Problem Child. The release, consisting mostly of Nelson originals co-written with Cannon, entered the Top country albums at number one, while it reached number ten on the Billboard 200.

In 2018, Nelson sang a song written by Daniel Lanois called “Cruel World” for the soundtrack of Rockstar Games’s action-adventure video game Red Dead Redemption 2. Lanois wrote the song especially for Nelson. When a hurricane prevented Nelson from recording the song, the production team sent the track to Josh Homme in the hopes that he could record it in time for the game’s release. Nelson was ultimately able to record the song in time in Los Angeles; the team considered combining the two versions into a duet, but ultimately included both versions in the game. Also in 2018, Nelson was one of several artists on Restoration, a cover album containing various country renditions of songs originally by Elton John, on which he performed “Border Song”.

Following the U.S. coronavirus pandemic lockdowns that began in March 2020, Nelson livestreamed a series of benefit concerts. The first two raised $700,000 for people who had suffered financial loss due to effects on the U.S. economy.  The third, which was held on April 20, 2020, was a variety show titled Come and Toke It.  Some of the content was cannabis-themed, and some of the proceeds will be used to support The Last Prisoner Project, a restorative justice program relating to persons convicted of cannabis related crimes.

In 2020, Nelson was approached by Karen O of The Yeah Yeah Yeahs to collaborate. They chose to do a cover of David Bowie and Queen’s Under Pressure.

IRS troubles

In 1990, the IRS seized most of Nelson’s a*sets, claiming that he owed $32 million. In addition to the unpaid taxes, Nelson’s situation was worsened by the weak investments he had made during the early 1980s.  In 1978, after he fired Reshen, Nelson was introduced by Dallas lawyer Terry Bray to the accounting firm Price Waterhouse. To repay the debt Reshen had created with the IRS, Nelson was recommended to invest in tax shelters that ultimately flopped.  While the IRS disallowed his deductions for 1980, 1981 and 1982 (at a time that Nelson’s income multiplied), due to penalties and interests, the debt increased by the end of the decade.

His lawyer, Jay Goldberg, negotiated the sum to be lowered to $16 million. Later, Nelson’s attorney renegotiated a settlement with the IRS in which he paid $6 million, although Nelson did not comply with the agreement. Nelson released The IRS Tapes: Who’ll Buy My Memories? as a double album, with all profits destined for the IRS. Many of his a*sets were auctioned and purchased by friends, who donated or rented his possessions to him for a nominal fee. He sued Price Waterhouse, contending that they put his money in illegal tax shelters. The lawsuit was settled for an undisclosed amount and Nelson cleared his debts by 1993.

Other ventures

Nelson’s acting debut was in the 1979 film The Electric Horseman, followed by appearances in Honeysuckle Rose, Thief, and Barbarosa. He played the role of Red Loon in Coming Out of the Ice in 1982 and starred in Songwriter two years later. He portrayed the lead role in the 1986 film version of his album Red Headed Stranger. Other movies that Nelson acted in include Wag the Dog, Gone Fishin’ (as Billy ‘Catch’ Pooler), the 1986 television movie Stagecoach (with Johnny Cash), Half Baked, Beerfest, The Dukes of Hazzard, Surfer, Dude and Swing Vote. He has also made guest appearances on Miami Vice (1986’s “El Viejo” episode); Delta; Nash Bridges; The Simpsons; Monk; Adventures in Wonderland; Dr. Quinn, Medicine Woman; King of the Hill; The Colbert Report; Swing Vote; and Space Ghost Coast to Coast.

In 1988 his first book, Willie: An Autobiography, was published. The Facts of Life: And Other Dirty Jokes, a personal recollection of tour and musical stories from his career, combined with song lyrics, followed in 2002. In 2005 he co-authored Farm Aid: A Song for America, a commemorative book about the twentieth anniversary of the foundation of Farm Aid. His third book, co-authored with long-time friend Turk Pipkin, The Tao of Willie: A Guide to the Happiness in Your Heart, was published in 2006. In 2007 a book advocating the use of bio-diesel and the reduction of gas emissions, On The Clean Road Again: Biodiesel and The Future of the Family Farm, was published. His next book, A Tale Out of Luck, published in 2008 and co-authored by Mike Blakely, was Nelson’s first fictional book. In 2012, it was announced the release of a new autobiography by Nelson, Roll Me Up and Smoke Me When I Die: Musings from the Road. Released on November 13, it was named after the song from his album Heroes. The book contained further biographical details, as well as family pictures and stories about Nelson’s political views, as well as his advocation for marijuana. The artwork of the book was designed by Nelson’s son, Micah, and the foreword written by Kinky Friedman. In 2015, the publication of a second Nelson autobiography entitled It’s a Long Story: My Life co-authored with David Ritz, the book was published on May 5, 2015. Pretty Paper, another collaboration with Ritz was published the following year.

In 2002, Nelson became the official spokesman of the Texas Roadhouse, a chain of steakhouses. Nelson heavily promoted the chain and appeared on a special on Food Network. The chain installed Willie’s Corner, a section dedicated to him and decked out with Willie memorabilia, at several locations.

In 2008, Nelson reopened Willie’s Place, a truck stop in Carl’s Corner, Texas. The U.S. Bankruptcy Court allowed Nelson to invest in it. The establishment had about 80 employees and was used as a concert hall with a bar and a 1,000 square feet (93 m2) dance floor. It closed in 2011 after defaulting on a loan, leading to foreclosure and bankruptcy. In 2010, Nelson founded with the collaboration of producers and filmmakers Luck Films, a company dedicated to produce feature films, documentaries and concerts. The next year, he created the Willie’s Roadhouse show which aired on channel 56 of SiriusXM radio. The channel was a result of the merger of his two other channels The Roadhouse and Willie’s Place.

In November 2014, it was announced that Nelson would be the host of the television series Inside Arlyn, shot at Arlyn Studio in Austin, Texas. The thirteen-episode first season would feature artists being interviewed by Nelson and Dan Rather, followed by a performance. The series concept received attention from cable channels that requested to see the pilot episode. Following the legalization of marijuana in different states, Nelson announced in 2015 through spokesman Michael Bowman the establishment of his own marijuana brand, Willie’s Reserve. Plans to open chain stores in the states where marijuana was legalized were announced, to be expanded state-to-state if marijuana legalization is further expanded. Bowman called the brand “a culmination of (Nelson’s) vision, and his whole life”.

In 2017, Nelson appeared as himself in Woody Harrelson’s live film, Lost in London. In June 2017, he appeared alongside Merle Haggard in the documentary The American Epic Sessions directed by Bernard MacMahon. They performed a song Haggard had composed for the film, “The Only Man Wilder Than Me”, and Bob Wills’s classic “Old Fashioned Love”,  which they recorded live direct to disc on the first electrical sound recording system from the 1920s. It was the last filmed performance of the pair. Rolling Stone commented that “in the final performance of Sessions, Willie Nelson and Merle Haggard perform the duet ‘The Only Man Wilder Than Me.’ Haggard has a look of complete joy on his face throughout the session in the old-timey recording set-up once used by his musical heroes.”

Music style

Nelson uses a variety of music styles to create his own distinctive blend of country music, a hybrid of jazz, pop, blues, rock and folk. His “unique sound”, which uses a “relaxed, behind-the-beat singing style and gut-string guitar” and his “nasal voice and jazzy, off-center phrasing”, has been responsible for his wide appeal, and has made him a “vital icon in country music”, influencing the “new country, new traditionalist, and alternative country movements of the 1980s and 1990s”.

Guitars

In 1969, the Baldwin company gave Nelson an amplifier and guitar with their “Prismatone” pickup. During a show in Helotes, Texas, Nelson left the guitar on the floor of the stage, and it was later stepped on by a drunk man. He sent it to be repaired in Nashville by Shot Jackson, who told Nelson that the damage was too great. Jackson offered him a Martin N-20 Classical guitar, and, at Nelson’s request, moved the pickup to the Martin. Nelson purchased the guitar unseen for $750 and named it after Roy Rogers’ horse “Trigger”. The next year Nelson rescued the guitar from his burning ranch.

Constant strumming with a guitar pick over the decades has worn a large sweeping hole into the guitar’s body near the sound hole—the N-20 has no pick-guard since classical guitars are meant to be played fingerstyle instead of with picks. Its soundboard has been signed by over a hundred of Nelson’s friends and a*sociates, ranging from fellow musicians to lawyers and football coaches. The first signature on the guitar was Leon Russell’s, who asked Nelson initially to sign his guitar. When Nelson was about to sign it with a marker, Russell requested him to scratch it instead, explaining that the guitar would be more valuable in the future. Interested in the concept, Nelson requested Russell to also sign his guitar. In 1991, during his process with the IRS, Nelson was worried that Trigger could be auctioned off, stating: “When Trigger goes, I’ll quit”. He asked his daughter, Lana, to take the guitar from the studio before any IRS agent arrived there, and then deliver it to him in Maui. Nelson then concealed the guitar in his manager’s house until his debt was paid off in 1993.

Activism

Nelson is active in a number of issues. Along with Neil Young and John Mellencamp, he set up Farm Aid in 1985 to a*sist and increase awareness of the importance of family farms, after Bob Dylan’s comments during the Live Aid concert that he hoped some of the money would help American farmers in danger of losing their farms through mortgage debt. The first concert included Dylan, Billy Joel, B.B. King, Roy Orbison, and Neil Young among many others, and raised over $9 million for America’s family farmers. Besides organizing and performing in the annual concerts, Nelson is the president of the board of Farm Aid.

Nelson is a co-chair of the National Organization for the Reform of Marijuana Laws (NORML) advisory board. He has worked with NORML for years, promoting marijuana legalization. In 2005 Nelson and his family hosted the first annual “Willie Nelson & NORML Benefit Golf Tournament”, leading to a cover appearance and inside interview in the January 2008 issue of High Times magazine. After his arrest for possession of marijuana in 2010, Nelson created the TeaPot party under the motto “Tax it, regulate it and legalize it!”

In 2001, following the September 11 attacks, he participated in the benefit telethon America: A Tribute to Heroes, leading the rest of the celebrities singing the song “America the Beautiful”. In 2010, during an interview with Larry King, Nelson expressed his doubts with regards to the attacks and the official story. Nelson explained that he could not believe that the buildings could collapse due to the planes, attributing instead the result to an implosion.

Nelson supported Dennis Kucinich’s campaign in the 2004 Democratic presidential primaries. He raised money, appeared at events, and composed the song “Whatever Happened to Peace on Earth?”, criticizing the war in Iraq. He recorded a radio advertisement asking for support to put musician/author Kinky Friedman on the ballot as an independent candidate for the 2006 Texas gubernatorial election.  Friedman promised Nelson a job in Austin as the head of a new Texas Energy Commission due to his support of bio-fuels. In January 2008, Nelson filed a suit against the Texas Democratic Party, alleging that the party violated the First and Fourteenth Amendments of the United States Constitution by refusing to allow co-plaintiff Kucinich to appear on the primary ballot because he had scratched out part of the loyalty oath on his application.

In 2004, Nelson and his wife Annie became partners with Bob and Kelly King in the building of two Pacific Bio-diesel plants, one in Salem, Oregon, and the other at Carl’s Corner, Texas (the Texas plant was founded by Carl Cornelius, a longtime Nelson friend and the eponym for Carl’s Corner). In 2005, Nelson and several other business partners formed Willie Nelson Biodiesel (“Bio-Willie”), a company that is marketing bio-diesel bio-fuel to truck stops. The fuel is made from vegetable oil (mainly soybean oil), and can be burned without modification in diesel engines.

Nelson is an advocate for better treatment for horses and has been campaigning for the passage of the American Horse Slaughter Prevention Act (H.R. 503/S. 311) alongside the Animal Welfare Institute. He is on its board of directors and has adopted a number of horses from Habitat for Horses. In 2008, Nelson signed on to warn consumers about the cruel and illegal living conditions for calves raised to produce milk for dairy products. He wrote letters to Land O’Lakes and Challenge Dairy, two of the major corporations that use milk from calves raised at California’s Mendes Calf Ranch, which employs an intensive confinement practice that was the subject of a lawsuit and campaign brought by the Animal Legal Defense Fund. Nelson is seen in the film The Garden supporting the impoverished community South Central Farm in Southern Los Angeles.

A supporter of the LGBT movement, Nelson published in 2006 through iTunes a version of Ned Sublette’s “Cowboys Are Frequently, Secretly Fond of Each Other”, that met instant success. During an interview with Texas Monthly in 2013, regarding the Defense of Marriage Act and Same-sex marriage in the United States, Nelson responded to a comparison the interviewer made with the Civil Rights Movement, stating: “We’ll look back and say it was crazy that we ever even argued about this”. He also presented two logos with the pink equal sign, symbol of the LGBT movement. The first one, featured the sign represented with two long braids; while the second one, featured the sign represented with two marijuana cigarettes. The use of the logos became popular quickly in social networking sites such as Twitter and Facebook.

In June 2018, Nelson deplored the Trump administration family separation policy. During his Fourth of July Picnic, he performed a song with Beto O’Rourke, the Democratic candidate for the Senate election in Texas. Nelson endorsed O’Rourke, and received negative reactions from the conservative part of his followers. On September 29, 2018, Nelson offered a free concert in Austin supporting the candidate’s run. The last number he performed was “Vote ‘Em Out”, a new track that was subsequently released as a single.

Personal life

Nelson has been married four times and has seven children. His first marriage was to Martha Matthews from 1952 to 1962. The couple had three children: Lana, Susie, and Willie “Billy” Hugh, Jr. The latter killed himself in 1991. The marriage was marked by violence, with Matthews a*saulting Nelson several times, including one incident when she sewed him up in bedsheets and beat him with a broomstick. Nelson’s next marriage was to Shirley Collie in 1963. The couple divorced in 1971, after Collie found a bill from the maternity ward of a Houston hospital charged to Nelson and Connie Koepke for the birth of Paula Carlene Nelson. Nelson married Koepke the same year, and they had another daughter, Amy Lee Nelson. Following a divorce in 1988, he married his current wife, Annie D’Angelo, in 1991. They have two sons, Lukas Autry and Jacob Micah.

Nelson owns “Luck, Texas”, a ranch in Spicewood, and also lives in Maui, Hawaii with several celebrity neighbors. While swimming in Hawaii in 1981, Nelson’s lung collapsed. He was taken to the Maui Memorial Hospital and his scheduled concerts were canceled. Nelson temporarily stopped smoking cigarettes each time his lungs became congested, and resumed when the congestion ended. He was then smoking between two and three packs per day. After suffering from pneumonia several times, he decided to quit either marijuana or tobacco. He chose to quit tobacco.[181] In 2008, he started to smoke marijuana with a carbon-free system to avoid the effects of smoke. In 2004 Nelson underwent surgery for carpal tunnel syndrome, as he had damaged his wrists by continuously playing the guitar. On the recommendation of his doctor, he canceled his scheduled concerts and only wrote songs during his recovery. In 2012 he canceled a fund-raising appearance in the Denver area. He suffered from breathing problems due to high altitude and emphysema and was taken to a local hospital. His publicist Elaine Schock confirmed soon after that Nelson’s health was good and that he was heading to his next scheduled concert in Dallas, Texas. After repeated instances of pneumonia and emphysema through the years, Nelson underwent stem-cell therapy in 2015 to improve the state of his lungs.

During his childhood, Nelson grew interested in martial arts. He ordered self-defense manuals on jujitsu and judo that he saw advertised in Batman and Superman comic books. Nelson started to formally practice kung fu after he moved to Nashville, in the 1960s. During the 1980s, Nelson began training in taekwondo and now holds a second-degree black belt in that discipline. During the 1990s, Nelson started to practice the Korean martial art GongKwon Yusul. In 2014, after twenty years in the discipline, his Grand Master Sam Um presented him with a fifth-degree black belt in a ceremony held in Austin, Texas. A 2014 Tae Kwon Do Times magazine interview revealed that Nelson had developed an unorthodox manner of training during the lengthy periods of time he was on tour. Nelson would conduct his martial arts training on his tour bus “The Honeysuckle Rose” and send videos to his supervising Master for review and critique.

Legal issues

Nelson has been arrested several times for marijuana possession. The first occasion was in 1974 in Dallas, Texas. In 1977 after a tour with Hank Cochran, Nelson traveled to The Bahamas. Nelson and Cochran arrived late to the airport and boarded the flight without luggage. The bags were later sent to them. As Nelson and Cochran claimed their luggage in the Bahamas, a customs officer questioned Nelson after marijuana was found in a pair of his jeans. Nelson was arrested and jailed. As Cochran made arrangements to pay the bail, he took Nelson a six-pack of beer to his cell. Nelson was released a few hours later. Inebriated, he fell after he jumped celebrating and was taken to the emergency room. He then appeared before the judge, who dropped the charges but ordered Nelson to never return to the country.

In 1994, highway patrolmen found marijuana in his car near Waco, Texas. His requirement to appear in court prevented him attending the Grammy awards that year.  While traveling to Ann W. Richards’ funeral in 2006, Nelson, along with his manager and his sister, Bobbie, were arrested in St. Martin Parish, Louisiana and charged with possession of marijuana and hallucinogenic mushrooms.  Nelson received six months probation.

On November 26, 2010, Nelson was arrested in Sierra Blanca, Texas, for possession of six ounces of marijuana found in his tour bus while traveling from Los Angeles back to Texas. He was released after paying bail of $2,500. Prosecutor Kit Bramblett supported not sentencing Nelson to jail due to the small amount of marijuana involved, but suggested instead a $100 fine and told Nelson that he would have him sing “Blue Eyes Crying in the Rain” for the court. Judge Becky Dean-Walker said that Nelson would have to pay the fine but not to perform the song, explaining that the prosecutor was joking. Nelson’s lawyer Joe Turner reached an agreement with the prosecutor. Nelson was set to pay a $500 fine to avoid a two-year jail sentence with a 30-day review period, which in case of another incident would end the agreement. The judge later rejected the agreement, claiming that Nelson was receiving preferential treatment for his celebrity status; the offense normally carried a one-year jail sentence. Bramblett declared that the case would remain open until it was either dismissed or the judge changed her opinion.

Legacy

Nelson is widely recognized as an American icon. He was inducted into the Country Music Hall of Fame in 1993, and he received the Kennedy Center Honors in 1998.[ In 2011, Nelson was inducted to the National Agricultural Hall of Fame, for his labor in Farm Aid and other fund raisers to benefit farmers. In 2015 Nelson won the Gershwin Prize, the lifetime award of the Library of Congress. In 2018 The Texas Institute of Letters inducted him among its members for his songwriting. He was included by Rolling Stone on its 100 Greatest Singers and 100 Greatest Guitarists lists.

In 2003, Texas Governor Perry signed bill No. 2582, introduced by State Representative Elizabeth Ames Jones and Senator Jeff Wentworth, which funded the Texas Music Project, the state’s official music charity. Nelson was named honorary chairman of the advisory board of the project. In 2005, Democratic Texas Senator Gonzalo Barrientos introduced a bill to name 49 miles (79 km) of the Travis County section of State Highway 130 after Nelson, and at one point 23 of the 31 state senators were co-sponsors of the bill. The legislation was dropped after two Republican senators, Florence Shapiro and Wentworth, objected, citing Nelson’s lack of connection to the highway, his fund raisers for Democrats, his drinking, and his marijuana advocacy.

An important collection of Willie Nelson materials (1975–1994) became part of the Wittliff collections of Southwestern Writers, Texas State University, San Marcos, Texas. The collection contains lyrics, screenplays, letters, concert programs, tour itineraries, posters, articles, clippings, personal effects, promotional items, souvenirs, and documents. It documents Nelson’s IRS troubles and how Farm Aid contributions were used. Most of the material was collected by Nelson’s friend Bill Wittliff, who wrote or co-wrote Honeysuckle Rose, Barbarosa and Red Headed Stranger. In 2014, Nelson donated his personal collection to the Dolph Briscoe Center for American History. The items include photographs, correspondence, song manuscripts, posters, certificate records, awards, signed books, screenplays, personal items and gifts and tributes from Nelson’s fans.

In April 2010, Nelson received the “Feed the Peace” award from The Nobelity Project for his extensive work with Farm Aid and overall contributions to world peace. On June 23, 2010, he was inducted into the Library of Congress’s National Recording Registry. Nelson is an honorary trustee of the Dayton International Peace Museum. In 2010, Austin, Texas renamed Second Street to Willie Nelson Boulevard. The city also unveiled a life-size statue to honor him, placed at the entrance of Austin City Limits’ new studio. The non-profit organization Capital Area Statues commissioned sculptor Clete Shields to execute the project. The statue was unveiled on April 20, 2012. The date selected by the city of Austin unintentionally coincided with the number 4/20, a*sociated with cannabis culture. In spite of the coincidence and Nelson’s advocacy for the legalization of marijuana, the ceremony was scheduled also for 4:20 pm. During the ceremony, Nelson performed the song “Roll Me Up and Smoke Me When I Die”. The same year, Nelson was honored during the 46th Annual Country Music Association Awards as the first recipient of the Lifetime Achievement Award, which was also named after him.[ In 2013, he received an honorary doctorate from the Berklee College of Music. The following year, he was part of the inaugural class inducted into the Austin City Limits Hall of Fame. Also included among the first inductees was his friend Darrell Royal, whose jamming parties that Nelson participated in were the source of inspiration for the show.

For many years, Nelson’s image was marked by his red hair, often divided into two long braids partially concealed under a bandanna. In the April 2007 issue of Stuff Magazine Nelson was interviewed about his long locks. “I started braiding my hair when it started getting too long, and that was, I don’t know, probably in the 70’s.” On May 26, 2010, the Associated Press reported that Nelson had cut his hair, and Nashville music journalist Jimmy Carter published a photograph of the pigtail-free Nelson on his website. Nelson wanted a more maintainable hairstyle, as well helping him stay cool more easily at his Maui home. In October 2014, the braids of Nelson were sold for $37,000 at an auction of the Waylon Jennings estate. In 1983, Nelson cut his braids and gave them to Jennings as a gift during a party celebrating Jennings’ sobriety.

Nelson’s touring and recording group, the Family, is full of longstanding members. The original lineup included his sister Bobbie Nelson, drummer Paul English, harmonicist Mickey Raphael, bassist Bee Spears, Billy English (Paul’s younger brother), and Jody Payne. The current lineup includes all the members but Jody Payne, who retired, and Bee Spears, who died in 2011. Willie & Family tours North America in the bio-diesel bus Honeysuckle Rose, which is fueled by Bio-Willie. Nelson’s tour buses were customized by Florida Coach since 1979. The company built the Honeysuckle Rose I in 1983, which was replaced after a collision in Nova Scotia, Canada, in 1990. The interior was salvaged and reused for the second version of the bus the same year. Nelson changed his tour bus in 1996, 2005 and 2013, currently touring on the Honeysuckle Rose V.

 

 

Lyrics


Top 50 Great Songs To Play On Harmonica

Key: C

Genre: Blues

Harp Type: Chromatic

Skill: Any

On this post, you’ll find Top 50 Great Songs To Play On Harmonica. For each of them, you’ll find the tabs, audio clip, and backing track. For some for the songs, a full lesson is available – make use of the appropriate link to are able to the lesson page.

I have personally played all the songs listed and decided to perform them in a freer way, choosing for each how much to in order to the original melodies; in certain areas cases, you’ll find variations of the main theme as well as some improvisation. The purpose of such page is to offer you some great ideas about how to play any song you like, whether it’s a harmonica song, or one that doesn’t involve harmonica but that you want make use of of to reproduce the vocals or any other item.

Top 50 Great Songs To Play On Harmonica

Some of these songs are easy, and beginner player can grab their harmonica and have fun playing them in several minutes, the intermediate harmonica players can try my enhanced versions, and the improvisation they’ll find with most of the tunes.
More songs will be added in on these pages every week, so stay tuned and enjoy learning is not best music of paid traffic . century!

Help me growing this page, you like the songs, share it with your amount of friends, I would really appreciate it!

Top 50 Great Songs To Play On Harmonica

Top 50 Great Songs To Play On Harmonica

01. All Along The Watchtower by Bob Dylan

02. Amazing Grace

03. Auld Lang Syne by Robert Burns

04. Bad To The Bone by George Thorogood

05. Battle Hymn of the Republic

06. Bella ciao

07. Blowing In The Wind by Bod Dylan

08. Dirty Old Town by The Pogues

09. Game Of Thrones Theme by Ramin Djawadi

10. Hallelujah by Leonard Cohen’s

11. Happy Birthday

12. Heart Of Gold (Diatonic) by Neil Young (Chromatic Version)

13. Hey Jude by John Lennon (Chromatic Version)

14. Home On The Range by Daniel E. Kelley

15. Home Sweet Home by John Howard

16. Hurt by Trent Reznor (Chromatic Version)

17. I Wanna Dance With Somebody by George Merrill

18. Imagine by John Lennon (Chromatic Version)

19. Jingle Bells by James Lord Pierpont

20. Jurassic Park Theme

21. Knocking On Heavens Door by Bob Dylan

22. La Bamba by Ritchie Valens

23. Let it Be by The Beatles

24. Love Me Do by the Beatles

25. Love me Tender by Elvis Presley

26. Low Rider by WAR

27. Mary Had A Little Lamb by John Roulstone

28. Mary Jane’s Last Dance by Tom Petty

29. No Woman No Cry by Vincent Ford

30. Ode To Joy by Beethoven

31. Oh! Susanna (Chromatic) by Stephen Foster (Diatonic)

32. On Top Of Old Smokey by Pete Seeger

33. Piano Man by Billy Joel

34. Red River Valley by Jules Verne Allen

35. Roadhouse Blues by The Doors

36. Silent Night by Joseph Mohr

37. Somewhere Over The Rainbow by Arold Harlen

38. Stairway To Heaven By Jimmy Page

39. Stand By Me (Chromatic) by Ben E King (Diatonic)

40. Sunny by Bobby Hebb

41. Take Me Home, Country Roads by John Denver

42. The House Of The Rising Sun by The Animals

43. The Sound Of Silence by Simon and Garfunkel

44. The Wizard by Geezer Butler

45. Thinking Out Loud by Ed Sheeran

46. This old man

47. What A Wonderful World by Louis Armstrong

48. When The Saints Go Marching In

49. Yellow Submarine by The Beatles

50. You Are My Sunshine by Simon Ravenhall

We hope with our list, you can enjoy best songs with a harmonica!

Lyrics


Robert Plant

Key: C

Genre: Blues

Harp Type: Chromatic

Skill: Any

Robert Anthony Plant CBE (born 20 August 1948) is an English singer, songwriter and musician, best known as the lead singer and lyricist of the rock band Led Zeppelin.

Plant enjoyed great success with Led Zeppelin from the late 1960s to the end of the 1970s. He developed a compelling image as the charismatic rock-and-roll front man, similar to contemporaries such as Mick Jagger of the Rolling Stones, Roger Daltrey of the Who, Jim Morrison of the Doors, and Freddie Mercury of Queen. With his mane of long blond hair and powerful, bare-chested appearance, Plant helped to create the “god of rock and roll” or “rock god” archetype. Although Led Zeppelin dissolved in 1980, Plant occasionally collaborated with Jimmy Page on various projects in later years, including forming a short-lived all-star group with Page and Jeff Beck in 1984, called the Honeydrippers. They released an album called The Honeydrippers: Volume One, and the band had a No. 3 hit with a remake of Phil Phillips’ tune “Sea of Love”, plus a follow-up hit with a cover of Roy Brown’s “Rockin’ at Midnight”.

A powerful and wide vocal range (particularly evident in his high-registered vocals) has given Plant a successful singing career spanning over 50 years. In 2008, Rolling Stone editors ranked him number 15 on their list of the 100 best singers of all time. In 2011, Rolling Stone readers ranked Plant the greatest of all lead singers. In 2006, Hit Parader magazine named Plant the “Greatest Metal Vocalist of All Time”. In 2009, Plant was voted “the greatest voice in rock” in a poll conducted by Planet Rock.

Biography

Early life and musical beginnings

Robert Anthony Plant was born on 20 August 1948, in the Black Country town of West Bromwich, Staffordshire, England, to Robert C. Plant, a qualified civil engineer who worked in the Royal Air Force during the Second World War, and Annie Celia Plant (née Cain).  He grew up in Halesowen, Worcestershire. Plant gained an interest in singing and rock and roll music at an early age; in an interview with Andrew Denton on the Denton talk show in 1994, Plant stated his desire, as a ten-year-old, to be like Elvis Presley:

When I was a kid I used to hide behind the curtains at home at Christmas and I used to try and be Elvis. There was a certain ambience between the curtains and the French windows, there was a certain sound there for a ten-year-old. That was all the ambience I got at ten years old … And I always wanted to be … a bit similar to that

He left King Edward VI Grammar School for Boys in Stourbridge in his mid-teens and developed a strong passion for the blues, mainly through his admiration for Willie Dixon, Robert Johnson and early renditions of songs in this genre.

I suppose I was quite interested in my stamp collection and Romano-British history. I was a little grammar school boy and I could hear this kind of calling through the airwaves.

He abandoned training as a chartered accountant after only two weeks to attend college in an effort to gain more GCE passes and to become part of the English Midlands blues scene. “I left home at 16”, he said, “and I started my real education musically, moving from group to group, furthering my knowledge of the blues and of other music which had weight and was worth listening to”.

Plant’s early blues influences included Johnson, Bukka White, Skip James, Jerry Miller, and Sleepy John Estes. Plant had various jobs while pursuing his music career, one of which was working for the major British construction company Wimpey in Birmingham in 1967 laying tarmac on roads. He also worked at Woolworth’s in Halesowen town for a short period of time. He cut three obscure singles on CBS Records and sang with a variety of bands, including the Crawling King Snakes, which brought him into contact with drummer John Bonham. They both went on to play in the Band of Joy, merging blues with newer psychedelic trends.

Led Zeppelin (1968–1980)

Early years

In 1968, guitarist Jimmy Page was in search of a lead singer for his new band and met Plant after being turned down by his first choice, Terry Reid, who referred him to a show at a teacher training college in Birmingham (where Plant was singing in a band named Hobbstweedle). In front of Page, Plant sang Jefferson Airplane’s “Somebody to Love”, leading Page to end his search.  As recalled by Plant and Page:

Plant: I was appearing at this college when Peter and Jimmy turned up and asked me if I’d like to join the Yardbirds. I knew the Yardbirds had done a lot of work in America – which to me meant audiences who would want to know what I might have to offer – so naturally I was very interested.

Page: When I auditioned him and heard him sing, I immediately thought there must be something wrong with him personality-wise or that he had to be impossible to work with, because I just could not understand why, after he told me he’d been singing for a few years already, he hadn’t become a big name yet. So I had him down to my place for a little while, just to sort of check him out, and we got along great. No problems.

With a shared passion for music, Plant and Page immediately developed a strong relationship, and began their writing collaboration with reworkings of earlier blues songs.
Initially dubbed the “New Yardbirds” in 1968, the band soon came to be known as Led Zeppelin. The band’s eponymous debut album hit the charts in 1969 and is widely credited as a catalyst for the heavy metal genre. Plant has commented that it is unfair for people to think of Zeppelin as heavy metal, as almost a third of their music was acoustic. [full citation needed]

In 1975, Plant and his wife Maureen (now divorced) were seriously injured in a car crash in Rhodes, Greece. This significantly affected the production of Led Zeppelin’s seventh album Presence for a few months while he recovered, and forced the band to cancel the remaining tour dates for the year.

In July 1977, his son Karac died at the age of five while Plant was engaged on Led Zeppelin’s concert tour of the United States. It was a devastating loss for the family. Plant retreated to his home in the Midlands, and for months afterward questioned his future. Karac’s death later inspired him to write several songs in tribute: “All My Love” featured on Led Zeppelin’s final studio album, 1979’s In Through the Out Door, while “Blue Train” featured on Page and Plant’s second and final (studio) album, 1998’s Walking into Clarksdale.

Lyrics

Plant did not begin writing song lyrics with Led Zeppelin until the making of Led Zeppelin II, in 1969. According to Jimmy Page:

The most important thing about Led Zeppelin II is that up to that point I’d contributed lyrics. Robert hadn’t written before, and it took a lot of ribbing to get him into writing, which was funny. And then, on the second LP, he wrote the words of Thank You. He said, “I’d like to have a crack at this and write it for my wife.”

Plant’s lyrics with Led Zeppelin were often mystical, philosophical and spiritual, alluding to events in classical and Norse mythology, such as “Immigrant Song”, which refers to Valhalla and Viking conquests. However, the song “No Quarter” is often misunderstood to refer to the god Thor; the song actually refers to Mount Thor (which is named after the god). Another example is “The Rain Song”.

Plant was also influenced by J. R. R. Tolkien, whose book series inspired lyrics in some early Led Zeppelin songs. Most notably, “The Battle of Evermore”, “Misty Mountain Hop”, “No Quarter”, “Ramble On” and “Over the Hills and Far Away” contain verses referencing Tolkien’s The Lord of the Rings and The Hobbit. Conversely, Plant sometimes used more straightforward blues-based lyrics dealing primarily with sexual innuendo, as in “The Lemon Song”, “Trampled Under Foot”, and “Black Dog”.

 

Welsh mythology also forms a basis of Plant’s interest in mystical lyrics. He grew up close to the Welsh border and would often take summer trips to Snowdonia. Plant bought a Welsh sheep farm in 1973, and began taking Welsh lessons and looking into the mythology of the land (such as Black Book of Carmarthen, Book of Taliesin, etc.) Plant’s first son, Karac, was named after the Welsh warrior Caratacus. The song “Bron-Y-Aur Stomp” is named after the 18th-century Welsh cottage Bron-Yr-Aur, owned by a friend of his father; it later inspired the song “Bron-Yr-Aur”. The songs “Misty Mountain Hop”, “That’s the Way”, and early dabblings in what would become “Stairway to Heaven” were written in Wales and lyrically reflect Plant’s mystical view of the land. Critic Steve Turner suggests that Plant’s early and continued experiences in Wales served as the foundation for his broader interest in the mythologies he revisits in his lyrics (including those myth systems of Tolkien and the Norse).

Page’s passion for diverse musical experiences influenced Plant to explore Africa, specifically Marrakesh in Morocco where he encountered Umm Kulthum:

I was intrigued by the scales, initially, and obviously the vocal work. The way she sang, the way she could hold a note, you could feel the tension, you could tell that everybody, the whole orchestra, would hold a note until she wanted to change.

Both he and Jimmy Page revisited these influences during their reunion album No Quarter: Jimmy Page and Robert Plant Unledded in 1994.[28] During his solo career Plant tapped into these influences many times, most notably on the 2002 album Dreamland.

Arguably one of Plant’s most significant achievements with Led Zeppelin was his contribution to the track “Stairway to Heaven”, an epic rock ballad featured on Led Zeppelin IV that drew influence from folk, blues, Celtic traditional music and hard rock among other genres. Most of the lyrics of the song were written spontaneously by Plant in 1970 at Headley Grange. While never released as a single, the song has topped polls as the greatest song of all time.

Plant is also recognised for his lyrical improvisation in Led Zeppelin’s live performances, often singing verses previously unheard on studio recordings. One of the most famous Led Zeppelin musical devices involves Plant’s vocal mimicking of bandmate Jimmy Page’s guitar effects. This can be heard in the songs “How Many More Times”, “Dazed and Confused”, “The Lemon Song”, “You Shook Me”, “Nobody’s Fault but Mine” and “Sick Again”.

He is also known for his light-hearted, humorous and unusual on-stage banter. Plant often discusses the origin and background of the songs during his shows, and sometimes provides social comment as well. He frequently talks about American blues musicians as his inspiration, mentioning artists like Robert Johnson, Howlin’ Wolf, Blind Willie Johnson and Willie Dixon at the Rock and Roll Hall of Fame induction ceremony and the 2007 Ahmet Ertegün Tribute Concert with Led Zeppelin.

Stage persona

Plant enjoyed great success with Led Zeppelin throughout the 1970s and developed a compelling image as the charismatic rock-and-roll front man, similar to his contemporaries the Who’s singer Roger Daltrey, Mick Jagger of the Rolling Stones, Freddie Mercury of Queen, and Jim Morrison of the Doors. With his mane of long blond hair and powerful, bare-chested appearance, Plant helped to create the “god of rock and roll” or “rock god” archetype. On stage, Plant was particularly active in live performances, often dancing, jumping, skipping, snapping his fingers, clapping, making emphatic gestures to emphasise a lyric or cymbal crash, throwing back his head, or placing his hands on his hips. As the 1970s progressed he, along with the other members of Led Zeppelin, became increasingly flamboyant on-stage, and wore more elaborate, colourful clothing and jewellery.

According to Classic Rock magazine, “once he had a couple of US tours under his belt, ‘Percy’ Plant swiftly developed a staggering degree of bravado and swagger that irrefutably enhanced Led Zeppelin’s rapidly burgeoning appeal.” In 1994, during his “Unledded” tour with Jimmy Page, Plant himself reflected tongue-in-cheek upon his Led Zeppelin showmanship:

I can’t take my whole persona as a singer back then very seriously. It’s not some great work of beauty and love to be a rock-and-roll singer. So I got a few moves from Elvis and one or two from Sonny Boy Williamson II and Howlin’ Wolf and threw them all together.

One of the oddest awards he received was the Rock Scene magazine “Chest O Rama”. Readers of the magazine had to decide who had the best chest in rock, and Plant was the winner. When they contacted him about it, he replied: “I’m really greatly honoured although it’s hard for me to be eloquent on the subject of my chest.”

Solo career (1982–present)

Early career and success (1982–1993)

After Led Zeppelin disbanded in December 1980 (following the death of drummer John Bonham), Plant briefly considered abandoning music to pursue a career as a teacher in the Rudolf Steiner education system, going so far as to be accepted for teacher training. He nevertheless embarked on a successful solo career, helped by encouragement from Genesis drummer Phil Collins, who would go on to play with him.[34] Plant’s solo career began with the album Pictures at Eleven in 1982, followed by 1983’s The Principle of Moments. Popular tracks from this period include “Big Log” (a Top 20 hit in 1983), “In the Mood” (1983), “Little by Little” (from 1985’s Shaken ‘n’ Stirred), “Far Post” (the B-side of “Burning Down One Side”, appearing on the soundtrack of the 1985 movie White Nights starring Gregory Hines and Mikhail Baryshnikov, and popularised by airplay on album-oriented rock stations), “Tall Cool One” (a No. 25 hit from 1988’s Now and Zen) and later “I Believe” (from 1993’s Fate of Nations). This last track, like Led Zeppelin’s “All My Love”, was written for and dedicated to his late son, Karac. Whilst Plant avoided performing Led Zeppelin songs through much of this period (although he would occasionally improvise his unique Zeppelin screams into his set), his tours in 1983 (with Phil Collins on drums) and in 1985 were very successful, often performing to sold-out arena-sized venues. In 1986 Plant performed at the Birmingham Heart Beat Charity Concert with other famous Midlands musicians.

During the late 1980s and early 1990s Plant co-wrote three solo albums with keyboardist/songwriter Phil Johnstone. These were: Now and Zen in 1988, Manic Nirvana in 1990, and the 1993 Fate of Nations (which features Moya Brennan of Clannad and former Cutting Crew guitarist Kevin Scott MacMichael). Songs from this third album, plus a smattering of Led Zeppelin classics, made up the set-list for Plant’s acclaimed sunset performance on the Main Stage at Glastonbury Festival, in 1993.[35] It was Johnstone who talked Plant into playing Led Zeppelin songs in his live shows, something Plant had always previously resisted, not wanting to be forever known as “the former Led Zeppelin vocalist”.[citation needed]

Although Led Zeppelin split in 1980, Plant occasionally collaborated with Jimmy Page on various projects through this period, including forming a short-lived all-star group with Page and Jeff Beck in 1984, called the Honeydrippers. They released an album called The Honeydrippers: Volume One, and the band had a No. 3 hit with a remake of the Phil Phillips’ tune “Sea of Love”, plus a follow-up hit with a cover of Roy Brown’s “Rockin’ at Midnight”. The pair again worked together in the studio on the 1988 Page solo effort Outrider, and in the same year Page contributed to Plant’s album Now and Zen. Also, on 15 May 1988 Plant appeared with Page as a member of Led Zeppelin, at the Atlantic Records 40th Anniversary concert (where he also performed in his own right as a solo artist). Plant’s live collaborations with other well-known musicians continued when he took to the stage with Queen at Wembley Stadium, for 1992’s “The Freddie Mercury Tribute Concert” for AIDS Awareness; where he sang Queen’s “Innuendo” and “Crazy Little Thing Called Love”, and Led Zeppelin’s “Kashmir” and “Thank You”.

Page and Plant (1994–1998)

Page and Plant became a full-fledged performing act from 1994 through 1998, releasing the No Quarter: Jimmy Page and Robert Plant Unledded album in 1994 and following with an enormously successful tour in 1995, including a return to the Glastonbury limelight. Fourteen years of speculation from their fans and occasional sniping between the two former members ended when they reconvened their former musical partnership to produce No Quarter. Having long resisted offers from MTV to reform to do an Unplugged show, they finally accepted as part of a deal that also allowed them to visit Morocco to record new material. The album combines the results of both of these projects. The Led Zeppelin material features new arrangements and new instrumentation, including strings, Egyptian musicians and the vocals of British-Asian star Najma Akhtar.

Page and Plant recorded their only post-Zeppelin album of original material on the 1998 album Walking into Clarksdale, an effort that was unsuccessful commercially, leading Plant to return to his solo career. A song from this album, “Please Read the Letter”, was re-recorded by Plant with Alison Krauss, and was featured on their 2007 album which won the Grammy Award for Record of the Year.

Priory of Brion (1999–2000)

Starting in mid-1999, Plant performed until the end of 2000 at several small venues with his folk-rock band, named Priory of Brion. This band consisted of the original Band of Joy guitarist Kevyn Gammond alongside Andy Edwards (drums) Paul Timothy (keyboards) and Paul Wetton (bass). The Priory of Brion played around one hundred concerts across Europe at various small clubs and festivals. The band performed cover versions of songs that had influenced Robert in his formative years. Many of these cover versions would crop up later on his ‘Dreamland’ album.

In 1999, Plant contributed to the tribute album for Moby Grape co-founder Skip Spence, who was terminally ill. The album, More Oar: A Tribute to the Skip Spence Album (Birdman, 1999), with the album title referring to Spence’s only solo album, Oar (Columbia, 1969), contained Plant’s version of Spence’s “Little Hands”. Plant had been an admirer of Spence and Moby Grape since the release of Moby Grape’s eponymous 1967 debut album.

In 2001, Plant appeared on Afro Celt Sound System’s album Volume 3: Further in Time. The song “Life Begin Again” features a duet with Welsh folksinger Julie Murphy, emphasising Plant’s recurring interest in Welsh culture (Murphy would also tour in support of Plant).

Strange Sensation (2001–2007)

In 2002, with his then newly formed band Strange Sensation, Plant released a widely acclaimed collection of mostly blues and folk remakes, Dreamland. Contrasting with this lush collection of often relatively obscure remakes, the second album with Strange Sensation, Mighty ReArranger (2005), contains new, original songs. Both have received some of the most favourable reviews of Plant’s solo career and four Grammy nominations, two in 2003 and two in 2006.

As a former member of Led Zeppelin, along with Page and John Paul Jones, Plant received the Grammy Lifetime Achievement Award in 2005 and the Polar Music Prize in 2006.

From 2001 to 2007, Plant actively toured the US and Europe with Strange Sensation. His sets typically included recent, but not only, solo material and plenty of Led Zeppelin favourites, often with new and expanded arrangements. A DVD titled Soundstage: Robert Plant and Strange Sensation, featuring his Soundstage performance (filmed at the Soundstage studios in Chicago on 16 September 2005), was released in October 2006.

With Strange Sensation’s Justin Adams he appeared at the 2003 Festival au Desert held in Essakane in the North of Mali,  captured in a French-language documentary film entitled Le Festival au Désert (2004).

On 23 June 2006, Plant was the headliner (backed by Ian Hunter’s band) at the Benefit For Arthur Lee concert at New York’s Beacon Theatre, a show which raised money for Lee’s medical expenses from his bout with leukaemia. Plant and band performed thirteen songs – five by Arthur Lee & Love, five Led Zeppelin songs and three others, including a duet with Ian Hunter. At the show, Plant told the audience of his great admiration for Arthur Lee dating back to the mid-’60s. Lee died of his illness six weeks after the concert.

An expansive box set of his solo work, Nine Lives, was released in November 2006, which expanded all of his albums with various b-sides, demos, and live cuts. It was accompanied by a DVD. All his solo works were re-released with these extra tracks individually.

In 2007, Plant contributed two tracks to the Fats Domino tribute album Goin’ Home: A Tribute to Fats Domino, “It Keeps Rainin’” with the Lil’ Band o’ Gold and “Valley of Tears” with the Soweto Gospel Choir.

Alison Krauss (2007–2008)

From 2007 to 2008, Plant recorded and performed with bluegrass star Alison Krauss. A duet album, Raising Sand, was released on 23 October 2007 on Rounder Records. The album, recorded in Nashville and Los Angeles and produced by T-Bone Burnett, includes performances of lesser-known material from R&B, blues, folk and country songwriters including Mel Tillis, Townes Van Zandt, Gene Clark, Tom Waits, Doc Watson, Little Milton and the Everly Brothers. The song “Gone Gone Gone (Done Moved On)” from Raising Sand won a Grammy for Best Pop Collaboration with Vocals in 2008. Raising Sand also won Album of the Year at the 51st Grammy Awards. The album has been successful critically and commercially, and was certified platinum on 4 March 2008.

Plant and Krauss began an extended tour of the US and Europe in April 2008, playing music from Raising Sand and other American roots music as well as reworked Led Zeppelin tunes. The album was nominated for the Mercury Prize in July 2008. Also in 2008, Plant performed with bluegrass musicians at the New Orleans Jazz & Heritage Festival and Bonnaroo Music & Arts Festival. He appeared as a surprise guest during Fairport Convention’s set at the 2008 Cropredy Festival, performing Led Zeppelin’s “The Battle of Evermore” with Kristina Donahue as a tribute to Sandy Denny.

On 8 February 2009, Plant and Krauss won Grammy Awards for Album of the Year, Record of the Year, Pop Collaboration with Vocals, Country Collaboration with Vocals, and Contemporary Folk/Americana Album.

Band of Joy (2010–2011)

In July 2010, Robert Plant embarked on a twelve-date summer tour in the United States with a new group called Band of Joy (reprising the name of his first band in the 1960s). The group includes singer Patty Griffin, singer-guitarist Buddy Miller, multi-instrumentalist and vocalist Darrell Scott, bassist-vocalist Byron House, and drummer-percussionist-vocalist Marco Giovino.

After a one-off show in the United States on 12 September 2010 at the Bowery Ballroom in New York City, another eleven-date autumn tour in Europe was announced to last from October to November 2010. North America tour dates were announced 16 November 2010, with the first show being 18 January 2011 in Asheville, North Carolina.

A new studio album called Band of Joy was released on 13 September 2010 on the Rounder Records label. The album was nominated for Best Americana Album in the 2011 Grammy Awards, and Plant’s performance of “Silver Rider” on the album (a cover from the Low album The Great Destroyer) was nominated for Best Solo Rock Vocal Performance.

The band played their final scheduled show together at the Big Chill Festival at Eastnor Castle Deer Park in Herefordshire on 7 August 2011. The show ended with Plant bidding his bandmates “a fond farewell”.

On 30 September 2011, Plant and Band of Joy played in San Francisco’s Golden Gate Park, as part of the 11th Hardly Strictly Bluegrass festival.

Sensational Space Shifters (2012–present)

It was first reported that Robert Plant’s new band, the Sensational Space Shifters, would be debuting at 2012’s WOMAD festival in Wiltshire, England. An intimate warm up gig was then announced in Gloucester on 8 May 2012 to a crowd of 400. Although it was initially reported that there were 10 members of the band, along with Plant the band consists of former Strange Sensation members, Cast guitarist Liam “Skin” Tyson, Justin Adams, Billy Fuller and John Baggott along with Dave Smith and Juldeh Camara. Patty Griffin was the special guest on the first few shows prior to her new album release and subsequent tour.

On 13 July 2012, the band released a download live album called Sensational Space Shifters (Live in London July ’12). This album featured a mix of Strange Sensation and Led Zeppelin reinterpretations as well as covers and a spot by Patty Griffin. In addition to Womad and the Gloucester show, the Sensational Space Shifters were scheduled for the free Sunflower River Blues & Gospel Festival’s 25th anniversary in Clarksdale, Mississippi on 10–12 August 2012.

On 23 June 2014, Robert Plant announced 8 September 2014 release of Lullaby and… The Ceaseless Roar, his tenth solo album and the first studio one with his band the Sensational Space Shifters. On 28 June 2014, Plant and the Sensational Space Shifters played at the 2014 Glastonbury Extravaganza. The band featured West African musician Juldeh Camara, guitarists Skin Tyson and Justin Adams, drummer Dave Smith, Massive Attack keyboardist John Baggott, and bassist Billy Fuller. On 7 August 2014, Plant announced an autumn 2014 7-date North American tour from 25 September (in Port Chester, NY) to 7 October 2014 (in Los Angeles, CA).

To celebrate Record Store Day 2015 (Saturday 18 April), Plant released a special 10-inch live EP titled More Roar, which collects three performances from his recent world tour to support his last solo album. Available at participating outlets on 18 April, the release was limited to 10,000 copies and includes live versions of “Turn It Up” and “Arbaden” on side A, with a medley of “Poor Howard” and “Whole Lotta Love” on side B. During a concert at Hammerstein Ballroom in New York City on 19 September 2015, Plant hinted at plans for a new album with the Sensational Space Shifters, stating, “We’ll go make another record and then we’ll come see you guys even more.”

On 19 September 2016, Robert Plant confirmed that he would join in October 2016 artists such as Emmylou Harris, Steve Earle, Patty Griffin, Buddy Miller, The Milk Carton Kids for select dates on the Lampedusa Concerts for Refugees tour. This tour across 11 North American cities (6–21 October 2016) was intending to raise awareness of the unprecedented worldwide refugee crisis and funds to support educational programs for refugees around the world. The concerts were intimate evenings of acoustic performances. About his participation in the shows, Plant stated that “as with all the other members of this tour, [he would] be performing two or three songs a night and no more.”

On 18 August 2017, Plant announced the release on 13 October 2017 of his new solo album Carry Fire.  In 2018, Plant received the AMA Lifetime Achievement Award at the UK Americana Honors & Awards. Plant headlined the Sunday night of Iceland’s Secret Solstice Festival in Reykjavík on 23 June 2019.

In 2019, Plant formed a low key acoustic band called Saving Grace and performed support slots for Fairport Convention and Seth Lakeman  In March 2020, Saving Grace announced a US tour.

In 2020, a live album featuring the performances from the ‘One World: Together At Home’ event has been released. A collection of 79 songs from the eight-hour, at-home concert has been put together, with proceeds from streaming will go directly to support the COVID-19 Solidarity Response Fund for the World Health Organisation.

Led Zeppelin-related projects and reunion rumours

Plant performed with living members of Led Zeppelin both on 13 July 1985 for Live Aid (with Phil Collins and Tony Thompson on drums) and on 15 May 1988 for Atlantic Records 40th Anniversary. At the 1988 reunion, Jason Bonham, the son of Led Zeppelin’s late drummer John Bonham, played drums. Both sets featured only a few songs, performed with minimal rehearsal. Plant was unhappy with both performances, saying that “it was like sleeping with your ex-wife but not making love.” At the 1990 Silver Clef Award Winners Concert at Knebworth, Plant was joined by Jimmy Page. Some of their set was released on the subsequent live album and video. In 1995, Led Zeppelin were inducted into the Rock and Roll Hall of Fame and Plant performed at the induction show with Jimmy Page, John Paul Jones, Jason Bonham, Neil Young, Steven Tyler and Joe Perry, performing spirited versions of “Bring It On Home”, “Honeybee” and “When the Levee Breaks”.

After years of reunion rumours, Led Zeppelin performed a full two-hour set on 10 December 2007 at the Ahmet Ertegün Tribute Concert, with Jason again filling in on drums. Despite enormous public demand, Plant declined a $200 million offer to tour with Led Zeppelin after the 2007 show. In interviews following the 2007 show, Plant left the door open to possible future performances with Led Zeppelin, saying that he enjoyed the reunion and felt that the show was strong musically. Although Page and Jones have expressed the strong desire to tour as Led Zeppelin, Plant has consistently opposed a full tour and has responded negatively to questions about another reunion. In a January 2008 interview, he stated that he does not want to “tour like a bunch of bored old men following the Rolling Stones around.” In a statement on his web site in late 2008, Plant stated, “I will not be touring with Led Zeppelin or anyone else for the next two years. Anyone buying Led Zeppelin tickets will be buying bogus tickets.”

In February 2013, Plant hinted that he was open to a Led Zeppelin reunion in 2014, stating that he was not the reason for Led Zeppelin’s dormancy for the Capricorns (Jimmy Page and John Paul Jones) “are quite contained in their own worlds and leave it to [him]”, adding that he was “not the bad guy” and that he had “got nothing to do in 2014”.

In a spring 2014 interview with the BBC about the then forthcoming reissue of Led Zeppelin’s first three albums, Page said he was sure fans would be keen on another reunion show, but Plant later replied that “the chances of it happening [were] zero”. Page then told The New York Times that he was “fed up” with Plant’s refusal to play, stating: “I was told last year that Plant said he is doing nothing in 2014, and what do the other two guys think? Well, he knows what the other guys think. Everyone would love to play more concerts for the band. He’s just playing games, and I’m fed up with it, to be honest with you. I don’t sing, so I can’t do much about it”, adding: “I definitely want to play live. Because, you know, I’ve still got a twinkle in my eye. I can still play. So, yeah, I’ll just get myself into musical shape, just concentrating on the guitar.”

On 30 July 2014, NME revealed that Plant was “slightly disappointed and baffled” by Page in an ongoing Led Zeppelin dispute during which Page declared he was “fed up” with Plant delaying Led Zeppelin reunion plans. Instead, Plant offered Led Zeppelin’s guitarist to write acoustically with him as he is interested in working with Page again but only in an unplugged way.  Page responded:

He would have no intention whatsoever of doing it … I’ve had enough of all this stuff, to be honest: ‘Robert says this, Robert says that.’ … The only reality of it is that we did one concert. No matter how you dress it up, look at the situation. That’s it.

Personal life

Plant married Maureen Wilson on 9 November 1968. The couple had three children: daughter Carmen Jane (1968), (who later married Charlie Jones, Plant’s bass player for solo tours); and sons Karac Pendragon (1972–1977), and Logan Romero (1979).[citation needed] The couple divorced in August 1983.

In 1977, during Led Zeppelin’s US tour, his five-year-old son Karac died of a stomach illness. The song “All My Love”, co-written with John Paul Jones, is a tribute to him.

Plant is interested in Welsh history. He donated money to the creation of a bronze statue of the Welsh prince Owain Glyndŵr at Pennal Church, near Machynlleth, in Wales, unveiled in September 2004. He is also believed to have contributed funds to a slate carving of Glyndŵr’s coat of arms at the Celtica museum in Machynlleth. Plant is part of a Glyndŵr network, and attends meetings about him in Wales.

In the New Year Honours List 2009, Plant was appointed a Commander of the Order of the British Empire “for services to music” and on 10 July 2009 invested by the Prince of Wales.

On 14 August 2009, football club Wolverhampton Wanderers announced that Plant was to become the club’s third Vice-President. Plant officially received the honour before kick-off at the club’s first match of the season against West Ham United. Plant was five years old when he first visited Molineux Stadium. He recalled in an interview with his local paper, the Express & Star, in August 2010: “I was five when my dad took me down for the first time and Billy Wright waved at me. Honest, he did. And that was it – I was hooked from that moment.”

In late 2010, BBC Two aired a documentary titled Robert Plant: By Myself. It features Robert Plant discussing his journey with Led Zeppelin and various projects since.

In a July 2012 interview with the Independent newspaper, Plant stated he “eloped and ran off to Texas” with Band of Joy co-vocalist, American singer Patty Griffin. Plant’s UK-based manager told E! News later that Plant was apparently being cheeky when he used the word “eloped” to describe his home life, for “Robert has not married Patty Griffin,” instead “He was just referring to the fact that he’s been residing in Texas” with her. According to a July 2012 Ultimate Classic Rock article, Plant and Griffin had been dating for over a year, spending half of their time together in Austin, Texas. On 23 August 2014, The Independent indicated Plant had broken up with Patty Griffin: “”Patty and I tried a sort of zig-zag across the Atlantic,” Plant told the publication, “but she didn’t share my penchant for cider and she used to marvel at the Black Country character I became after four pints of Thatchers. My feelings are very much ones of sadness and regret.”  [check quotation syntax]

In early 2013, Plant contributed to a community buyout scheme to save the Bath music venue, the Bell Inn.

He currently[when?] resides at Shatterford, near Bewdley in the Wyre Forest District of Worcestershire.

In 2020, Plant donated towards frontline medical supplies during the COVID-19 pandemic. The money went to the Gofundme page of a small clothing manufacturer in Kidderminster, England, that makes scrubs for local hospitals.

Legacy

Plant has influenced the style of many of his contemporaries, including Geddy Lee, Ann Wilson, Sammy Hagar, and later rock vocalists such as Jeff Buckley and Jack White who imitated his performing style. Freddie Mercury of Queen, and Axl Rose of Guns N’ Roses were influenced by Plant. Encyclopædia Britannica notes that “Exaggerating the vocal style and expressive palette of blues singers such as Howlin’ Wolf and Muddy Waters, Plant created the sound that has defined much hard rock and heavy metal singing: a high range, an abundance of distortion, loud volume and emotional excess”. Plant received the Knebworth Silver Clef Award in 1990.

In 2006, hard rock/heavy metal magazine Hit Parader named Plant as No. 1 on its list of the 100 Greatest Metal Vocalists of All Time, a list that included Rob Halford of Judas Priest (No. 2), Steven Tyler (No. 3), Freddie Mercury (No. 6), Geddy Lee (No. 13) and Paul Stanley (No. 18), all of whom were influenced by Plant. In 2008, Rolling Stone named Plant the 15th-greatest singer of all time on their list of 100 Greatest Singers of All Time. In 2009, he was voted the “greatest voice in rock” in a poll conducted by Planet Rock He was included in the Q magazine’s 2009 list of “Artists of the Century” and was ranked at number 8 in their list of “100 Greatest Singers” in 2007. In 2009, Plant also won the Outstanding Contribution to Music prize at the Q Awards. He was placed at No. 3 on SPIN’s list of “The 50 Greatest Rock Frontmen of All Time”.

On 20 September 2010, National Public Radio (NPR) named Plant as one of the “50 Great Voices” in the world.

Lyrics


Jimmy Page

Key: C

Genre: Blues

Harp Type: Chromatic

Skill: Any

James Patrick Page OBE (born 9 January 1944) is an English musician, songwriter, multi-instrumentalist and record producer who achieved international success as the guitarist and founder of the rock band Led Zeppelin.

Page is prolific in creating guitar riffs and his varied style involves various guitar tunings, technical and melodic solos and aggressive, distorted guitar tone as well as his folk and eastern influenced acoustic work. He is also noted for occasionally playing his guitar with a cello bow to create a droning sound texture to the music.

Page began his career as a studio session musician in London and, by the mid-1960s, alongside Big Jim Sullivan, was one of the most sought-after session guitarists in Britain. He was a member of the Yardbirds from 1966 to 1968. When The Yardbirds broke up, he founded Led Zeppelin, which was active from 1968–1980. Following the death of Led Zeppelin drummer John Bonham, he participated in a number of groups throughout the 1980s and 1990s, notably XYZ, The Firm, The Honeydrippers, Coverdale–Page, and Page and Plant. Since 2000, Page has participated in various guest performances with many artists, both live and in studio recordings, and participated in a one-off Led Zeppelin reunion in 2007 that was released as the 2012 concert film Celebration Day. Along with The Edge and Jack White, he participated in the 2008 documentary It Might Get Loud.

Page is widely considered to be one of the greatest and most influential guitarists of all time. Rolling Stone magazine has described Page as “the pontiff of power riffing” and ranked him number three in their list of the “100 Greatest Guitarists of All Time”, behind Jimi Hendrix and Eric Clapton. In 2010, he was ranked number two in Gibson’s list of “Top 50 Guitarists of All Time” and, in 2007, number four on Classic Rock’s “100 Wildest Guitar Heroes”. He was inducted into the Rock and Roll Hall of Fame twice: once as a member of the Yardbirds (1992) and once as a member of Led Zeppelin (1995).

Early life

Page was born to James Patrick Page and Patricia Elizabeth Gaffikin in the west London suburb of Heston on 9 January 1944. His father was a personnel manager at a plastic-coatings plant[11] and his mother, who was of Irish descent, was a doctor’s secretary. In 1952, they moved to Feltham and then to Miles Road, Epsom in Surrey. Page was educated from the age of eight at Epsom County Pound Lane Primary School, and when he was eleven he went to Ewell County Secondary School in West Ewell. He came across his first guitar, a Spanish guitar, in the Miles Road house: “I don’t know whether [the guitar] was left behind by the people [in the house] before [us], or whether it was a friend of the family’s—nobody seemed to know why it was there.” First playing the instrument when aged 12,  he took a few lessons in nearby Kingston, but was largely self-taught:

When I grew up there weren’t many other guitarists … There was one other guitarist in my school who actually showed me the first chords that I learned and I went on from there. I was bored so I taught myself the guitar from listening to records. So obviously it was a very personal thing.

This “other guitarist” was a boy called Rod Wyatt, a few years his senior, and together with another boy, Pete Calvert, they would practise at Page’s house; Page would devote six or seven hours on some days to practising and would always take his guitar with him to secondary school, only to have it confiscated and returned to him after class. Among Page’s early influences were rockabilly guitarists Scotty Moore and James Burton, who both played on recordings made by Elvis Presley. Presley’s song “Baby Let’s Play House” is cited by Page as being his inspiration to take up the guitar, and he would reprise Moore’s playing on the song in the live version of “Whole Lotta Love” on The Song Remains the Same. He appeared on BBC1 in 1957 with a Höfner President acoustic, which he’d bought from money saved up from his milk round in the summer holidays and which had a pickup so it could be amplified, but his first solid-bodied electric guitar was a second-hand 1959 Futurama Grazioso, later replaced by a Fender Telecaster, a model he had seen Buddy Holly playing on the TV and a real-life example of which he’d played at an electronics exhibition at the Earls Court Exhibition Centre in London.

Page’s musical tastes included skiffle (a popular English music genre of the time) and acoustic folk playing, and the blues sounds of Elmore James, B.B. King, Otis Rush, Buddy Guy, Freddie King and Hubert Sumlin.[ “Basically, that was the start: a mixture between rock and blues.”

At the age of 13, Page appeared on Huw Wheldon’s All Your Own talent quest programme in a skiffle quartet, one performance of which aired on BBC1 in 1957. The group played “Mama Don’t Want to Skiffle Anymore” and another American-flavoured song, “In Them Ol’ Cottonfields Back Home”. When asked by Wheldon what he wanted to do after schooling, Page said, “I want to do biological research [to find a cure for] cancer, if it isn’t discovered by then.”

In an interview with Guitar Player magazine, Page stated that “there was a lot of busking in the early days, but as they say, I had to come to grips with it and it was a good schooling.” When he was fourteen, and billed as James Page, he played in a group called Malcolm Austin and Whirlwinds, alongside Tony Busson on bass, Stuart Cockett on rhythm and a drummer called Tom, knocking out Chuck Berry and Jerry Lee Lewis numbers. This band was short-lived, as Page soon found a drummer for a band he’d previously been playing in with Rod Wyatt, David Williams and Pete Calvert, and came up with a name for them: The Paramounts. The Paramounts played gigs in Epsom, once supporting a group who would later become Johnny Kidd & the Pirates.

Although interviewed for a job as a laboratory a*sistant, he ultimately chose to leave secondary school in West Ewell to pursue music, doing so at the age of fifteen – the earliest age permitted at the time – having gained four GCE O levels and on the back of a major row with the school Deputy Head Miss Nicholson about his musical ambitions, about which she was wholly scathing.

Page had difficulty finding other musicians with whom he could play on a regular basis. “It wasn’t as though there was an abundance. I used to play in many groups … anyone who could get a gig together, really.”  Following stints backing recitals by Beat poet Royston Ellis at the Mermaid Theatre between 1960–61,  and singer Red E. Lewis, who’d seen him playing with the Paramounts at the Contemporary club in Epsom and told his manager Chris Tidmarsh to ask Page to join his backing band, the Redcaps, after the departure of guitarist Bobby Oats, Page was asked by singer Neil Christian to join his band, the Crusaders. Christian had seen a fifteen-year-old Page playing in a local hall, and the guitarist toured with Christian for approximately two years and later played on several of his records, including the 1962 single, “The Road to Love.”

During his stint with Christian, Page fell seriously ill with infectious mononucleosis (i.e. glandular fever) and could not continue touring. While recovering, he decided to put his musical career on hold and concentrate on his other love, painting, and enrolled at Sutton Art College in Surrey. As he explained in 1975:

[I was] travelling around all the time in a bus. I did that for two years after I left school, to the point where I was starting to get really good bread. But I was getting ill. So I went back to art college. And that was a total change in direction. That’s why I say it’s possible to do. As dedicated as I was to playing the guitar, I knew doing it that way was doing me in forever. Every two months I had glandular fever. So for the next 18 months I was living on ten dollars a week and getting my strength up. But I was still playing.

Career

Early 1960s: session musician

While still a student, Page often performed on stage at the Marquee Club with bands such as Cyril Davies’ All Stars, Alexis Korner’s Blues Incorporated, and fellow guitarists Jeff Beck and Eric Clapton. He was spotted one night by John Gibb of Brian Howard & the Silhouettes, who asked him to help record some singles for Columbia Graphophone Company, including “The Worrying Kind”. Mike Leander of Decca Records first offered Page regular studio work. His first session for the label was the recording “Diamonds” by Jet Harris and Tony Meehan, which went to Number 1 on the singles chart in early 1963.

After brief stints with Carter-Lewis and the Southerners, Mike Hurst and the Method and Mickey Finn and the Blue Men, Page committed himself to full-time session work. As a session guitarist, he was known as ‘Lil’ Jim Pea’ to prevent confusion with the other noted English session guitarist Big Jim Sullivan. Page was mainly called into sessions as “insurance” in instances when a replacement or second guitarist was required by the recording artist. “It was usually myself and a drummer”, he explained, “though they never mention the drummer these days, just me … Anyone needing a guitarist either went to Big Jim [Sullivan] or myself.” He stated that “In the initial stages they just said, play what you want, cos at that time I couldn’t read music or anything.”
Page was the favoured session guitarist of record producer Shel Talmy. As a result, he secured session work on songs for the Who and the Kinks. Page is credited with playing acoustic twelve-string guitar on two tracks on the Kinks’ debut album, “I’m a Lover Not a Fighter” and “I’ve Been Driving on Bald Mountain”, and possibly on the B-side “I Gotta Move”. He played rhythm guitar on the sessions for the Who’s first single “I Can’t Explain” (although Pete Townshend was reluctant to allow Page’s contribution on the final recording; Page also played lead guitar on the B-side, “Bald Headed Woman”).  Page’s studio gigs in 1964 and 1965 included Marianne Faithfull’s “As Tears Go By”, Jonathan King’s “Everyone’s Gone to the Moon”, the Nashville Teens’ “Tobacco Road”, the Rolling Stones’ “Heart of Stone”, Van Morrison & Them’s “Baby, Please Don’t Go”, “Mystic Eyes”, and “Here Comes the Night”, Dave Berry’s “The Crying Game” and “My Baby Left Me”, Brenda Lee’s “Is It True”, and Petula Clark’s “Downtown”.

In a 2010 interview, Page recalled contributing guitar to the incidental music of the Beatles’ 1964 film A Hard Day’s Night, which was being recorded at Abbey Road Studios.

In 1965, Page was hired by Stones manager Andrew Loog Oldham to act as house producer and A&R man for the newly formed Immediate Records label, which allowed him to play on and/or produce tracks by John Mayall, Nico, Chris Farlowe, Twice as Much and Clapton. Also in 1965, Page produced one of Dana Gillespie’s early singles, “Thank You Boy”. Page also formed a brief songwriting partnership with then romantic interest Jackie DeShannon. He composed and recorded songs for the John Williams (not to be confused with the film composer John Williams) album The Maureeny Wishful Album with Big Jim Sullivan. Page worked as session musician on Donovan Leitch’s Sunshine Superman and the Johnny Hallyday albums Jeune Homme and Je Suis Né Dans La Rue, the Al Stewart album Love Chronicles and played guitar on five tracks of Joe Cocker’s debut album, With a Little Help from My Friends. Over the years since 1970, Page played lead guitar on 10 Roy Harper tracks, comprising 81 minutes of music.

When questioned about which songs he played on, especially ones where there exists some controversy as to what his exact role was, Page often points out that it is hard to remember exactly what he did given the enormous number of sessions he was playing at the time.[ In a radio interview he explained that “I was doing three sessions a day, fifteen sessions a week. Sometimes I would be playing with a group, sometimes I could be doing film music, it could be a folk session … I was able to fit all these different roles.”

Although Page recorded with many notable musicians, many of these early tracks are only available as bootleg recordings, several of which were released by the Led Zeppelin fan club in the late 1970s. One of the rarest of these is the early jam session featuring him and Stones guitarist Keith Richards covering Robert Johnson’s “Little Queen of Spades”. Several early tracks were compiled on the twin album release, Jimmy Page: Session Man. He also recorded with Richards on guitar and vocals in Olympic Sound Studios on 15 October 1974. Along with Ric Grech on bass and Bruce Rowland on drums, a track called “Scarlet” was cut. Page reflected later in an interview with Rolling Stone’s Cameron Crowe: “I did what could possibly be the next Stones B side. It was Ric Grech, Keith and me doing a number called “Scarlet.” I can’t remember the drummer. It sounded very similar in style and mood to those Blonde on Blonde tracks. It was great, really good. We stayed up all night and went down to Island Studios where Keith put some reggae guitars over one section. I just put some solos on it, but it was eight in the morning of the next day before I did that. He took the tapes to Switzerland and someone found out about them. Keith told people that it was a track from my album”.

Page left studio work when the increasing influence of Stax Records on popular music led to the greater incorporation of brass and orchestral arrangements into recordings at the expense of guitars. He stated that his time as a session player served as extremely good schooling:

My session work was invaluable. At one point I was playing at least three sessions a day, six days a week! And I rarely ever knew in advance what I was going to be playing. But I learned things even on my worst sessions – and believe me, I played on some horrendous things. I finally called it quits after I started getting calls to do Muzak. I decided I couldn’t live that life any more; it was getting too silly. I guess it was destiny that a week after I quit doing sessions Paul Samwell-Smith left the Yardbirds and I was able to take his place. But being a session musician was good fun in the beginning – the studio discipline was great. They’d just count the song off and you couldn’t make any mistakes.

Late 1960s: The Yardbirds

In late 1964, Page was approached about the possibility of replacing Eric Clapton in the Yardbirds, but he declined out of loyalty to his friend. In February 1965, Clapton quit the Yardbirds and Page was formally offered his spot, but unwilling to give up his lucrative career as a session musician and worried about his health under touring conditions, he suggested his friend Jeff Beck. On 16 May 1966, drummer Keith Moon, bass player John Paul Jones, keyboardist Nicky Hopkins, Beck and Page recorded “Beck’s Bolero” in London’s IBC Studios. The experience gave Page an idea to form a new supergroup featuring Beck, along with The Who’s John Entwistle on bass and Moon on drums. However, the lack of a quality vocalist and contractual problems prevented the project from getting off the ground. During this time, Moon suggested the name “Lead Zeppelin” for the first time, after Entwistle commented that the proceedings would take to the air like a lead balloon.

Within weeks, Page attended a Yardbirds concert at Oxford. After the show, he went backstage where Paul Samwell-Smith announced that he was leaving the group. Page offered to replace Samwell-Smith, and this was accepted by the group. He initially played electric bass with the Yardbirds before finally switching to twin lead guitar with Beck when Chris Dreja moved to bass. The musical potential of the line-up was scuttled, however, by interpersonal conflicts caused by constant touring and a lack of commercial success, although they released one single, “Happenings Ten Years Time Ago”. While Page and Beck played together in the Yardbirds, the trio of Page, Beck and Clapton never played in the original group at the same time. The three guitarists did appear on stage together at the ARMS Charity Concerts in 1983.

After Beck’s departure, the Yardbirds remained a quartet. They recorded one album with Page on lead guitar, Little Games. The album received indifferent reviews and was not a commercial success, peaking at number 80 on the Billboard 200. Though their studio sound was fairly commercial at the time, the band’s live performances were just the opposite, becoming heavier and more experimental. These concerts featured musical aspects that Page would later perfect with Led Zeppelin, most notably performances of “Dazed and Confused”.

After the departure of Keith Relf and Jim McCarty in 1968, Page reconfigured the group with a new line-up to fulfil unfinished tour dates in Scandinavia. To this end, Page recruited vocalist Robert Plant and drummer John Bonham, and he was also contacted by John Paul Jones, who asked to join. During the Scandinavian tour, the new group appeared as the New Yardbirds, but soon recalled the old joke by Keith Moon and John Entwistle. Page stuck with that name to use for his new band. Peter Grant changed it to “Led Zeppelin”, to avoid a mispronunciation as “Leed Zeppelin.”

1968–1980: Led Zeppelin

Led Zeppelin are one of the best-selling music groups in the history of audio recording. Various sources estimate the group’s worldwide sales at more than 200 or even 300 million albums. With 111.5 million RIAA-certified units, they are the second-best-selling band in the United States. Each of their nine studio albums reached the top 10 of the US Billboard album chart, and six reached the number-one spot.

Led Zeppelin were the progenitors of heavy metal and hard rock, and their sound was largely the product of Page’s input as a producer and musician. The band’s individualistic style drew from a wide variety of influences. They performed on multiple record-breaking concert tours, which also earned them a reputation for excess. Although they remained commercially and critically successful, in the later 1970s, the band’s output and touring schedule were limited by the personal difficulties of the members.

Page explained that he had a very specific idea in mind as to what he wanted Led Zeppelin to be, from the very beginning:

I had a lot of ideas from my days with the Yardbirds. The Yardbirds allowed me to improvise a lot in live performance and I started building a textbook of ideas that I eventually used in Zeppelin. In addition to those ideas, I wanted to add acoustic textures. Ultimately, I wanted Zeppelin to be a marriage of blues, hard rock and acoustic music topped with heavy choruses – a combination that had never been done before. Lots of light and shade in the music.

Post-Led Zeppelin career

Led Zeppelin broke up in 1980 following the death of Bonham at Page’s home. Page initially refused to touch a guitar, grieving for his friend. For the rest of the 1980s, his work consisted of a series of short-term collaborations in the bands the Firm, the Honeydrippers, reunions and individual work, including film soundtracks. He also became active in philanthropic work.

1980s

Page made a return to the stage at a Jeff Beck show in March 1981 at the Hammersmith Odeon. Also in 1981, Page joined with Yes bassist Chris Squire and drummer Alan White to form a supergroup called XYZ (for former Yes-Zeppelin). They rehearsed several times, but the project was shelved. Bootlegs of these sessions revealed that some of the material emerged on later projects, notably The Firm’s “Fortune Hunter” and Yes songs “Mind Drive” and “Can You Imagine?”. Page joined Yes on stage in 1984 at Westfalenhalle in Dortmund, Germany, playing “I’m Down”.

In 1982, Page collaborated with director Michael Winner to record the Death Wish II soundtrack. This and several subsequent Page recordings, including the Death Wish III soundtrack, were recorded and produced at his recording studio, The Sol in Cookham, which he had purchased from Gus Dudgeon in the early 1980s.

In 1983, Page appeared with the A.R.M.S. (Action Research for Multiple Sclerosis) charity series of concerts which honoured Small Faces bassist Ronnie Lane, who suffered from the disease. For the first shows at the Royal Albert Hall in London, Page’s set consisted of songs from the Death Wish II soundtrack (with Steve Winwood on vocals) and an instrumental version of “Stairway to Heaven”. A four-city tour of the United States followed, with Paul Rodgers of Bad Company replacing Winwood. During the tour, Page and Rodgers performed “Midnight Moonlight”, which would later appear on The Firm’s first album. All of the shows featured an on stage jam of “Layla” that reunited Page with Beck and Clapton. According to the book Hammer of the Gods, it was reportedly around this time that Page told friends that he had just ended seven years of heroin use. On 13 December 1983, Page joined Plant on stage for one encore at the Hammersmith Odeon in London.

Page next linked up with Roy Harper for the 1984 album Whatever Happened to Jugula? and occasional concerts, performing a predominantly acoustic set at folk festivals under various guises such as the MacGregors and Themselves. Also in 1984, Page recorded with Plant as the Honeydrippers the album The Honeydrippers: Volume 1 and with John Paul Jones on the film soundtrack Scream for Help.

Page subsequently collaborated with Rodgers on two albums under the name The Firm. The first album, released in 1985, was the self-titled The Firm. Popular songs included “Radioactive” and “Satisfaction Guaranteed”. The album peaked at number 17 on the Billboard pop albums chart and went gold in the US. It was followed by Mean Business in 1986. The band toured in support of both albums, but soon split up.

Various other projects followed, such as session work for Graham Nash, Stephen Stills and the Rolling Stones (on their 1986 single “One Hit (To the Body)”). In 1986, Page reunited temporarily with his former Yardbirds bandmates to play on several tracks of the Box of Frogs album Strange Land.Page released a solo album entitled Outrider in 1988, which featured contributions from Plant, with Page contributing in turn to Plant’s solo album Now and Zen, which was released the same year. Outrider also featured singer John Miles on the album’s opening track “Wasting My Time”.

Throughout these years, Page also reunited with the other former bandmates of Led Zeppelin to perform live on a few occasions, most notably in 1985 for the Live Aid concert with both Phil Collins and Tony Thompson filling drum duties. However, the band members considered this performance to be sub-standard, with Page having been let down by a poorly tuned Les Paul. Page, Plant and Jones, as well as John Bonham’s son Jason, performed at the Atlantic Records 40th Anniversary show on 14 May 1988, closing the 12-hour show.

1990s

In 1990, a Knebworth concert to aid the Nordoff-Robbins Music Therapy Centre and the British School for Performing Arts and Technology saw Plant unexpectedly joined by Page to perform “Misty Mountain Hop”, “Wearing and Tearing” and “Rock and Roll”. The same year, Page appeared with Aerosmith at the Monsters of Rock festival. Page also performed with the band’s former members at Jason Bonham’s wedding. Page also embarked on a collaboration with David Coverdale in 1993 entitled Coverdale Page.

In 1994, Page reunited with Plant for the penultimate performance in MTV’s “Unplugged” series. The 90-minute special, dubbed Unledded, premiered to the highest ratings in MTV’s history. In October of the same year, the session was released as the CD No Quarter: Jimmy Page and Robert Plant Unledded and in 2004 as the DVD No Quarter Unledded. Following a highly successful mid-1990s tour to support No Quarter, Page and Plant recorded 1998’s Walking into Clarksdale, along with drummer Michael Lee.

Page was heavily involved in remastering the Led Zeppelin catalogue. He participated in various charity concerts and charity work, particularly the Action for Brazil’s Children Trust (ABC Trust), founded by his wife Jimena Gomez-Paratcha in 1998. In the same year, Page played guitar for rap singer/producer Puff Daddy’s song “Come with Me”, which heavily samples Led Zeppelin’s “Kashmir” and was included in the soundtrack of Godzilla. The two later performed the song on Saturday Night Live.

In October 1999, Page teamed up with The Black Crowes for a two-night performance of material from the Led Zeppelin catalogue and old blues and rock standards. The concert was recorded and released as a double live album, Live at the Greek in 2000. In 2001, he made an appearance on stage with Limp Bizkit frontman Fred Durst and Wes Scantlin of Puddle of Mudd at the MTV Europe Video Music Awards in Frankfurt, where they performed a version of Led Zeppelin’s “Thank You”.

2000s

In 2005, Page was appointed Officer of the Order of the British Empire (OBE) in recognition of his Brazilian charity work for Task Brazil and Action For Brazil’s Children’s Trust,[51] made an honorary citizen of Rio de Janeiro later that year and was awarded a Grammy Award.

In November 2006, Led Zeppelin was inducted into the UK Music Hall of Fame. The television broadcasting of the event consisted of an introduction to the band by various famous admirers (including Roger Taylor, Slash, Joe Perry, Steven Tyler, Jack White and Tony Iommi), an award presentation to Page and a short speech by him. After this, rock group Wolfmother played a tribute to Led Zeppelin. During an interview for the BBC in connection with the induction, Page expressed plans to record new material in 2007, saying: “It’s an album that I really need to get out of my system … there’s a good album in there and it’s ready to come out” and “Also there will be some Zeppelin things on the horizon.”

On 10 December 2007, the surviving members of Led Zeppelin, as well as John Bonham’s son, Jason Bonham played a charity concert at the O2 Arena London. According to Guinness World Records 2009, Led Zeppelin set the world record for the “Highest Demand for Tickets for One Music Concert” as 20 million requests for the reunion show were rendered online. On 7 June 2008, Page and John Paul Jones appeared with the Foo Fighters to close the band’s concert at Wembley Stadium, performing “Rock and Roll” and “Ramble On”. For the 2008 Summer Olympics, Page, David Beckham and Leona Lewis represented Britain during the closing ceremonies on 24 August 2008. Beckham rode a double-decker bus into the stadium, and Page and Lewis performed “Whole Lotta Love”.

In 2008, Page co-produced a documentary film directed by Davis Guggenheim entitled It Might Get Loud. The film examines the history of the electric guitar, focusing on the careers and styles of Page, The Edge and Jack White. The film premiered on 5 September 2008 at the Toronto International Film Festival. Page also participated in the three-part BBC documentary London Calling: The making of the Olympic handover ceremony on 4 March 2009. On 4 April 2009, Page inducted Jeff Beck into the Rock and Roll Hall of Fame. Page announced his 2010 solo tour while talking to Sky News on 16 December 2009.

2010s

In January 2010, Page announced an autobiography published by Genesis Publications, in a hand-crafted, limited edition of 2,150 copies. Page was honoured with a first-ever Global Peace Award by the United Nations’ Pathways to Peace organisation after confirming reports that he would be among the headliners at a planned Show of Peace Concert in Beijing, on 10 October 2010.

On 3 June 2011, Page played with Donovan at the Royal Albert Hall in London. The concert was filmed. Page made an unannounced appearance with The Black Crowes at the Shepherd’s Bush Empire in London on 13 July 2011. He also played alongside Roy Harper at Harper’s 70th-birthday celebratory concert, in London’s Royal Festival Hall on 5 November 2011.

In November 2011, British Conservative MP Louise Mensch launched a campaign to have Page knighted for his contributions to the music industry. In December 2012, Page, along with Plant and Jones, received the annual Kennedy Center Honors  from President Barack Obama in a White House ceremony. The honour is the U.S.’s highest award for those who have influenced American culture through the arts. In February 2013, Plant hinted that he was open to a Led Zeppelin reunion in 2014, stating that he is not the reason for the band’s dormancy, saying “Jimmy Page and John Paul Jones are quite contained in their own worlds and leave it to [him]”, adding that he is “not the bad guy” and that he has “got nothing to do in 2014.”

On 10 May 2014, Page was presented an Honorary Doctorate Degree at the Berklee College of Music commencement ceremony in Boston, Massachusetts.[ In a spring 2014 interview with the BBC about the then forthcoming reissue of Led Zeppelin’s first three albums, Page said he was confident fans would be keen on another reunion show, but Plant later replied that “the chances of it happening [were] zero.” Page then told The New York Times that he was “fed up” with Plant’s refusal to play, stating “I was told last year that Robert Plant said he is doing nothing in 2014, and what do the other two guys think? Well, he knows what the other guys think. Everyone would love to play more concerts for the band. He’s just playing games, and I’m fed up with it, to be honest with you. I don’t sing, so I can’t do much about it”, adding, “I definitely want to play live. Because, you know, I’ve still got a twinkle in my eye. I can still play. So, yeah, I’ll just get myself into musical shape, just concentrating on the guitar.”

On 30 July 2014, an NME article revealed that Plant was “slightly disappointed and baffled” by Page in ongoing Led Zeppelin dispute during which Page declared he was “fed up” with Plant delaying Led Zeppelin reunion plans. Instead, Plant offered Led Zeppelin’s guitarist to write acoustically with him as he is interested in working with Page again but only in an unplugged way.

On 30 September 2014, Page – who hasn’t toured as a solo act since 1988 – announced that he would start a new band and perform material spanning his entire career. He spoke about his prospects for hitting the road, saying: “I haven’t put [musicians] together yet but I’m going to do that next year [i.e. 2015]. If I went out to play, I would play material that spanned everything from my recording career right back to my very, very early days with The Yardbirds. There would certainly be some new material in there as well …”.

On 30 December 2015, Page was featured in the two-hour long BBC Radio 2 programme Johnny Walker Meets, in conversation with DJ Johnny Walker.  In October 2017, Page spoke at the Oxford Union about his career in music.

Legacy

Page is widely considered, by both musical peers and guitarists, one of the greatest and most influential guitarists. His experiences in the studio and with the Yardbirds were key to the success of Led Zeppelin in the 1970s. As a record producer, songwriter and guitarist, he helped make Zeppelin a prototype for countless future rock bands and was one of the major driving forces behind the rock sound of that era, influencing a host of other guitarists.

Guitarists influenced by Page include Eddie Van Halen, Ace Frehley, Joe Satriani, John Frusciante, James Hetfield, Kirk Hammett, Zakk Wylde, Yngwie Malmsteen, Joe Perry, Richie Sambora, Angus Young, Slash, Dave Mustaine, Mike McCready, Jerry Cantrell, Stone Gossard, Mick Mars, Paul Stanley, Alex Lifeson, Steve Vai, Dan Hawkins, and Char, among others. Queen’s Brian May told Guitarist in 2004: “I don’t think anyone has epitomised riff writing better than Jimmy Page—he’s one of the great brains of rock music.”

Equipment

Guitars

For the recording of most of Led Zeppelin material from Led Zeppelin’s second album onwards, Page used a Gibson Les Paul guitar (sold to him by Joe Walsh) with Marshall amplification. A Harmony Sovereign H-1260 was used in-studio on Led Zeppelin III and Led Zeppelin IV and on-stage from 5 March 1971 to 28 June 1972. During the studio sessions for Led Zeppelin and later for recording the guitar solo in “Stairway to Heaven”, he used a Fender Telecaster (a gift from Jeff Beck). He also used a Danelectro 3021, tuned to DADGAD, most notably on live performances of “Kashmir”.

Page also plays his guitar with a cello bow, as on the live versions of the songs “Dazed and Confused” and “How Many More Times”. This was a technique he developed during his session days. On MTV’s Led Zeppelin Rockumentary, Page said that he obtained the idea of playing the guitar with a bow from David McCallum, Sr. who was also a session musician. Page used his Fender Telecaster and later his Gibson Les Paul for his bow solos.

Notable guitars

6-string electric guitars

 

  • 1959 Fender Telecaster (The Dragon). Given to Page by Jeff Beck and repainted with a psychedelic dragon design by Page. Played with the Yardbirds. Used to record the first Led Zeppelin album and used on the early tours during 1968–69. In 1971, it was used for recording the “Stairway to Heaven” solo. It was later disassembled and parts used in other guitars.
  • 1959 Gibson Les Paul Standard (No. 1). Sold to Page by Joe Walsh for $500. This guitar was also used by Gibson as the model for the company’s second run of Page signature models in 2004. Produced by Gibson and aged by luthier Tom Murphy, this second generation of Page tribute models was limited to 25 guitars signed by Page himself; and only 150 guitars in total for the aged model issue.
  • 1959 Gibson Les Paul Standard (No. 2) with a shaved-down neck to match the profile on his No. 1. He added four push/pull pots to coil split the humbuckers as well as phase and series switches which were added under the pick guard after the break-up of Led Zeppelin. Used primarily as an alternate-tuning guitar (DADGAD) and as a back-up for his No. 1 guitar.
  • 1969 Gibson Les Paul DeLuxe (No. 3). Seen in The Song Remains the Same during the theremin/solo section of “Whole Lotta Love” and for “Kashmir” at the O2 reunion concert. In 1985, the guitar was fitted with a Parsons-White B-string bender and used extensively by Page from the mid-to-late 1980s onward, including the Outrider tour and the Page/Plant “Unledded” special on MTV.
  • 1969 Gibson Les Paul Deluxe. Used only for “Over the Hills and Far Away” during the 1977 North American tour. Slightly different than the Les Paul Deluxe (No. 3) due to its smaller headstock and thin cutaway binding. Refinished in a solid brick-red paint.
  • 1991 Gibson Les Paul Custom Shop. English luthier Roger Giffin built a guitar for Page-based loosely on Page’s No. 2. Giffin’s work was later copied for Gibson’s original run of Jimmy Page Signature model Les Pauls in the mid-1990s.
  • 1961 Danelectro 3021. Tuned to DADGAD and used live for “White Summer”, “Black Mountain Side”, “Kashmir” and “Midnight Moonlight” with The Firm. Also tuned to open G live for “In My Time of Dying”.
  • 1958 Danelectro 3021. Tuned to open G and used on the Outrider tour. This one has a smaller pickguard, as opposed to the large “seal” pickguard on his 1961 Danelectro.
  • 1960 Black Gibson Les Paul Custom (with Bigsby tremolo) – stolen in 1970. Page ran an ad requesting the return of this highly modified instrument but the guitar was not recovered until 2015–2016. In 2008 the Gibson Custom Shop produced a limited run of 25 re-creations of the guitar, each with a Bigsby tremolo and a new custom six-way toggle switch.
  • 1953 Botswana Brown Fender Telecaster featuring a Parsons and White B-string bender, originally with a maple neck, and later refitted with the rosewood neck originally from the “Dragon Telecaster”. Seen primarily during the 1980s since it was one of his main guitars on stage during The Firm and Outrider era. Also used on the Led Zeppelin’s 1977 North American concert tour and at Knebworth in 1979, notably on “Ten Years Gone” and “Hot Dog“.
  • 1964 Lake Placid Blue Fender Stratocaster. Used during recording sessions for In Through the Out Door, at Earls Court in 1975, Knebworth in 1979 and the Tour Over Europe 1980 for In the Evening.
  • 1966 Cream Fender Telecaster (used on Physical Graffiti and on “All My Love” during the Tour Over Europe in 1980).
12-string electric guitars
  • 1967 black Vox Phantom 12-string used during the recording for the Yardbirds album Little Games and for onstage appearances. This was also the electric twelve string guitar used to record “Travelling Riverside Blues” on the BBC Sessions and it was used to record “Thank You” and “Living Loving Maid (She’s Just A Woman)” on Led Zeppelin II.
  • 1965 Fender Electric XII (12-String) used to record “When the Levee Breaks“, “Stairway to Heaven” and “The Song Remains The Same”.
Acoustic guitars
  • 1963 Gibson J-200, used to record acoustic parts for Led Zeppelin I.
  • 1972 Martin D-28, used to record acoustic songs after Led Zeppelin IV, used live at Earls Court in 1975
  • Harmony Sovereign H-1260 (year unknown), used on Led Zeppelin III, for the acoustic intro to “Stairway to Heaven”, and in live shows from 1970-1972.
  • 1970 Giannini Craviola twelve-string acoustic used in recording “Tangerine” and in live performances of the same.
Multi-neck guitars

Strings

  • Ernie Ball Super Slinky electric guitar strings .009s-.042s

Signature models

Gibson released a Jimmy Page Signature Les Paul, discontinued in 1999, then released another version in 2004, which was also discontinued. The 2004 version included 25 guitars signed by Page, 150 aged by Tom Murphy (an acknowledged ageing “master”) and 840 “unlimited” production guitars. The Jimmy Page Signature EDS-1275 has been produced by Gibson. Recently, Gibson reproduced Page’s 1960 Les Paul Black Beauty, the one stolen from him in 1970, with modern modifications. This guitar was sold in 2008 with a run of 25, again signed by Page, plus an additional 500 unsigned guitars.

In December 2009, Gibson released the ‘Jimmy Page “Number Two” Les Paul’. This is a re-creation of Page’s famous “Number Two” Les Paul used by him since about 1974. The model includes the same pick-up switching setup as devised by Page, shaved-down neck profile, Burstbucker pick-up at neck and “Pagebucker” at the bridge. A total of 325 were made in three finishes: 25 Aged by Gibson’s Tom Murphy, signed and played by Page ($26,000), 100 aged ($16,000) and 200 with VOS finish ($12,000).

Amplifiers and effects

Page usually recorded in studio with a*sorted amplifiers by Vox, Axis, Fender and Orange amplification. Live, he used Hiwatt and Marshall amplification. The first Led Zeppelin album was played on a Fender Telecaster through a Supro amplifier.

Page used a limited number of effects, including a Maestro Echoplex,[113][114][115] a Dunlop Cry Baby, an MXR Phase 90, a Vox Cry Baby Wah, a Boss CE-2 Chorus, a Yamaha CH-10Mk II Chorus, a Sola Sound Tone Bender Professional Mk II, an MXR Blue Box (distortion/octaver) and a DigiTech Whammy. Page also played a theremin.

Music production techniques

Page is credited for the innovations in sound recording he brought to the studio during the years he was a member of Led Zeppelin, many of which he had initially developed as a session musician:

This apprenticeship … became a part of [learning] how things were recorded. I started to learn microphone placements and things like that, what did and what didn’t work. I certainly knew what did and didn’t work with drummers because they put drummers in these little sound booths that had no sound deflection at all and the drums would just sound awful. The reality of it is the drum is a musical instrument, it relies on having a bright room and a live room … And so bit by bit I was learning really how not to record.

He developed a reputation for employing effects in new ways and trying out different methods of using microphones and amplification. During the late 1960s, most British music producers placed microphones directly in front of amplifiers and drums, resulting in the sometimes “tinny” sound of the recordings of the era. Page commented to Guitar World magazine that he felt the drum sounds of the day in particular “sounded like cardboard boxes.”[116] Instead, Page was a fan of 1950s recording techniques, Sun Studio being a particular favourite. In the same Guitar World interview, Page remarked: “Recording used to be a science” and “[engineers] used to have a maxim: distance equals depth.” Taking this maxim to heart, Page developed the idea of placing an additional microphone some distance from the amplifier (as much as twenty feet) and then recording the balance between the two. By adopting this technique, Page became one of the first British producers to record a band’s “ambient sound” – the distance of a note’s time-lag from one end of the room to the other.

For the recording of several Led Zeppelin tracks, such as “Whole Lotta Love” and “You Shook Me“, Page additionally utilised “reverse echo” – a technique which he claims to have invented himself while with the Yardbirds (he had originally developed the method when recording the 1967 single “Ten Little Indians“).[116] This production technique involved hearing the echo before the main sound instead of after it, achieved by turning the tape over and employing the echo on a spare track, then turning the tape back over again to get the echo preceding the signal.

Page has stated that, as producer, he deliberately changed the audio engineers on Led Zeppelin albums, from Glyn Johns for the first album, to Eddie Kramer for Led Zeppelin II, to Andy Johns for Led Zeppelin III and later albums. He explained: “I consciously kept changing engineers because I didn’t want people to think that they were responsible for our sound. I wanted people to know it was me.”

John Paul Jones acknowledged that Page’s production techniques were a key component of the success of Led Zeppelin:

The backwards echo stuff [and] a lot of the microphone techniques were just inspired. Using distance-miking … and small amplifiers. Everybody thinks we go in the studio with huge walls of amplifiers, but Page doesn’t. He uses a really small amplifier and he just mikes it up really well, so that it fits into a sonic picture.

In an interview that Page himself gave to Guitar World magazine in 1993, he remarked on his work as a producer:

Many people think of me as just a riff guitarist, but I think of myself in broader terms … As a record producer I would like to be remembered as someone who was able to sustain a band of unquestionable individual talent and push it to the forefront during its working career. I think I really captured the best of our output, growth, change and maturity on tape – the multifaceted gem that is Led Zeppelin.

Personal life

Partners

An early 1960s companion was American recording artist Jackie DeShannon, possibly the inspiration for the Page composition and Led Zeppelin recording “Tangerine”.

French model Charlotte Martin was Page’s partner from 1970 to about 1982 or 1983. Page called her “My Lady”. Together they had a daughter, Scarlet Page (born in 1971), who is a photographer.

Also during the 1970s, Page had a well-documented, several-year-long relationship with “baby groupie” Lori Mattix (also known as Lori Maddox), beginning when she was 13 or 14 and while he was an adult in his twenties. In light of the Me Too movement four decades later, this attracted renewed attention as statutory rape.

From 1986 to 1995, Page was married to Patricia Ecker, a model and waitress. They have a son, James Patrick Page (born April 1988). Page later married Jimena Gómez-Paratcha, whom he met in Brazil on the No Quarter tour. He adopted her oldest daughter Jana (born 1994) and they have two children together: Zofia Jade (born 1997) and Ashen Josan (born 1999). Page and Gómez-Paratcha divorced in 2008.

Page has been in a relationship with actress and poet Scarlett Sabet since 2014.

Properties

In 1967, when Page was still with The Yardbirds, he purchased the Thames Boathouse on the River Thames in Pangbourne, Berkshire and resided there until 1973. The Boathouse was also the place where Page and Plant first officially got together in the summer of 1968 and Led Zeppelin was formed.

In 1972, Page bought the Tower House from Richard Harris. It was the home that William Burges (1827–81) had designed for himself in London. “I had an interest going back to my teens in the pre-Raphaelite movement and the architecture of Burges”, Page said. “What a wonderful world to discover.” The reputation of Burges rests on his extravagant designs and his contribution to the Gothic revival in architecture in the nineteenth century.[130]

From 1980 to 2004 Page owned the Mill House, Mill Lane, Windsor, which was formerly the home of actor Michael Caine. Fellow Led Zeppelin band member John Bonham died at the house in 1980.

From the early 1970s to the early 1990s, Page owned the Boleskine House, the former residence of occultist Aleister Crowley.[131][132] Sections of Page’s fantasy sequence in the film The Song Remains the Same were filmed at night on the mountainside directly behind Boleskine House.

Page also previously owned Plumpton Place in Sussex, formerly owned by Edward Hudson, the owner of Country Life magazine and with certain parts of the house designed by Edwin Lutyens. This house features in the Zeppelin film The Song Remains The Same where Page is seen sitting on the lawn playing a hurdy-gurdy.

He currently resides in Sonning, Berkshire in Deanery Garden, a house also designed by Edwin Lutyens for Edward Hudson.

Recreational drug use

Page has acknowledged heavy recreational drug use throughout the 1970s. In an interview with Guitar World magazine in 2003, he stated: “I can’t speak for the [other members of the band], but for me drugs were an integral part of the whole thing, right from the beginning, right to the end.” After the band’s 1973 North American tour, Page told Nick Kent: “Oh, everyone went over the top a few times. I know I did and, to be honest with you, I don’t really remember much of what happened.”

In 1975, Page began to use heroin, according Richard Cole. Cole claims that he and Page took the drug during the recording sessions of the album Presence, and Page admitted shortly afterwards that he was addicted to the drug.

By Led Zeppelin’s 1977 North American tour, Page’s heroin addiction was beginning to hamper his guitar playing performances. By this time the guitarist had lost a noticeable amount of weight. His onstage appearance was not the only obvious change; his addiction caused Page to become so inward and isolated it altered the dynamics between him and Plant considerably. During the recording sessions for In Through the Out Door in 1978, Page’s diminished influence on the album (relative to bassist John Paul Jones) is partly attributed to his heroin addiction, which resulted in his absence from the studio for long periods of time.

Page reportedly overcame his heroin habit in the early 1980s, although he was arrested for possession of cocaine in both 1982 and 1984.[140][141][142] He was given a 12-month conditional discharge in 1982 and, despite a second offence usually carrying a jail sentence, he was only fined.

In a 1988 interview with Musician magazine, Page took offence when the interviewer noted that heroin had been a*sociated with his name and insisted: “Do I look as if I’m a smack addict? Well, I’m not. Thank you very much.”

In an interview he gave to Q magazine in 2003, Page responded to a question as to whether he regrets getting so involved in heroin and cocaine:

I don’t regret it at all because when I needed to be really focused, I was really focused. That’s it. Both Presence and In Through the Out Door were only recorded in three weeks: that’s really going some. You’ve got to be on top of it.

Interest in the occult

Page’s interest in the occult started as a schoolboy at the age of fifteen, when he read English occultist’s Aleister Crowley’s Magick in Theory and Practice. He later said that following this discovery, he thought: “Yes, that’s it. My thing: I’ve found it.”

The appearance of four symbols on the jacket of Led Zeppelin’s fourth album has been linked to Page’s interest in the occult.[145] The four symbols represented each member of the band. Page’s own so-called “Zoso” symbol originated in Ars Magica Arteficii (1557) by Gerolamo Cardano, an old alchemical grimoire, where it has been identified as a sigil consisting of zodiac signs. The sigil is reproduced in Dictionary of Occult, Hermetic and Alchemical Sigils by Fred Gettings.

During tours and performances after the release of the fourth album, Page often had the “Zoso” symbol embroidered on his clothes, along with zodiac symbols. These were visible most notably on his “Dragon Suit”, which included the signs for Capricorn, Scorpio and Cancer which are Page’s Sun, Ascendant and Moon signs, respectively. The “Zoso” symbol also appeared on Page’s amplifiers.

The artwork inside the album cover of Led Zeppelin IV is from a painting attributed to the artist Barrington Colby, influenced by the traditional Rider/Waite Tarot card design for the card called “The Hermit”. Very little is known about Colby and rumours have persisted down the years that Page himself is responsible for the painting. Page transforms into this character during his fantasy sequence in Led Zeppelin’s concert film The Song Remains the Same.

In the early 1970s Page owned an occult bookshop and publishing house, The Equinox Booksellers and Publishers, at 4 Holland Street in Kensington, London, named after Crowley’s biannual magazine, The Equinox. The design of the interior incorporated Egyptian and Art Deco motifs, with Crowley’s birth chart affixed to a wall. Page’s reasons for setting up the bookshop were straightforward:

There was not one bookshop in London with a good collection of occult books and I was so pissed off at not being able to get the books I wanted.

The company published two books: a facsimile of Crowley’s 1904 edition of The Goetiaand Astrology, A Cosmic Science by Isabel Hickey. The lease eventually expired on the premises and was not renewed. As Page said: “It obviously wasn’t going to run the way it should without some drastic business changes, and I didn’t really want to have to agree to all that. I basically just wanted the shop to be the nucleus, that’s all.”

Page has maintained a strong interest in Crowley for many years. In 1978, he explained:

I feel Aleister Crowley is a misunderstood genius of the 20th century. It is because his whole thing was liberation of the person, of the entity and that restrictions would foul you up, lead to frustration which leads to violence, crime, mental breakdown, depending on what sort of makeup you have underneath. The further this age we’re in now gets into technology and alienation, a lot of the points he’s made seem to manifest themselves all down the line. … I’m not saying it’s a system for anybody to follow. I don’t agree with everything but I find a lot of it relevant and it’s those things that people attacked him on, so he was misunderstood. … I’m not trying to interest anyone in Aleister Crowley any more than I am in Charles Dickens. All it was, was that at a particular time he was expounding a theory of self-liberation, which is something which is so important. He was like an eye to the world, into the forthcoming situation. My studies have been quite intensive, but I don’t particularly want to go into it because it’s a personal thing and isn’t in relation to anything apart from the fact that I’ve employed his system in my own day to day life. … The thing is to come to terms with one’s free will, discover one’s place and what one is, and from that you can go ahead and do it and not spend your whole life suppressed and frustrated. It’s very basically coming to terms with yourself.

Page was commissioned to write the soundtrack music for the film Lucifer Rising by Crowley admirer and underground movie director Kenneth Anger. Page ultimately produced 23 minutes of music, which Anger felt was insufficient because the film ran for 28 minutes and Anger wanted the film to have a full soundtrack. Anger claimed Page took three years to deliver the music and the final product was only 23 minutes of “droning”. The director also slammed the guitarist in the press by calling him a “dabbler” in the occult and an addict and being too strung out on drugs to complete the project. Page countered that he had fulfilled all his obligations, even going so far as to lend Anger his own film editing equipment to help him finish the project. Page released the Lucifer Rising music on vinyl in 2012 via his website on “Lucifer Rising and other sound tracks”. Side one contained “Lucifer Rising – Main Track”, whilst side two contained the tracks “Incubus”, “Damask”, “Unharmonics”, “Damask – Ambient”, and “Lucifer Rising – Percussive Return”. In the December 2012 Rolling Stone cover story “Jimmy Page Looks Back”, Page said: “… there was a request, suggesting that Lucifer Rising should come out again with my music on. I ignored it.”

Although Page collected works by Crowley, he has never described himself as a Thelemite nor was he ever initiated into the OTO. The Equinox Bookstore and Boleskine House were both sold off during the 1980s, as Page settled into family life and participated in charity work.

Discography

Early in his career, Page played on a number of recordings by British rock and pop artists as a session guitarist. As a member of the Yardbirds, he recorded Little Games (1967) (expanded in 1992 as Little Games Sessions & More), Live Yardbirds! Featuring Jimmy Page (1971), and Cumular Limit (2000). Beginning in 1968, he recorded nine albums with Led Zeppelin (see Led Zeppelin discography for the complete list). After Zeppelin, Page has recorded in several different settings. One of the first is the soundtrack album Death Wish II (1982). As a member of the Firm, he recorded The Firm (1985) and Mean Business (1986). Collaborations followed, including Whatever Happened to Jugula? (1985) with Roy Harper, Coverdale•Page (1993), Walking into Clarksdale (1998) with Robert Plant, and Live at the Greek (2000) with the Black Crowes. His only solo album, Outrider, was released in 1988. As a guest performer, he has contributed to several albums and singles.

Lyrics


Jim Morrison

Key: C

Genre: Blues

Harp Type: Chromatic

Skill: Any

James Douglas Morrison (December 8, 1943 – July 3, 1971) was an American singer, songwriter and poet, who served as the lead vocalist of the rock band The Doors. Due to his wild personality, poetic lyrics, his widely recognized voice, unpredictable and erratic performances, and the dramatic circumstances surrounding his life and early death, Morrison is regarded by music critics and fans as one of the most iconic and influential frontmen in rock history. Since his death, his fame has endured as one of popular culture’s most rebellious and oft-displayed icons, representing the generation gap and youth counterculture.

Together with Ray Manzarek, Morrison co-founded the Doors during the summer of 1965 in Venice, California. The band spent two years in obscurity until shooting to prominence with their number-one single in the United States, “Light My Fire”, taken from their self-titled debut album. Morrison wrote or co-wrote many of the Doors’ songs, including “Light My Fire”, “Break On Through (To the Other Side)”, “The End”, “Moonlight Drive”, “Wild Child”, “The Soft Parade”, “People Are Strange”, “Hello, I Love You”, “Roadhouse Blues”, “L.A. Woman”, and “Riders on the Storm”. He recorded a total of six studio albums with the Doors, all of which sold well and received critical acclaim. Morrison was well known for improvising spoken word poetry passages while the band played live. Manzarek said Morrison “embodied hippie counterculture rebellion”.

Morrison developed an alcohol dependency during the 1960s, which at times affected his performances on stage. He died unexpectedly at the age of 27 in Paris, among conflicting witness and alleged witness reports. As no autopsy was performed, the cause of Morrison’s death remains disputed.[ Though the Doors recorded two more albums after Morrison died, his death severely affected the band’s fortunes, and they split up in 1973. In 1993, Morrison was inducted into the Rock and Roll Hall of Fame as a member of the Doors. In 2008, he was ranked 47th in Rolling Stone magazine’s list “The 100 Greatest Singers of All Time”.

Biography

1943–1961: Early years

Morrison was born in late 1943 in Melbourne, Florida, to Clara Virginia (née Clarke) and Lt.(j.g.) George Stephen Morrison, a future rear admiral in the U.S. Navy. His ancestors were Scottish, Irish, and English.[ Admiral Morrison commanded U.S. naval forces during the Gulf of Tonkin incident in August 1964, which provided the pretext for the U.S. involvement in the Vietnam War in 1965. Morrison had a younger sister, Anne Robin (born 1947 in Albuquerque, New Mexico), and a younger brother, Andrew Lee Morrison (born 1948 in Los Altos, California).

In 1947, when he was three to four years old, Morrison allegedly witnessed a car accident in the desert, during which a truck overturned and some Native Americans were lying injured at the side of the road. He referred to this incident in the Doors’ song “Peace Frog” on their 1970 album Morrison Hotel, as well as in the spoken word performances “Dawn’s Highway” and “Ghost Song” on the posthumous 1978 album An American Prayer. Morrison believed this incident to be the most formative event of his life, and made repeated references to it in the imagery in his songs, poems, and interviews.

His family does not recall this traffic incident happening in the way he told it. According to the Morrison biography No One Here Gets Out Alive, Morrison’s family did drive past a car accident on an Indian reservation when he was a child, and he was very upset by it. The book The Doors, written by the surviving members of the Doors, explains how different Morrison’s account of the incident was from that of his father. This book quotes his father as saying, “We went by several Indians. It did make an impression on him [the young James]. He always thought about that crying Indian.” This is contrasted sharply with Morrison’s tale of “Indians scattered all over the highway, bleeding to death.” In the same book, his sister is quoted as saying, “He enjoyed telling that story and exaggerating it. He said he saw a dead Indian by the side of the road, and I don’t even know if that’s true.”

Raised a military brat, Morrison spent part of his childhood in San Diego, completed third grade in northern Virginia at Fairfax County Elementary School, and attended Charles H. Flato Elementary School in Kingsville, Texas, while his father was stationed at NAS Kingsville in 1952. He continued at St. John’s Methodist School in Albuquerque, and then Longfellow School Sixth Grade Graduation Program from San Diego.

In 1957, Morrison attended Alameda High School in Alameda, California, for his freshman and first semester of his sophomore year. [self-published source] The Morrison family moved back to northern Virginia in 1959, and he graduated from George Washington High School (now a middle school) in Alexandria in June 1961.

1961–1963: Literary influences

A voracious reader from an early age, Morrison was particularly inspired by the writings of several philosophers and poets. He was influenced by Friedrich Nietzsche, whose views on aesthetics, morality, and the Apollonian and Dionysian duality would appear in his conversation, poetry and songs. Some of his formative influences were Plutarch’s Parallel Lives and the works of the French Symbolist poet Arthur Rimbaud, whose style would later influence the form of Morrison’s short prose poems. He was also influenced by William S. Burroughs, Jack Kerouac, Allen Ginsberg, Louis Ferdinand Celine, Lawrence Ferlinghetti, Charles Baudelaire, Molière, Franz Kafka, Albert Camus, Honoré de Balzac and Jean Cocteau, along with most of the French existentialist philosophers.

His senior year English teacher said, “Jim read as much and probably more than any student in class, but everything he read was so offbeat I had another teacher (who was going to the Library of Congress) check to see if the books Jim was reporting on actually existed. I suspected he was making them up, as they were English books on sixteenth- and seventeenth-century demonology. I’d never heard of them, but they existed, and I’m convinced from the paper he wrote that he read them, and the Library of Congress would’ve been the only source.”

Morrison went to live with his paternal grandparents in Clearwater, Florida, and attended St. Petersburg Junior College. In 1962, he transferred to Florida State University (FSU) in Tallahassee, and appeared in a school recruitment film.[19] While at FSU, Morrison was arrested for disturbing the peace while drunk at a home football game on September 28, 1963.

1964–1965: College experience in Los Angeles

In January 1964, Morrison moved to Los Angeles to attend the University of California, Los Angeles (UCLA). Seven months later, his father commanded a carrier division of the U.S. fleet during the Gulf of Tonkin Incident. At UCLA, Morrison enrolled in Jack Hirschman’s class on Antonin Artaud in the Comparative Literature program within the UCLA English Department. Artaud’s brand of surrealist theatre had a profound impact on Morrison’s dark poetic sensibility of cinematic theatricality.

Morrison completed his undergraduate degree at UCLA’s film school within the Theater Arts department of the College of Fine Arts in 1965. At the time of the graduation ceremony, he went to Venice Beach, and the university mailed his diploma to his mother in Coronado, California. He made several short films while attending UCLA. First Love, the first of these films, made with Morrison’s classmate and roommate Max Schwartz, was released to the public when it appeared in a documentary about the film Obscura.

During these years, while living in Venice Beach, he befriended writers at the Los Angeles Free Press, for which he advocated until his death in 1971. He conducted a lengthy and in-depth interview with Bob Chorush and Andy Kent, both working for the Free Press at the time (approximately December 6–8, 1970), and was planning on visiting the headquarters of the busy newspaper shortly before leaving for Paris.

1965–1971: The Doors

In the summer of 1965, after graduating with a bachelor’s degree from the UCLA film school, Morrison led a bohemian lifestyle in Venice Beach. Living on the rooftop of a building inhabited by his old UCLA cinematography friend, Dennis Jacobs, he wrote the lyrics of many of the early songs the Doors would later perform live and record on albums, such as “Moonlight Drive” and “Hello, I Love You”. According to Manzarek, he lived on canned beans and LSD for several months. Morrison and fellow UCLA student Ray Manzarek were the first two members of the Doors, forming the group during that summer. They had met months earlier as cinematography students. The story claims that Manzarek was lying on the beach at Venice one day, where he accidentally encountered Morrison. He was impressed with Morrison’s poetic lyrics, claiming that they were “rock group” material. Subsequently, guitarist Robby Krieger and drummer John Densmore joined. Krieger auditioned at Densmore’s recommendation and was then added to the lineup. All three musicians shared a common interest in the Maharishi Mahesh Yogi’s meditation practices at the time, attending scheduled classes, but Morrison was not involved in these series of classes.

The Doors took their name from the title of Aldous Huxley’s book The Doors of Perception (a reference to the unlocking of doors of perception through psychedelic drug use). Huxley’s own title was a quotation from William Blake’s The Marriage of Heaven and Hell, in which Blake wrote: “If the doors of perception were cleansed everything would appear to man as it is, infinite.” Although Morrison was known as the lyricist of the group, Krieger also made significant lyrical contributions, writing or co-writing some of the group’s biggest hits, including “Light My Fire”, “Love Me Two Times”, “Love Her Madly” and “Touch Me”. On the other hand, Morrison, who did not write most songs using an instrument, would come up with vocal melodies for his own lyrics, with the other band members contributing chords and rhythm. Morrison did not play an instrument live (except for maracas and tambourine for most shows, and harmonica on a few occasions) or in the studio (excluding maracas, tambourine, handclaps, and whistling). However, he did play the grand piano on “Orange County Suite” and a Moog synthesizer on “Strange Days”.

In June 1966, Morrison and the Doors were the opening act at the Whisky a Go Go in the last week of the residency of Van Morrison’s band Them. Van’s influence on Jim’s developing stage performance was later noted by Brian Hinton in his book Celtic Crossroads: The Art of Van Morrison: “Jim Morrison learned quickly from his near namesake’s stagecraft, his apparent recklessness, his air of subdued menace, the way he would improvise poetry to a rock beat, even his habit of crouching down by the bass drum during instrumental breaks.” On the final night, the two Morrisons and their two bands jammed together on “Gloria”. In November 1966, Morrison and the Doors produced a promotional film for “Break on Through (To the Other Side)”, which was their first single release. The film featured the four members of the group playing the song on a darkened set with alternating views and close-ups of the performers while Morrison lip-synched the lyrics. Morrison and the Doors continued to make short music films, including “The Unknown Soldier”, “Moonlight Drive” and “People Are Strange”.

The Doors achieved national recognition after signing with Elektra Records in 1967. The single “Light My Fire” spent three weeks at number one on the Billboard Hot 100 chart in July/August 1967. This was a far cry from the Doors opening for Simon and Garfunkel or playing at a high school as they did in Connecticut that same year. Later, the Doors appeared on The Ed Sullivan Show, a popular Sunday night variety series that had introduced the Beatles and Elvis Presley to the United States. Ed Sullivan requested two songs from the Doors for the show, “People Are Strange” and “Light My Fire”. Sullivan’s censors insisted that the Doors change the lyrics of the song “Light My Fire” from “Girl we couldn’t get much higher” to “Girl we couldn’t get much better” for the television viewers; this was reportedly due to what was perceived as a reference to drugs in the original lyrics. After giving a*surances of compliance to the producer in the dressing room, the band agreed and proceeded to sing the song with the original lyrics. Sullivan was not happy and he refused to shake hands with Morrison or any other band member after their performance. Sullivan had a show producer tell the band that they would never appear on The Ed Sullivan Show again. Morrison reportedly said to the producer, in a defiant tone, “Hey man. We just did the Sullivan Show!”

By the release of their second album, Strange Days, the Doors had become one of the most popular rock bands in the United States. Their blend of blues and dark psychedelic rock included a number of original songs and distinctive cover versions, such as their rendition of “Alabama Song”, from Bertolt Brecht and Kurt Weill’s opera, Rise and Fall of the City of Mahagonny. The band also performed a number of extended concept works, including the songs “The End”, “When the Music’s Over”, and “Celebration of the Lizard”. In 1966, photographer Joel Brodsky took a series of black-and-white photos of Morrison, in a photo shoot known as “The Young Lion” photo session. These photographs are considered among the most iconic images of Jim Morrison and are frequently used as covers for compilation albums, books, and other memorabilia of the Doors and Morrison. In late 1967 at a concert in New Haven, Connecticut, he was arrested on stage, an incident that further added to his mystique and emphasized his rebellious image. Morrison became the first rock artist to be arrested onstage during a concert performance.

In 1968, the Doors released their third studio album, Waiting for the Sun. The band performed on July 5 at the Hollywood Bowl; this performance became famous with the DVD: Live at the Hollywood Bowl. It’s also this year that the band played, for the first time, in Europe. Their fourth album, The Soft Parade, was released in 1969. It was the first album where the individual band members were given credit on the inner sleeve for the songs they had written. Previously, each song on their albums had been credited simply to “The Doors”. On September 6 and 7, 1968, the Doors played four performances at the Roundhouse, London, England with Jefferson Airplane which was filmed by Granada for a television documentary The Doors Are Open directed by John Sheppard. Around this time, Morrison—who had long been a heavy drinker—started showing up for recording sessions visibly inebriated.[ He was also frequently late for live performances.

By early 1969, the formerly svelte singer had gained weight, grown a beard and mustache, and begun dressing more casually — abandoning the leather pants and concho belts for slacks, jeans, and T-shirts. During a concert on March 1 at the Dinner Key Auditorium in Miami, Morrison attempted to spark a riot in the audience, in part by screaming “You wanna see my cock?” and other obscenities. He failed, but six warrants for his arrest were issued by the Dade County Police department three days later for indecent exposure, among other things. Consequently, many of the Doors’ scheduled concerts were canceled. After Miami, Morrison lost his desire to perform with The Doors, and even tried to quit many times. He had become tired of the rock-star life. On September 20, 1970, Morrison was convicted of indecent exposure and profanity by a six-person jury in Miami after a trial that had 16 days of testimony. Morrison, who attended the October 30 sentencing “in a wool jacket adorned with Indian designs”, silently listened as he was sentenced to six months in prison and had to pay a $500 fine. Morrison remained free on a $50,000 bond. At the sentencing, Judge Murray Goodman told Morrison that he was a “person graced with a talent” admired by many of his peers; Morrison remained free on $50,000 bond while the conviction was appealed. His death eight months later made the appeal a moot point.

On December 8, 2010—the 67th anniversary of Morrison’s birth—Florida Governor Charlie Crist and the state clemency board unanimously signed a complete posthumous pardon for Morrison. Drummer John Densmore denied Morrison ever exposed himself on stage that night.

Following The Soft Parade, the Doors released Morrison Hotel. After a lengthy break, the group reconvened in October 1970 to record their final album with Morrison, titled L.A. Woman. Shortly after the recording sessions for the album began, producer Paul A. Rothchild — who had overseen all of their previous recordings — left the project, and engineer Bruce Botnick took over as producer.

July 3, 1971: Death

After recording L.A. Woman in Los Angeles, Morrison joined Pamela Courson in Paris in March 1971, at an apartment she had rented for him at 17–19, Rue Beautreillis in Le Marais, 4th arrondissement, Paris. In letters, he described going for long walks through the city, alone. During this time, he shaved his beard and lost some of the weight he had gained in the previous months. He died on July 3, 1971, at age 27.[ He was reportedly found by Courson in the bathtub of the apartment. The official cause of death was listed as heart failure, although no autopsy was performed, as it was not required by French law. It has also been reported, by several individuals who say they were eyewitnesses, that his death was due to an accidental heroin overdose.

His death came two years to the day after the death of Rolling Stones guitarist Brian Jones and approximately nine months after the deaths of Jimi Hendrix and Janis Joplin — all of whom died at the age of 27. Three years after his death, Courson also died at the age of 27.

Personal relationships

Morrison’s early life was the semi-nomadic existence typical of military families. Jerry Hopkins recorded Morrison’s brother, Andy, explaining that his parents had determined never to use physical corporal punishment such as spanking on their children. They instead instilled discipline and levied punishment by the military tradition known as “dressing down”. This consisted of yelling at and berating the children until they were reduced to tears and acknowledged their failings. Once Morrison graduated from UCLA, he broke off most contact with his family. By the time Morrison’s music ascended to the top of the charts (in 1967) he had not been in communication with his family for more than a year and falsely claimed that his parents and siblings were dead (or claiming, as it has been widely misreported, that he was an only child).

This misinformation was published as part of the materials distributed with the Doors’ self-titled debut album. Admiral Morrison was not supportive of his son’s career choice in music. One day, an acquaintance brought over a record thought to have Jim on the cover. The record was the Doors’ self-titled debut. The young man played the record for Morrison’s father and family. Upon hearing the record, Morrison’s father wrote him a letter telling him “to give up any idea of singing or any connection with a music group because of what I consider to be a complete lack of talent in this direction.” In a letter to the Florida Probation and Parole Commission District Office dated October 2, 1970, Morrison’s father acknowledged the breakdown in family communications as the result of an argument over his a*sessment of his son’s musical talents. He said he could not blame his son for being reluctant to initiate contact and that he was proud of him.

Morrison spoke fondly of his Irish and Scottish ancestry and was inspired by Celtic mythology in his poetry and songs. Celtic Family Magazine revealed in its 2016 Spring Issue that his Morrison clan was originally from the Isle of Lewis, Scotland, while his Irish side, the Clelland clan who married into the Morrison line, were from County Down, Northern Ireland.

Relationships

Morrison was sought after by many as a photographer’s model, confidante, romantic partner and sexual conquest. Throughout his life he had at least several serious, ongoing relationships, and many casual encounters. By many accounts, he could also be inconsistent with his partners, displaying what some recall as “a dual personality”.  Doors producer Paul Rothchild recalls, “Jim really was two very distinct and different people. A Jekyll and Hyde. When he was sober, he was Jekyll, the most erudite, balanced, friendly kind of guy … He was Mr. America. When he would start to drink, he’d be okay at first, then, suddenly, he would turn into a maniac. Turn into Hyde.”

Morrison spent the majority of his adult life in an open, and at times very charged and intense, relationship with Pamela Courson. They met while both were attending college, and she encouraged him to develop his poetry. Through to the end, Courson saw Morrison as more than a rock star, as “a great poet”; she constantly encouraged him and pushed him to write. Courson attended his concerts, and focused on supporting his career. Like Morrison, she was described by many as fiery, determined and attractive, as someone who was tough despite appearing fragile. Manzarek called Pamela “Jim’s other half” and said, “I never knew another person who could so complement his bizarreness.” Courson was buried by her family as Pamela Susan Morrison, after Jim Morrison’s death, despite the two having never been married. After Courson’s death in 1974, and her parents petitioned the court for inheritance of Morrison’s estate, the probate court in California decided that she and Morrison had once had what qualified as a common-law marriage, despite neither having applied for such status, and the common-law marriage not being recognized in California. Morrison’s will at the time of his death named Courson as the sole heir.[ Morrison dedicated his published poetry books The Lords and New Creatures and the lost writings Wilderness to her. A number of writers have speculated that songs like “Love Street”, “Orange County Suite” and “Queen of the Highway”, among other songs, may have been written about her. Though the relationship was “tumultuous” much of the time, and both also had relationships with others, they always maintained a unique and ongoing connection with one another, right up until the end.

One of Morrison’s early significant relationships was with Mary Werbelow, whom he met on the beach in Florida, when they were teenagers in 1962. In a 2005 interview with the St. Petersburg Times, she said Morrison spoke to her before a photo shoot for the Doors’ fourth album and told her the first three albums were about her.

Throughout his career, Morrison had regular sexual and romantic encounters with fans (including groupies) such as Pamela Des Barres, as well as ongoing affairs with other musicians, writers and photographers involved in the music business. These included Nico, an encounter with singer Grace Slick of Jefferson Airplane while the two bands toured together, an on-again, off-again relationship with 16 Magazine’s Gloria Stavers, as well as an alleged alcohol-fueled encounter with Janis Joplin.

David Crosby said many years later Morrison treated Joplin meanly at a party at the Calabasas, California, home of John Davidson while Davidson was out of town. She reportedly hit him over the head with a bottle of whiskey in retaliation during a fight in front of witnesses. Thereafter, whenever Joplin had a conversation with someone who mentioned Morrison, Joplin referred to him as “that a*shole”, never by his first or last name.

First written about in No One Here Gets Out Alive, Break On Through, and later in her own memoir, Strange Days: My Life with and without Jim Morrison, Morrison participated in a Celtic Pagan handfasting ceremony with rock critic Patricia Kennealy. The couple signed a handwritten document, and were declared wed by a Celtic High Priestess and High Priest on Midsummer’s Night in 1970, but none of the necessary paperwork for a legal marriage was filed with the state. The couple had been friends, and then in a long-distance relationship, since meeting at a private interview for Jazz & Pop magazine in January 1969. The handfasting ceremony is described in No One Here Gets Out Alive as a “blending of souls on a karmic and cosmic plane”. Morrison was also still seeing Pamela Courson when he was in Los Angeles, and later moved to Paris for the summer where Courson had acquired an apartment. In an interview in the book Rock Wives, Kennealy says he turned “really cold” when she became pregnant, leading her to speculate that maybe he hadn’t taken the wedding as seriously as he’d led her to believe. She also notes that his coldness and distance was during the trial in Miami, and that “he was scared to death. They were really out to put him away. Jim was devastated that he wasn’t getting any public support.” As he did with so many people, Morrison could be cruel and cold and then turn warm and loving; he wrote in letters that he was planning on returning to her, to New York City, in the fall of ’71. However, Kennealy was skeptical. Morrison seemed to be falling apart. He was back with Courson in Paris, he was severely alcoholic and in poor health, and like many, Kennealy feared he was dying.

At the time of Morrison’s death, there were multiple paternity actions pending against him, although no claims were made against his estate by any of the putative paternity claimants.

Artistic influences

Although Morrison’s early education was routinely disrupted as he moved from school to school, he was drawn to the study of literature, poetry, religion, philosophy and psychology, among other fields. Biographers have consistently pointed to a number of writers and philosophers who influenced Morrison’s thinking and, perhaps, his behavior. While still in his adolescence, Morrison discovered the works of German philosopher Friedrich Nietzsche. He was also drawn to the poetry of William Blake, Charles Baudelaire, and Arthur Rimbaud. Beat Generation writers such as Jack Kerouac and libertine writers such as the Marquis de Sade also had a strong influence on Morrison’s outlook and manner of expression; Morrison was eager to experience the life described in Kerouac’s On the Road.[ He was similarly drawn to the work of French writer Louis-Ferdinand Céline.[108] Céline’s book, Voyage Au Bout de la Nuit (Journey to the End of the Night) and Blake’s Auguries of Innocence both echo through one of Morrison’s early songs, “End of the Night”.

Morrison later met and befriended Michael McClure, a well-known Beat poet. McClure had enjoyed Morrison’s lyrics but was even more impressed by his poetry and encouraged him to further develop his craft. Morrison’s vision of performance was colored by the works of 20th-century French playwright Antonin Artaud (author of Theater and its Double) and by Judith Malina and Julian Beck’s Living Theater.

Other works relating to religion, mysticism, ancient myth and symbolism were of lasting interest, particularly Joseph Campbell’s The Hero with a Thousand Faces. James Frazer’s The Golden Bough also became a source of inspiration and is reflected in the title and lyrics of the song “Not to Touch the Earth”.  Morrison was particularly attracted to the myths and religions of Native American cultures.

While he was still at school, his family moved to New Mexico where he got to see some of the places and artifacts important to the American Southwest Indigenous cultures. These interests appear to be the source of many references to creatures and places such as lizards, snakes, deserts and “ancient lakes” that appear in his songs and poetry. His interpretation and imagination of Native American ceremonies and peoples (which, based on his readings, he referred to by the anthropological term “shamans”) influenced his stage routine, notably in seeking trance states and vision through dancing to the point of exhaustion. In particular, Morrison’s poem “The Ghost Song” was inspired by his readings about the Native American Ghost Dance.

Morrison’s vocal influences included Elvis Presley and Frank Sinatra, which is evident in his baritone crooning style on several of the Doors’ songs. In the 1981 documentary The Doors: A Tribute to Jim Morrison, producer Paul Rothchild relates his first impression of Morrison as being a “Rock and Roll Bing Crosby”. Sugerman states that Morrison, as a teenager, was such a fan of Presley that he demanded silence when Elvis was on the radio. He states that Sinatra was Morrison’s favorite singer. According to record producer David Anderle, Morrison considered Brian Wilson “his favorite musician” and the Beach Boys’ 1967 LP Wild Honey “one of his favorite albums. … he really got into it.”

Wallace Fowlie, professor emeritus of French literature at Duke University, wrote Rimbaud and Jim Morrison, subtitled “The Rebel as Poet – A Memoir”. In this, he recounts his surprise at receiving a fan letter from Morrison who, in 1968, thanked him for his latest translation of Arthur Rimbaud’s verse into English. “I don’t read French easily”, he wrote, “…your book travels around with me.” Fowlie went on to give lectures on numerous campuses comparing the lives, philosophies, and poetry of Morrison and Rimbaud. The book The Doors by the remaining Doors quotes Morrison’s close friend Frank Lisciandro as saying that too many people took a remark of Morrison’s that he was interested in revolt, disorder, and chaos “to mean that he was an anarchist, a revolutionary, or, worse yet, a nihilist. Hardly anyone noticed that Jim was paraphrasing Rimbaud and the Surrealist poets”.

Poetry and film

Morrison began writing in earnest during his adolescence. At UCLA he studied the related fields of theater, film, and cinematography. He self-published two separate volumes of his poetry in 1969, titled The Lords / Notes on Vision and The New Creatures. The Lords consists primarily of brief descriptions of places, people, events and Morrison’s thoughts on cinema. The New Creatures verses are more poetic in structure, feel and appearance. These two books were later combined into a single volume titled The Lords and The New Creatures. These were the only writings published during Morrison’s lifetime. Morrison befriended Beat poet Michael McClure, who wrote the afterword for Jerry Hopkins’ biography of Morrison, No One Here Gets Out Alive. McClure and Morrison reportedly collaborated on a number of unmade film projects, including a film version of McClure’s infamous play The Beard, in which Morrison would have played Billy the Kid. After his death, a further two volumes of Morrison’s poetry were published. The contents of the books were selected and arranged by Morrison’s friend, photographer Frank Lisciandro, and girlfriend Pamela Courson’s parents, who owned the rights to his poetry.

The Lost Writings of Jim Morrison Volume I is titled Wilderness, and, upon its release in 1988, became an instant New York Times Bestseller. Volume II, The American Night, released in 1990, was also a success. Morrison recorded his own poetry in a professional sound studio on two separate occasions. The first was in March 1969 in Los Angeles and the second was on December 8, 1970. The latter recording session was attended by Morrison’s personal friends and included a variety of sketch pieces. Some of the segments from the 1969 session were issued on the bootleg album The Lost Paris Tapes and were later used as part of the Doors’ An American Prayer album,[ released in 1978. The album reached No. 54 on the music charts. Some poetry recorded from the December 1970 session remains unreleased to this day and is in the possession of the Courson family. Morrison’s best-known but seldom seen cinematic endeavor is HWY: An American Pastoral, a project he started in 1969. Morrison financed the venture and formed his own production company in order to maintain complete control of the project. Paul Ferrara, Frank Lisciandro, and Babe Hill a*sisted with the project. Morrison played the main character, a hitchhiker turned killer/car thief. Morrison asked his friend, composer/pianist Fred Myrow, to select the soundtrack for the film.

Paris Journal

After his death, a notebook of poetry written by Morrison was recovered, titled Paris Journal; amongst other personal details, it contains the allegorical foretelling of a man who will be left grieving and having to abandon his belongings, due to a police investigation into a death connected to the Chinese opium trade. “Weeping, he left his pad on orders from police and furnishings hauled away, all records and mementos, and reporters calculating tears & curses for the press: ‘I hope the Chinese junkies get you’ and they will for the [opium] poppy rules the world”.

The concluding stanzas of this poem convey disappointment for someone with whom he had had an intimate relationship and contain a further invocation of Billy the killer/Hitchhiker, a common character in Morrison’s body of work. “This is my poem for you, Great flowing funky flower’d beast, Great perfumed wreck of hell…Someone new in your knickers & who would that be? You know, You know more, than you let on…Tell them you came & saw & look’d into my eyes & saw the shadow of the guard receding, Thoughts in time & out of season The Hitchhiker stood by the side of the road & levelled his thumb in the calm calculus of reason.”

In 2013, another of Morrison’s notebooks from Paris, found alongside the Paris Journal in the same box, known as the 127 Fascination box, sold for $250,000 at auction. This box of personal belongings similarly contained a home movie of Pamela Courson dancing in an unspecified cemetery in Corsica, the only film so far recovered to have been filmed by Morrison. The box also housed a number of older notebooks and journals and may initially have included the “Steno Pad” and the falsely titled The Lost Paris Tapes bootleg, if they had not been separated from the primary collection and sold by Philippe Dalecky with this promotional title. Those familiar with the voices of Morrison’s friends and colleagues later determined that, contrary to the story advanced by Dalecky that this was Morrison’s final recording made with busking Parisian musicians, the Lost Paris Tapes are in fact of “Jomo & The Smoothies”: Morrison, friend Michael McClure and producer Paul Rothchild loose jamming in Los Angeles, well before Paris 1971.

Grave site

Morrison was buried in Père Lachaise Cemetery in Paris,[ one of the city’s most visited tourist attractions, where Irish playwright Oscar Wilde, French cabaret singer Edith Piaf, and many other poets and artists are also buried. The grave had no official marker until French officials placed a shield over it, which was stolen in 1973. The grave was listed in the cemetery directory with Morrison’s name incorrectly arranged as “Douglas James Morrison”.

In 1981, Croatian sculptor Mladen Mikulin voluntarily placed a bust of his own design and a new gravestone with Morrison’s name at the grave to commemorate the tenth anniversary of Morrison’s death; the bust was defaced through the years by vandals, and later stolen in 1988. Mikulin made another bust of Morrison in 1989,[ and a bronze portrait of him in 2001; neither piece is at the gravesite.

In 1990, Morrison’s father, George Stephen Morrison, after a consultation with E. Nicholas Genovese, Professor of Classics and Humanities, San Diego State University, placed a flat stone on the grave. The bronze plaque thereon bears the Greek inscription: ΚΑΤΑ ΤΟΝ ΔΑΙΜΟΝΑ ΕΑΥΤΟΥ, usually translated as “true to his own spirit” or “according to his own daemon”.

Legacy

Musical

Morrison was, and continues to be, one of the most popular and influential singer-songwriters and iconic frontmen in rock history. To this day Morrison is widely regarded as the prototypical rock star: surly, sexy, scandalous, and mysterious. The leather pants he was fond of wearing both onstage and off have since become stereotyped as rock-star apparel. [dubious – discuss] In 2011, a Rolling Stone readers’ pick placed Jim Morrison in fifth place of the magazine’s “Best Lead Singers of All Time”. He was also ranked number 22 on Classic Rock magazine’s “50 Greatest Singers in Rock”. In 1993, Morrison was inducted into the Rock and Roll Hall of Fame as a member of the Doors.

Iggy and the Stooges are said to have formed after lead singer Iggy Pop was inspired by Morrison while attending a Doors concert in Ann Arbor, Michigan. One of Pop’s most popular songs, “The Passenger”, is said to be based on one of Morrison’s poems. Layne Staley, the vocalist of Alice in Chains; Morten Harket, The vocalist of A-ha; Eddie Vedder, the vocalist of Pearl Jam; Scott Weiland, the vocalist of Stone Temple Pilots, and Velvet Revolver; Glenn Danzig, singer, and founder of Danzig; Julian Casablancas of the Strokes; James LaBrie of Dream Theater; Scott Stapp of Creed; and Ville Valo of H.I.M. have all said that Morrison was their biggest influence and inspiration. Stone Temple Pilots and Velvet Revolver have both covered “Roadhouse Blues” by the Doors. Weiland also filled in for Morrison to perform “Break On Through (To the Other Side)” with the rest of the Doors. Stapp filled in for Morrison for “Light My Fire”, “Riders on the Storm” and “Roadhouse Blues” on VH1 Storytellers; Travis Meeks, of Days of the New, also performed “The End”. Creed performed their version of “Roadhouse Blues” with Robby Krieger for the 1999 Woodstock Festival.

Morrison’s recital of his poem “Bird of Prey” can be heard throughout the song “Sunset” by Fatboy Slim. Rock band Bon Jovi featured Morrison’s grave in their “I’ll Sleep When I’m Dead” video clip. The band Radiohead mentions Jim Morrison in their song “Anyone Can Play Guitar”, stating “I wanna be wanna be wanna be Jim Morrison”. Alice Cooper in the liner notes of the album Killer stated that the song “Desperado” is about Jim Morrison. The leather trousers of U2’s lead singer Bono’s “The Fly” persona for the Achtung Baby era and subsequent Zoo TV Tour is attributed to Jim Morrison. In 2012 electronic music producer Skrillex released “Breakn’ a Sweat” which contained vocals from an interview with Jim Morrison.

Morrison was also referenced in the Lana Del Rey song “Gods & Monsters” in the line “living like Jim Morrison”.

Other

In June 2013, a fossil analysis discovered a large lizard in Myanmar. The extinct reptile was given the moniker Barbaturex morrisoni in honor of Morrison. “This is a king lizard, and he was the lizard king, so it just fit,” said Jason Head, a paleontologist at the University of Nebraska–Lincoln.

Lyrics


Ludwig Van Beethoven

Key: C

Genre: Blues

Harp Type: Chromatic

Skill: Any

Ludwig van Beethoven (/ˈlʊdvɪɡ væn ˈbeɪtoʊvən/ (About this soundlisten); German: [ˈluːtvɪç fan ˈbeːtˌhoːfn̩] (About this soundlisten); baptised 17 December 1770 – 26 March 1827) was a German composer and pianist whose music ranks amongst the most performed of the classical music repertoire; he remains one of the most admired composers in the history of Western music. His works span the transition from the classical period to the romantic era in classical music. His career has conventionally been divided into early, middle, and late periods. The “early” period, during which he forged his craft, is typically considered to have lasted until 1802. From 1802 to around 1812, his “middle” period showed an individual development from the “classical” styles of Joseph Haydn and Wolfgang Amadeus Mozart, and is sometimes characterized as “heroic.” During this time he began to suffer increasingly from deafness. In his “late” period from 1812 to his death in 1827, he extended his innovations in musical form and expression.

Born in Bonn, Beethoven’s musical talent was obvious at an early age, and he was initially harshly and intensively taught by his father Johann van Beethoven. Beethoven was later taught by the composer and conductor Christian Gottlob Neefe, under whose tutelage he published his first work, a set of keyboard variations, in 1783. He found relief from a dysfunctional home life with the family of Helene von Breuning, whose children he loved, befriended, and taught piano. At age 21, he moved to Vienna, which subsequently became his base, and studied composition with Haydn. Beethoven then gained a reputation as a virtuoso pianist, and he was soon courted by Karl Alois, Prince Lichnowsky for compositions, which resulted in his three Opus 1 piano trios (the earliest works to which he accorded an opus number) in 1795.

His first major orchestral work, the First Symphony, appeared in 1800, and his first set of string quartets was published in 1801. During this period, his hearing began to deteriorate, but he continued to conduct, premiering his Third and Fifth Symphonies in 1804 and 1808, respectively. His Violin Concerto appeared in 1806. His last piano concerto (No. 5, Op. 73, known as the ‘Emperor’), dedicated to his frequent patron Archduke Rudolf of Austria, was premiered in 1810, but not with Beethoven as soloist. He was almost completely deaf by 1814, and he then gave up performing and appearing in public. He described his problems with health and his unfulfilled personal life in two letters, his “Heiligenstadt Testament” (1802) to his brothers and his unsent love letter to an unknown “Immortal Beloved” (1812).

In the years from 1810, increasingly less socially involved, Beethoven composed many of his most admired works including his later symphonies and his mature chamber music and piano sonatas. His only opera, Fidelio, which had been first performed in 1805, was revised to its final version in 1814. He composed his Missa Solemnis in the years 1819–1823, and his final, Ninth, Symphony, one of the first examples of a choral symphony, in 1822–1824. Written in his last years, his late string quartets of 1825–26 are amongst his final achievements. After some months of bedridden illness, he died in 1827. Beethoven’s works remain mainstays of the classical music repertoire.

Life and career

Family and early life

Beethoven was the grandson of Ludwig van Beethoven (1712–1773)[n 1], a musician from the town of Mechelen in the Austrian Duchy of Brabant (in what is now the Flemish region of Belgium) who had moved to Bonn at the age of 21. Ludwig was employed as a bass singer at the court of Clemens August, Archbishop-Elector of Cologne, eventually rising to become, in 1761, Kapellmeister (music director) and hence a pre-eminent musician in Bonn. The portrait he commissioned of himself towards the end of his life remained displayed in his grandson’s rooms as a talisman of his musical heritage. Ludwig had one son, Johann (1740–1792), who worked as a tenor in the same musical establishment and gave keyboard and violin lessons to supplement his income.

Johann married Maria Magdalena Keverich in 1767; she was the daughter of Heinrich Keverich (1701–1751), who had been the head chef at the court of the Archbishopric of Trier. Beethoven was born of this marriage in Bonn at what is now the Beethoven House Museum, Bonnstrasse 20. There is no authentic record of the date of his birth; however, the registry of his baptism, in the Catholic Parish of St. Remigius on 17 December 1770, survives, and the custom in the region at the time was to carry out baptism within 24 hours of birth. There is a consensus, (with which Beethoven himself agreed) that his birth date was 16 December, but no documentary proof of this.

Of the seven children born to Johann van Beethoven, only Ludwig, the second-born, and two younger brothers survived infancy. Kaspar Anton Karl was born on 8 April 1774, and Nikolaus Johann, (generally known as Johann) the youngest, was born on 2 October 1776.

Beethoven’s first music teacher was his father. He later had other local teachers: the court organist Gilles van den Eeden (d. 1782), Tobias Friedrich Pfeiffer (a family friend, who provided keyboard tuition), Franz Rovantini (a relative, who instructed him in playing the violin and viola),[2] and court concertmaster Franz Anton Ries for the violin. His tuition began in his fifth year. The regime was harsh and intensive, often reducing him to tears. With the involvement of the insomniac Pfeiffer, there were irregular late-night sessions, with the young Beethoven being dragged from his bed to the keyboard. His musical talent was obvious at a young age. Johann, aware of Leopold Mozart’s successes in this area (with his son Wolfgang and daughter Nannerl), attempted to promote his son as a child prodigy, claiming that Beethoven was six (he was seven) on the posters for his first public performance in March 1778.

1780–1792: Bonn

In 1780 or 1781, Beethoven began his studies with his most important teacher in Bonn, Christian Gottlob Neefe. Neefe taught him composition; in March 1783 appeared Beethoven’s first published work, a set of keyboard variations (WoO 63).[n 2] Beethoven soon began working with Neefe as a*sistant organist, at first unpaid (1782), and then as a paid employee (1784) of the court chapel. His first three piano sonatas, WoO 47, sometimes known as “Kurfürst” (“Elector”) for their dedication to the Elector Maximilian Friedrich (1708–1784), were published in 1783. In the same year, the first printed reference to Beethoven appeared in the Magazin der Musik – “Louis van Beethoven [sic] … a boy of 11 years and most promising talent. He plays the piano very skilfully and with power, reads at sight very well … the chief piece he plays is Das wohltemperierte Klavier of Sebastian Bach, which Herr Neefe puts into his hands …” Maximilian Friedrich’s successor as the Elector of Bonn was Maximilian Franz. He gave some support to Beethoven, appointing him Court Organist and paying towards his visit to Vienna of 1792.

He was introduced in these years to several people who became important in his life. He often visited the cultivated von Breuning family, at whose home he taught piano to some of the children, and where the widowed Frau von Breuning offered him a motherly friendship. Here he also met Franz Wegeler, a young medical student, who became a lifelong friend (and was to marry one of the von Breuning daughters). The von Breuning family environment offered an alternative to his home life, which was increasingly dominated by his father’s decline. Another frequenter of the von Breunings was Count Ferdinand von Waldstein, who became a friend and financial supporter during Beethoven’s Bonn period. Waldstein was to commission in 1791 Beethoven’s first work for the stage, the ballet Musik zu einem Ritterballett (WoO 1).

In the period 1785–90 there is virtually no record of Beethoven’s activity as a composer. This may be attributed to the lukewarm response his initial publications had attracted, and also to ongoing problems in the Beethoven family. His mother died in 1787, shortly after Beethoven’s first visit to Vienna, where he stayed for about two weeks and almost certainly met Mozart. In 1789 Beethoven’s father was forcibly retired from the service of the Court (as a consequence of his alcoholism) and it was ordered that half of his father’s pension be paid directly to Ludwig for support of the family. He contributed further to the family’s income by teaching (to which Wegeler said he had “an extraordinary aversion” ) and by playing viola in the court orchestra. This familiarized him with a variety of operas, including works by Mozart, Gluck and Paisiello. Here he also befriended Anton Reicha, a composer, flautist and violinist of about his own age who was a nephew of the court orchestra’s conductor, Josef Reicha.

From 1790 to 1792, Beethoven composed several works (none were published at the time) showing a growing range and maturity. Musicologists have identified a theme similar to those of his Third Symphony in a set of variations written in 1791. It was perhaps on Neefe’s recommendation that Beethoven received his first commissions; the Literary Society in Bonn commissioned a cantata to mark the occasion of the death in 1790 of Joseph II (WoO 87), and a further cantata, to celebrate the subsequent accession of Leopold II as Holy Roman Emperor (WoO 88), may have been commissioned by the Elector. These two Emperor Cantatas were never performed at the time and they remained lost until the 1880s when they were described by Johannes Brahms as “Beethoven through and through” and as such prophetic of the style which would mark his music as distinct from the classical tradition.

Beethoven was probably first introduced to Joseph Haydn in late 1790 when the latter was travelling to London and stopped in Bonn around Christmas time. A year and a half later, they met in Bonn on Haydn’s return trip from London to Vienna in July 1792, when Beethoven played in the orchestra at the Redoute in Godesberg. Arrangements were likely made at that time for Beethoven to study with the older master. Waldstein wrote to him before his departure: “You are going to Vienna in fulfilment of your long-frustrated wishes … With the help of a*siduous labour you shall receive Mozart’s spirit from Haydn’s hands.”

1792–1802: Vienna – the early years

Beethoven left Bonn for Vienna in November 1792, amid rumours of war spilling out of France; he learned shortly after his arrival that his father had died. Over the next few years, Beethoven responded to the widespread feeling that he was a successor to the recently deceased Mozart by studying that master’s work and writing works with a distinctly Mozartian flavour.

He did not immediately set out to establish himself as a composer, but rather devoted himself to study and performance. Working under Haydn’s direction, he sought to master counterpoint. He also studied violin under Ignaz Schuppanzigh. Early in this period, he also began receiving occasional instruction from Antonio Salieri, primarily in Italian vocal composition style; this relationship persisted until at least 1802, and possibly as late as 1809.

With Haydn’s departure for England in 1794, Beethoven was expected by the Elector to return home to Bonn. He chose instead to remain in Vienna, continuing his instruction in counterpoint with Johann Albrechtsberger and other teachers. In any case, by this time it must have seemed clear to his employer that Bonn would fall to the French, as it did in October 1794, effectively leaving Beethoven without a stipend or the necessity to return. However, several Viennese noblemen had already recognised his ability and offered him financial support, among them Prince Joseph Franz Lobkowitz, Prince Karl Lichnowsky, and Baron Gottfried van Swieten.

Assisted by his connections with Haydn and Waldstein, Beethoven began to develop a reputation as a performer and improviser in the salons of the Viennese nobility. His friend Nikolaus Simrock began publishing his compositions, starting with a set of keyboard variations on a theme of Dittersdorf (WoO 66). By 1793, he had established a reputation in Vienna as a piano virtuoso, but he apparently withheld works from publication so that their eventual appearance would have greater impact.

His first public performance in Vienna was in March 1795, where he first performed one of his piano concertos. Shortly after this performance, he arranged for the publication of the first of his compositions to which he a*signed an opus number, the three piano trios, Opus 1. These works were dedicated to his patron Prince Lichnowsky, and were a financial success; Beethoven’s profits were nearly sufficient to cover his living expenses for a year. In 1799 Beethoven participated in (and won) a notorious piano ‘duel’ at the home of Baron Raimund Wetzlar (a former patron of Mozart) against the virtuoso Joseph Wölfl; and in the following year he similarly triumphed against Daniel Steibelt at the salon of Count Moritz von Fries. Beethoven’s eighth piano sonata the “Pathétique” (Op. 13), published in 1799 is described by the musicologist Barry Cooper as “surpass[ing] any of his previous compositions, in strength of character, depth of emotion, level of originality, and ingenuity of motivic and tonal manipulation.”

Beethoven composed his first six string quartets (Op. 18) between 1798 and 1800 (commissioned by, and dedicated to, Prince Lobkowitz). They were published in 1801. He also completed his Septet (Op. 20) in 1799, which was one of his most popular works during his lifetime. With premieres of his First and Second Symphonies in 1800 and 1803, he became regarded as one of the most important of a generation of young composers following Haydn and Mozart. But his melodies, musical development, use of modulation and texture, and characterisation of emotion all set him apart from his influences, and heightened the impact some of his early works made when they were first published.[46] For the premiere of his First Symphony, he hired the Burgtheater on 2 April 1800, and staged an extensive programme, including works by Haydn and Mozart, as well as his Septet, the Symphony, and one of his piano concertos (the latter three works all then unpublished). The concert, which the Allgemeine musikalische Zeitung described as “the most interesting concert in a long time,” was not without difficulties; among the criticisms was that “the players did not bother to pay any attention to the soloist.” By the end of 1800, Beethoven and his music were already much in demand from patrons and publishers.

In May 1799, he taught piano to the daughters of Hungarian Countess Anna Brunsvik. During this time, he fell in love with the younger daughter Josephine. Amongst his other students, from 1801 to 1805, he tutored Ferdinand Ries, who went on to become a composer and later wrote about their encounters. The young Carl Czerny, who later became a renowned music teacher himself, studied with Beethoven from 1801 to 1803. In late 1801, he met a young countess, Julie Guicciardi, through the Brunsvik family; he mentions his love for Julie in a November 1801 letter to a friend, but class difference prevented any consideration of pursuing this. He dedicated his 1802 Sonata Op. 27 No. 2, now commonly known as the Moonlight Sonata, to her.

In the spring of 1801 he completed The Creatures of Prometheus, a ballet. The work received numerous performances in 1801 and 1802, and he rushed to publish a piano arrangement to capitalise on its early popularity.[50] In the spring of 1802 he completed the Second Symphony, intended for performance at a concert that was cancelled. The symphony received its premiere instead at a subscription concert in April 1803 at the Theater an der Wien, where he had been appointed composer in residence. In addition to the Second Symphony, the concert also featured the First Symphony, the Third Piano Concerto, and the oratorio Christ on the Mount of Olives. Reviews were mixed, but the concert was a financial success; he was able to charge three times the cost of a typical concert ticket.

His business dealings with publishers also began to improve in 1802 when his brother Kaspar, who had previously a*sisted him casually, began to a*sume a larger role in the management of his affairs. In addition to negotiating higher prices for recently composed works, Kaspar also began selling some of his earlier unpublished compositions and encouraged him (against Beethoven’s preference) to also make arrangements and transcriptions of his more popular works for other instrument combinations. Beethoven acceded to these requests, as he could not prevent publishers from hiring others to do similar arrangements of his works.

1802–1812: The ‘heroic’ period

Deafness

Beethoven told the English pianist Charles Neate (in 1815) that he dated his hearing loss from a fit he suffered in 1798 induced by a quarrel with a singer. During its gradual decline, his hearing was further impeded by a severe form of tinnitus. As early as 1801, he wrote to Wegeler and another friend Karl Amenda, describing his symptoms and the difficulties they caused in both professional and social settings (although it is likely some of his close friends were already aware of the problems). The cause was probably otosclerosis, perhaps accompanied by degeneration of the auditory nerve.

On the advice of his doctor, Beethoven moved to the small Austrian town of Heiligenstadt, just outside Vienna, from April to October 1802 in an attempt to come to terms with his condition. There he wrote the document now known as the Heiligenstadt Testament, a letter to his brothers which records his thoughts of suicide due to his growing deafness and records his resolution to continue living for and through his art. The letter was never sent and was discovered in his papers after his death. The letters to Wegeler and Amenda were not so despairing; in them Beethoven commented also on his ongoing professional and financial success at this period, and his determination, as he expressed it to Wegeler, to “seize Fate by the throat; it shall certainly not crush me completely.” In 1806, Beethoven noted on one of his musical sketches “Let your deafness no longer be a secret – even in art.”

Beethoven’s hearing loss did not prevent him from composing music, but it made playing at concerts—an important source of income at this phase of his life—increasingly difficult. (It also contributed substantially to his social withdrawal.) Czerny remarked however that Beethoven could still hear speech and music normally until 1812.  Beethoven never became totally deaf; in his final years he was still able to distinguish low tones and sudden loud sounds.

The ‘heroic’ style

Beethoven’s return to Vienna from Heiligenstadt was marked by a change in musical style, and is now often designated as the start of his middle or “heroic” period characterised by many original works composed on a grand scale. According to Carl Czerny, Beethoven said, “I am not satisfied with the work I have done so far. From now on I intend to take a new way.”  An early major work employing this new style was the Third Symphony in E flat Op. 55, known as the Eroica, written in 1803–04. The idea of creating a symphony based on the career of Napoleon may have been suggested to Beethoven by Count Bernadotte in 1798.[65] Beethoven, sympathetic to the ideal of the heroic revolutionary leader, originally gave the symphony the title “Bonaparte”, but disillusioned by Napoleon declaring himself Emperor in 1804, he scratched Napoleon’s name from the manuscript’s title page, and the symphony was published in 1806 with its present title and the subtitle “to celebrate the memory of a great man.” The Eroica was longer and larger in scope than any previous symphony. When it premiered in early 1805 it received a mixed reception. Some listeners objected to its length or misunderstood its structure, while others viewed it as a masterpiece.

Other middle period works extend in the same dramatic manner the musical language Beethoven had inherited. The Rasumovsky string quartets, and the Waldstein and Appassionata piano sonatas share the heroic spirit of the Third Symphony. Other works of this period include the Fourth through Eighth Symphonies, the oratorio Christ on the Mount of Olives, the opera Fidelio, and the Violin Concerto.[68] Beethoven was hailed in 1810 by the writer and composer E. T. A. Hoffmann, in an influential review in the Allgemeine musikalische Zeitung, as the greatest of (what he considered) the three “Romantic” composers, (that is, ahead of Haydn and Mozart); in Beethoven’s Fifth Symphony his music, wrote Hoffmann, “sets in motion terror, fear, horror, pain, and awakens the infinite yearning that is the essence of romanticism”.

During this time Beethoven’s income came from publishing his works, from performances of them, and from his patrons, for whom he gave private performances and copies of works they commissioned for an exclusive period before their publication. Some of his early patrons, including Prince Lobkowitz and Prince Lichnowsky, gave him annual stipends in addition to commissioning works and purchasing published works. Perhaps his most important aristocratic patron was Archduke Rudolf of Austria, the youngest son of Emperor Leopold II, who in 1803 or 1804 began to study piano and composition with him. They became friends, and their meetings continued until 1824. Beethoven was to dedicate 14 compositions to Rudolf, including some of his major works such as the Archduke Trio Op. 97 (1811) and Missa solemnis Op. 123 (1823).

His position at the Theater an der Wien was terminated when the theatre changed management in early 1804, and he was forced to move temporarily to the suburbs of Vienna with his friend Stephan von Breuning. This slowed work on Leonore, (his original title for his opera), his largest work to date, for a time. It was delayed again by the Austrian censor and finally premiered, under its present title of Fidelio in November 1805 to houses that were nearly empty because of the French occupation of the city. In addition to being a financial failure, this version of Fidelio was also a critical failure, and Beethoven began revising it.

Despite this failure, Beethoven continued to attract recognition. In 1807 the musician and publisher Muzio Clementi secured the rights for publishing his works in England, and Haydn’s former patron Prince Esterházy commissioned a mass (the Mass in C, Op. 86) for his wife’s name-day. But he could not count on such recognition alone. A colossal benefit concert which he organized in December 1808, and was widely advertised, included the premieres of the Fifth and Sixth (Pastoral) symphonies, the Fourth Piano Concerto, extracts from the Mass in C, the scena and aria Ah! perfido Op. 65 and the Choral Fantasy op. 80. There was a large audience, (including Czerny and the young Ignaz Moscheles). But it was under-rehearsed, involved many stops and starts, and during the Fantasia Beethoven was noted shouting at the musicians “badly played, wrong, again!” The financial outcome is unknown.

In the autumn of 1808, after having been rejected for a position at the Royal Theatre, Beethoven had received an offer from Napoleon’s brother Jérôme Bonaparte, then king of Westphalia, for a well-paid position as Kapellmeister at the court in Cassel. To persuade him to stay in Vienna, Archduke Rudolf, Prince Kinsky and Prince Lobkowitz, after receiving representations from Beethoven’s friends, pledged to pay him a pension of 4000 florins a year. In the event, Archduke Rudolf paid his share of the pension on the agreed date. Kinsky, immediately called to military duty, did not contribute and died in November 1812 after falling from his horse. The Austrian currency destabilized and Lobkowitz went bankrupt in 1811 so that to benefit from the agreement Beethoven eventually had recourse to the law, which in 1815 brought him some recompense.

The imminence of war reaching Vienna itself was felt in early 1809. In April Beethoven had completed writing his Piano Concerto No. 5 in E flat major, Op. 73, which the musicologist Alfred Einstein has described as “the apotheosis of the military concept” in Beethoven’s music. Archduke Rudolf left the capital with the Imperial family in early May, prompting Beethoven’s piano sonata Les Adieux, (Sonata No. 26, Op. 81a), actually entitled by Beethoven in German “Das Lebewohl” (The Farewell), of which the final movement, “Das Wiedersehen” (The Return), is dated in the manuscript with the date of Rudolf’s homecoming of 30 January 1810. During the French bombardment of Vienna in May Beethoven took refuge in the cellar of the house of his brother Kaspar. The subsequent occupation of Vienna and the disruptions to cultural life and to Beethoven’s publishers, together with Beethoven’s poor health at the end of 1809, explain his significantly reduced output during this period, although other notable works of the year include his String Quartet No. 10 in F major, Op. 74 (known as The Harp) and the Piano Sonata No. 24 in F sharp major op. 78, dedicated to Josephine’s sister Therese Brunsvik.

At the end of 1809 Beethoven was commissioned to write incidental music for Goethe’s play Egmont. The result (an overture, and nine additional entractes and vocal pieces, Op. 84), which appeared in 1810 fitted well with Beethoven’s “heroic” style and he became interested in Goethe, setting three of his poems as songs (Op. 83) and learning about the poet from a mutual acquaintance, Bettina Brentano (who also wrote to Goethe at this time about Beethoven). Other works of this period in a similar vein were the F minor String Quartet Op. 95, to which Beethoven gave the subtitle Quartetto serioso, and the Op. 97 Piano Trio in B flat major known, from its dedication to his patron Rudolph as the Archduke Trio.

In the spring of 1811, Beethoven became seriously ill, suffering headaches and high fever. His doctor Johann Malfatti recommended him to take a cure at the spa of Teplitz (now Teplice in Czechia) where he wrote two more overtures and sets of incidental music for dramas, this time by August von Kotzebue – King Stephen Op. 117 and The Ruins of Athens Op. 113. Advised again to visit Teplitz in 1812 he met there with Goethe, who wrote: “His talent amazed me; unfortunately he is an utterly untamed personality, who is not altogether wrong in holding the world to be detestable, but surely does not make it any more enjoyable … by his attitude.” Beethoven wrote to his publishers Breitkopf and Härtel that “Goethe delights far too much in the court atmosphere, far more than is becoming in a poet.” But following their meeting he began a setting for choir and orchestra of Goethe’s Meeresstille und glückliche Fahrt (Calm Sea and Prosperous Voyage) (Op. 112), completed in 1815. After this was published in 1822 with a dedication to the poet, Beethoven wrote to him “The admiration, the love and esteem which already in my youth I cherished for the one and only immortal Goethe have persisted.”

“The Immortal Beloved”

While he was at Teplitz in 1812 he wrote a ten-page love letter to his “Immortal Beloved”, which he never sent to its addressee. The identity of the intended recipient was long a subject of debate, although the musicologist Maynard Solomon has convincingly demonstrated that the intended recipient must have been Antonie Brentano; other candidates have included Julie Guicciardi, Therese Malfatti and Josephine Brunsvik.

All of these had been regarded by Beethoven as possible soulmates during his first decade in Vienna. Guicciardi, although she flirted with Beethoven, never had any serious interest in him and married Wenzel Robert von Gallenberg in November 1803. (Beethoven insisted to his later secretary and biographer, Anton Schindler, that Gucciardi had “sought me out, crying, but I scorned her.”)   Josephine had since Beethoven’s initial infatuation with her married the elderly Count Joseph Deym, who died in 1804. Beethoven began to visit her and commenced a passionate correspondence. Initially, he accepted that Josephine could not love him, but he continued to address himself to her even after she had moved to Budapest, finally demonstrating that he had got the message in his last letter to her of 1807: “I thank you for wishing still to appear as if I were not altogether banished from your memory”.[90] Malfatti was the niece of Beethoven’s doctor, and he had proposed to her in 1810. He was 40, she was 19 – the proposal was rejected.  She is now remembered as the recipient of the piano bagatelle Für Elise.

Antonie (Toni) Brentano (née von Birkenstock), ten years younger than Beethoven, was the wife of Franz Brentano, the half-brother of Bettina Brentano, who provided Beethoven’s introduction to the family. It would seem that Antonie and Beethoven had an affair during 1811–1812. Antonie left Vienna with her husband in late 1812 and never met with (or apparently corresponded with) Beethoven again, although in her later years she wrote and spoke fondly of him.

After 1812 there are no reports of any romantic liaisons of Beethoven; it is, however, clear from his correspondence of the period and, later, from the conversation books, that he would occasionally resort to prostitutes.

1813–1822: Acclaim

Family problems

In early 1813 Beethoven apparently went through a difficult emotional period, and his compositional output dropped. His personal appearance degraded—it had generally been neat—as did his manners in public, notably when dining.

Family issues may have played a part in this. Beethoven had visited his brother Johann at the end of October 1812. He wished to end Johann’s cohabitation with Therese Obermayer, a woman who already had an illegitimate child. He was unable to convince Johann to end the relationship and appealed to the local civic and religious authorities, but Johann and Therese married on 8 November.

The illness and eventual death of his brother Kaspar from tuberculosis became an increasing concern. Kaspar had been ill for some time; in 1813 Beethoven lent him 1500 florins, to procure the repayment of which he was ultimately led to complex legal measures. After Kaspar died on 15 November 1815, Beethoven immediately became embroiled in a protracted legal dispute with Kaspar’s wife Johanna over custody of their son Karl, then nine years old. Beethoven had successfully applied to Kaspar to have himself named the sole guardian of the boy. A late codicil to Kaspar’s will gave him and Johanna joint guardianship. While Beethoven was successful at having his nephew removed from her custody in January 1816, and had him removed to a private school in 1818 he was again preoccupied with the legal processes around Karl. While giving evidence to the court for the nobility, the Landrechte, Beethoven was unable to prove that he was of noble birth and as a consequence, on 18 December 1818 the case was transferred to the civil magistracy of Vienna, where he lost sole guardianship. He only regained custody after intensive legal struggles in 1820. During the years that followed, Beethoven frequently interfered in his nephew’s life in what Karl perceived as an overbearing manner.

Post-war Vienna

Beethoven was finally motivated to begin significant composition again in June 1813, when news arrived of Napoleon’s defeat at the Battle of Vitoria by a coalition led by the Duke of Wellington. The inventor Mälzel persuaded him to write a work commemorating the event for his mechanical instrument the Panharmonicon. This Beethoven also transcribed for orchestra as Wellington’s Victory (Op. 91, also known as the Battle Symphony).[n 8] It was first performed on 8 December, along with his Seventh Symphony, Op. 92, at a charity concert for victims of the war, a concert whose success led to its repeat on 12 December. The orchestra included several leading and rising musicians who happened to be in Vienna at the time, including Giacomo Meyerbeer and Domenico Dragonetti. The work received repeat performances at concerts staged by Beethoven in January and February 1814. These concerts brought Beethoven more profit than any others in his career, and enabled him to buy the bank shares that were eventually to be the most valuable a*sets in his estate at his death.

Beethoven’s renewed popularity led to demands for a revival of Fidelio, which, in its third revised version, was also well received at its July opening in Vienna, and was frequently staged there during the following years. Beethoven’s publishers, Artaria, commissioned the 20-year old Moscheles to prepare a piano score of the opera, which he inscribed “Finished, with God’s help!” – to which Beethoven added “O Man, help thyself.”[n 9] That summer Beethoven composed a piano sonata for the first time in five years, his (Sonata in E minor, Opus 90). He was also one of many composers who produced music in a patriotic vein to entertain the many heads of state and diplomats who came to the Congress of Vienna that began in November 1814, with the cantata Der glorreiche Augenblick (The Glorious Moment) (Op. 136) and similar choral works which, in the words of Maynard Solomon “broadened Beethoven’s popularity, [but] did little to enhance his reputation as a serious composer.”

In April and May 1814, playing in his Archduke Trio, Beethoven made his last public appearances as a soloist. The composer Louis Spohr noted: “the piano was badly out of tune, which Beethoven minded little, since he did not hear it … there was scarcely anything left of the virtuosity of the artist … I was deeply saddened.” From 1814 onwards Beethoven used for conversation ear-trumpets designed by Johann Nepomuk Maelzel (a number of these are on display at the Beethoven-Haus in Bonn).

His 1815 compositions include an expressive second setting of the poem “An die Hoffnung” (Op. 94) in 1815. Compared to its first setting in 1805 (a gift for Josephine Brunsvik), it was “far more dramatic … The entire spirit is that of an operatic scena.” But his energy seemed to be dropping: apart from these works, he wrote the two cello sonatas Op. 101 nos. 1 and 2, and a few minor pieces, and began but abandoned a sixth piano concerto.

Pause

Between 1815 and 1819 Beethoven’s output dropped again to a level unique in his mature life. He attributed part of this to a lengthy illness (he called it an “inflammatory fever”) that he had for more than a year, starting in October 1816. His biographer Maynard Solomon suggests it is also doubtless a consequence of the ongoing legal problems concerning his nephew Karl,  and of Beethoven finding himself increasingly at odds with current musical trends. Unsympathetic to developments in German romanticism that featured the supernatural (as in operas by Spohr, Heinrich Marschner and Carl Maria von Weber), he also “resisted the impending Romantic fragmentation of the … cyclic forms of the Classical era into small forms and lyric mood pieces” and turned towards study of Bach, Handel and Palestrina. An old connection was renewed in 1817 when Maelzel sought and obtained, Beethoven’s endorsement for his newly developed metronome. During these years the few major works he completed include the 1818 Hammerklavier Sonata (Sonata No. 29 in B flat major, Op. 106) and his settings of poems by Alois Jeitteles, An die ferne Geliebte Op. 98, (1816), which introduced the song cycle into classical repertoire. In 1818 he began musical sketches that were eventually to form part of his final Ninth Symphony.

By early 1818 Beethoven’s health had improved, and his nephew Karl, now aged 11, moved in with him in January, (although within a year Karl’s mother had won him back in the courts). By now Beethoven’s hearing had again seriously deteriorated, necessitating Beethoven and his interlocutors writing in notebooks to carry out conversations. These ‘conversation books’ are a rich written resource for his life from this period onwards. They contain discussions about music, business, and personal life; they are also a valuable source for his contacts and for investigations into how he intended his music should be performed, and of his opinions of the art of music. His household management had also improved somewhat with the help of Nannette Streicher. A proprietor of the Stein piano workshop and a personal friend, Streicher had a*sisted in Beethoven’s care during his illness; she continued to provide some support, and in her he finally found a skilled cook. A testimonial to the esteem in which Beethoven was held in England was the presentation to him in this year by Thomas Broadwood, the proprietor of the company, of a Broadwood piano, for which Beethoven expressed thanks. He was not well enough, however, to carry out a visit to London that year which had been proposed by the Philharmonic Society.

Despite the time occupied by his ongoing legal struggles over Karl, which involved continuing extensive correspondence and lobbying, two events sparked off Beethoven’s major composition projects in 1819. The first was the announcement of Archduke Rudolf’s promotion to Cardinal-Archbishop as Archbishop of Olomouc (now in Czechia), which triggered the Missa Solemnis Op. 123, intended to be ready for his installation in Olomouc in March 1820. The other was the invitation by the publisher Antonio Diabelli to fifty Viennese composers, including Beethoven, Franz Schubert, Czerny and the 8-year old Franz Liszt, to compose a variation each on a theme which he provided. Beethoven was spurred to outdo the competition and by mid-1819 had already completed 20 variations of what were to become the 33 Diabelli Variations op. 120. Neither of these works was to be completed for a few years. A significant tribute of 1819, however, was Archduke Rudolf’s set of forty piano variations on a theme written for him by Beethoven (WoO 200) and dedicated to the master. Beethoven’s portrait by Ferdinand Schimon [de] of this year, which was one of the most familiar images of him for the next century, was described by Schindler as, despite its artistic weaknesses, “in the rendering of that particular look, the majestic forehead … the firmly shut mouth and the chin shaped like a shell, … truer to nature than any other picture.”

Beethoven’s determination over the following years to write the Mass for Rudolf was not motivated by any devout Catholicism. Although he had been born a Catholic, the form of religion as practised at the court in Bonn where he grew up was, in the words of Maynard Solomon, “a compromise ideology that permitted a relatively peaceful coexistence between the Church and rationalism.”. Beethoven’s Tagebuch (a diary he kept on an occasional basis between 1812 and 1818) shows his interest in a variety of religious philosophies, including those of India, Egypt and the Orient and the writings of the Rig-Veda. In a letter to Rudolf of July 1821, Beethoven shows his belief in a personal God: “God … sees into my innermost heart and knows that as a man I perform most conscientiously and on all occasions the duties which Humanity, God, and Nature enjoin upon me.” On one of the sketches for the Missa Solemnis he wrote “Plea for inner and outer peace.”

Beethoven’s status was confirmed by the series of Concerts sprituels given in Vienna by the choirmaster Franz Xaver Gebauer in the 1819/1820 and 1820/1821 seasons, during which all eight of his symphonies to date, plus the oratorio Christus and the Mass in C, were performed. Beethoven was typically underwhelmed: when in an April 1820 conversation book a friend mentioned Gebauer, Beethoven wrote in reply “Geh! Bauer” (“Begone, peasant!”)

It was in 1819 that Beethoven was first approached by the publisher Moritz Schlesinger who won the suspicious composer round, whilst visiting him at Mödling, by procuring for him a plate of roast veal. One consequence of this was that Schlesinger was to secure Beethoven’s three last piano sonatas and his final quartets; part of the attraction to Beethoven was that Schlesinger had publishing facilities in Germany and France, and connections in England, which could overcome problems of copyright piracy. The first of the three sonatas, for which Beethoven contracted with Schlesinger in 1820 at 30 ducats per sonata, (further delaying completion of the Mass), was sent to the publisher at the end of that year (the Sonata in E major, Op. 109, dedicated to Maximiliane, Antonie Brentano’s daughter).

The start of 1821 saw Beethoven once again in poor health, suffering from rheumatism and jaundice. Despite this he continued work on the remaining piano sonatas he had promised to Schlesinger (the Sonata in A flat major Op. 110 was published in December), and on the Mass. In early 1822 Beethoven sought a reconciliation with his brother Johann, whose marriage in 1812 had met with his disapproval, and Johann now became a regular visitor (as witnessed by the conversation books of the period) and began to a*sist him in his business affairs, including him lending him money against ownership of some of his compositions. He also sought some reconciliation with the mother of his nephew, including supporting her income, although this did not meet with the approval of the contrary Karl. Two commissions at the end of 1822 improved Beethoven’s financial prospects. In November the Philharmonic Society of London offered a commission for a symphony, which he accepted with delight, as an appropriate home for the Ninth Symphony on which he was working. Also in November Prince Nikolai Galitzin of Saint Petersburg offered to pay Beethoven’s asking price for three string quartets. Beethoven set the price at the high level of 50 ducats per quartet in a letter dictated to his nephew Karl, who was then living with him.

During 1822, Anton Schindler, who in 1840 became one of Beethoven’s earliest and most influential (but not always reliable) biographers, began to work as the composer’s unpaid secretary. He was later to claim that he had been a member of Beethoven’s circle since 1814, but there is no evidence for this. Cooper suggests that “Beethoven greatly appreciated his a*sistance, but did not think much of him as a man.”

1823–1827: The final years

The year 1823 saw the completion of three notable works, all of which had occupied Beethoven for some years, namely the Missa Solemnis, the Ninth Symphony and the Diabelli Variations.

Beethoven at last presented the manuscript of the completed Missa to Rudolph on 19 March (more than a year after the Archduke’s enthronement as Archbishop). He was not however in a hurry to get it published or performed as he had formed a notion that he could profitably sell manuscripts of the work to various courts in Germany and Europe at 50 ducats each. One of the few who took up this offer was Louis XVIII of France, who also sent Beethoven a heavy gold medallion. The Symphony and the variations took up most of the rest of Beethoven’s working year. Diabelli hoped to publish both works, but the potential prize of the Mass excited many other publishers to lobby Beethoven for it, including Schlesinger and Carl Friedrich Peters. (In the end, it was obtained by Schotts).

Beethoven had become critical of the Viennese reception of his works. He told the visiting Johann Friedrich Rochlitz in 1822:

You will hear nothing of me here … Fidelio? They cannot give it, nor do they want to listen to it. The symphonies? They have no time for them. My concertos? Everyone grinds out only the stuff he himself has made. The solo pieces? They went out of fashion long ago, and here fashion is everything. At the most, Schuppanzigh occasionally digs up a quartet.

He, therefore, enquired about premiering the Missa and the Ninth Symphony in Berlin. When his Viennese admirers learnt of this, they pleaded with him to arrange local performances. Beethoven was won over, and the symphony was first performed, along with sections of the Missa Solemnis, on 7 May 1824, to great acclaim at the Kärntnertortheater.[ Beethoven stood by the conductor Michael Umlauf during the concert beating time (although Umlauf had warned the singers and orchestra to ignore him), and because of his deafness was not even aware of the applause which followed until he was turned to witness it. The Allgemeine musikalische Zeitung gushed, “inexhaustible genius had shown us a new world”, and Carl Czerny wrote that the Symphony “breathes such a fresh, lively, indeed youthful spirit … so much power, innovation, and beauty as ever [came] from the head of this original man, although he certainly sometimes led the old wigs to shake their heads.” The concert did not net Beethoven much money, as the expenses of mounting it were very high. A second concert on 24 May, in which the producer guaranteed him a minimum fee, was poorly attended; nephew Karl noted that “many people [had] already gone into the country”. It was Beethoven’s last public concert. Beethoven accused Schindler of either cheating him or mismanaging the ticket receipts; this led to the replacement of Schindler as Beethoven’s secretary by Karl Holz, (who was the second violinist in the Schuppanzigh Quartet), although by 1826 Beethoven and Schindler were reconciled.

Beethoven then turned to writing the string quartets for Galitzin, despite failing health. The first of these, the quartet in E♭ major, Op. 127 was premiered by the Schuppanzigh Quartet in March 1825. While writing the next, the quartet in A minor, Op. 132, in April 1825, he was struck by a sudden illness. Recuperating in Baden, he included in the quartet its slow movement to which he gave the title “Holy song of thanks (‘Heiliger Dankgesang’) to the Divinity, from a convalescent, in the Lydian mode.”  The next quartet to be completed was the Thirteenth, op. 130, in B♭ major. In six movements, the last, contrapuntal movement proved to be very difficult for both the performers and the audience at its premiere in March 1826 (again by the Schuppanzigh Quartet). Beethoven was persuaded by the publisher Artaria, for an additional fee, to write a new finale, and to issue the last movement as a separate work (the Grosse Fugue, Op. 133). Beethoven’s favourite was the last of this series, the quartet in C♯ minor Op. 131, which he rated as his most perfect single work.

Beethoven’s relations with his nephew Karl had continued to be stormy; Beethoven’s letters to him were demanding and reproachful. In August, Karl, who had been seeing his mother again against Beethoven’s wishes, attempted suicide by shooting himself in the head. He survived and after discharge from hospital went to recuperate in the village of Gneixendorf with Beethoven and his uncle Johann. Whilst in Gneixendorf, Beethoven completed a further quartet, (Op. 135 in F major) which he sent to Schlesinger. Under the introductory slow chords in the last movement, Beethoven wrote in the manuscript “Muss es sein?” (“Must it be?”); the response, over the faster main theme of the movement, is “Es muss sein!” (“It must be!”). The whole movement is headed “Der schwer gefasste Entschluss” (“The Difficult Decision”). Following this in November Beethoven completed his final composition, the replacement finale for the op. 130 quartet.  Beethoven at this time was already ill and depressed; he began to quarrel with Johann, insisting that Johann made Karl his heir, in preference to Johann’s wife.

Death

On his return journey to Vienna from Gneixendorf in December 1826, illness struck Beethoven again. He was attended until his death by Dr. Andreas Wawruch, who throughout December noticed symptoms including fever, jaundice and dropsy, with swollen limbs, coughing and breathing difficulties. Several operations were carried out to tap off the excess fluid from Beethoven’s abdomen.

Karl stayed by Beethoven’s bedside during December, but left after the beginning of January to join the army at Iglau and did not see his uncle again, although he wrote to him shortly afterwards “My dear father … I am living in contentment and regret only that I am separated from you.” Immediately following Karl’s departure, Beethoven wrote a will making his nephew his sole heir. Later in January, Beethoven was attended by Dr. Malfatti, whose treatment (recognizing the seriousness of his patient’s condition) was largely centred on alcohol. As the news spread of the severity of Beethoven’s condition, many old friends came to visit, including Diabelli, Schuppanzigh, Lichnowsky, Schindler, the composer Johann Nepomuk Hummel and his pupil Ferdinand Hiller. Many tributes and gifts were also sent, including £100 from the Philharmonic Society in London and a case of expensive wine from Schotts. During this period, Beethoven was almost completely bedridden despite occasional brave efforts to rouse himself. On March 24, he said to Schindler and the others present “Plaudite, amici, comoedia finita est” (“Applaud, friends, the comedy is over.”) Later that day, when the wine from Schott arrived, he whispered, “Pity – too late.”

Beethoven died on 26 March 1827 at the age of 56; only his friend Anselm Hüttenbrenner and a “Frau van Beethoven” (possibly his old enemy Johanna van Beethoven) were present. According to Hüttenbrenner, at about 5 in the afternoon there was a flash of lightning and a clap of thunder: “Beethoven opened his eyes, lifted his right hand and looked up for several seconds with his fist clenched … not another breath, not a heartbeat more.” Many visitors came to the death-bed; some locks of the dead man’s hair were retained by Hüttenbrenner and Hiller, amongst others. An autopsy revealed Beethoven suffered from significant liver damage, which may have been due to his heavy alcohol consumption,  and also considerable dilation of the auditory and other related nerves.

Beethoven’s funeral procession in Vienna on 29 March 1827 was attended by an estimated 10,000 people. Franz Schubert and the violinist Joseph Mayseder were among the torchbearers. A funeral oration by the poet Franz Grillparzer was read. Beethoven was buried in the Währing cemetery, north-west of Vienna, after a requiem mass at the church of the Holy Trinity (Dreifaltigkeitskirche) in Alserstrasse. Beethoven’s remains were exhumed for study in 1863, and moved in 1888 to Vienna’s Zentralfriedhof where they were reinterred in a grave adjacent to that of Schubert.

Music

The “three periods”

The historian William Drabkin notes that as early as 1818 a writer had proposed a three-period division of Beethoven’s works and that such a division (albeit often adopting different dates or works to denote changes in period) eventually became a convention adopted by all of Beethoven’s biographers, starting with Schindler, F.-J. Fétis and Wilhelm von Lenz. Later writers sought to identify sub-periods within this generally accepted structure. Its drawbacks include that it generally omits a fourth period, that is, the early years in Bonn, whose works are less often considered; and that it ignores the differential development of Beethoven’s composing styles over the years for different categories of work. The piano sonatas, for example, were written throughout Beethoven’s life in a progression that can be interpreted as continuous development; the symphonies do not all demonstrate linear progress; of all of the types of composition, perhaps the quartets, which seem to group themselves in three periods (Op. 18 in 1801–1802, Opp. 59, 74 and 95 in 1806–1814, and the quartets, today known as ‘late’, from 1824 onwards) fit this categorization most neatly. Drabkin concludes that “now that we have lived with them so long … as long as there are programme notes, essays written to accompany recordings, and all-Beethoven recitals, it is hard to imagine us ever giving up the notion of discrete stylistic periods.”

Bonn 1782–1792

Some forty compositions, including ten very early works written by Beethoven up to 1785, survive from the years that Beethoven lived in Bonn. It has been suggested that Beethoven largely abandoned composition between 1785 and 1790, possibly as a result of negative critical reaction to his first published works. A 1784 review in Johann Nikolaus Forkel’s influential Musikalischer Almanack compared Beethoven’s efforts to those of rank beginners. The three early piano quartets of 1785 (WoO 36), closely modelled on violin sonatas of Mozart, show his dependency on the music of the period. Beethoven himself was not to give any of the Bonn works an opus number, save for those which he reworked for use later in his career, for example, some of the songs in his Op. 52 collection (1805) and the Wind Octet reworked in Vienna in 1793 to become his String Quintet, Op. 4. Charles Rosen points out that Bonn was something of a backwater compared to Vienna; Beethoven was unlikely to be acquainted with the mature works of Haydn or Mozart, and Rosen opines that his early style was closer to that of Hummel or Muzio Clementi. Kernan suggests that at this stage Beethoven was not especially notable for his works in sonata style, but more for his vocal music; his move to Vienna in 1792 set him on the path to develop the music in the genres he became known for.

The first period

The conventional “first period” begins after Beethoven’s arrival in Vienna in 1792. In the first few years he seems to have composed less than he did at Bonn, and his Piano Trios, op.1 were not published until 1795. From this point onward, he had mastered the ‘Viennese style’ (best known today from Haydn and Mozart) and was making the style his own. His works from 1795 to 1800 are larger in scale than was the norm (writing sonatas in four movements, not three, for instance); typically he uses a scherzo rather than a minuet and trio; and his music often includes dramatic, even sometimes over-the-top, uses of extreme dynamics and tempi and chromatic harmony. It was this that led Haydn to believe the third trio of Op.1 was too difficult for an audience to appreciate.

He also explored new directions and gradually expanded the scope and ambition of his work. Some important pieces from the early period are the first and second symphonies, the set of six string quartets Opus 18, the first two piano concertos, and the first dozen or so piano sonatas, including the famous Pathétique sonata, Op. 13.

The middle period

His middle (heroic) period began shortly after the personal crisis brought on by his recognition of encroaching deafness. It includes large-scale works that express heroism and struggle. Middle-period works include six symphonies (Nos. 3–8), the last two piano concertos, the Triple Concerto and violin concerto, five string quartets (Nos. 7–11), several piano sonatas (including the Waldstein and Appassionata sonatas), the Kreutzer violin sonata and his only opera, Fidelio.

The “middle period” is sometimes a*sociated with a “heroic” manner of composing, but the use of the term “heroic” has become increasingly controversial in Beethoven scholarship. The term is more frequently used as an alternative name for the middle period. The appropriateness of the term “heroic” to describe the whole middle period has been questioned as well: while some works, like the Third and Fifth Symphonies, are easy to describe as “heroic”, many others, like his Symphony No. 6, Pastoral or his Piano Sonata No. 24, are not.

The late period

Beethoven’s late period began in the decade 1810-1819. He began a renewed study of older music, including works by Johann Sebastian Bach and George Frideric Handel, that were then being published in the first attempts at complete editions. Many of Beethoven’s late works include fugal material. The overture The Consecration of the House (1822) was an early work to attempt to incorporate these influences. A new style emerged, now called his “late period”. He returned to the keyboard to compose his first piano sonatas in almost a decade: the works of the late period include the last five piano sonatas and the Diabelli Variations, the last two sonatas for cello and piano, the late string quartets (see below), and two works for very large forces: the Missa Solemnis and the Ninth Symphony.[citation needed] Works from this period are characterised by their intellectual depth, their formal innovations, and their intense, highly personal expression. The String Quartet, Op. 131 has seven linked movements, and the Ninth Symphony adds choral forces to the orchestra in the last movement. Other compositions from this period include the Missa solemnis, the last five string quartets (including the massive Große Fuge) and the last five piano sonatas.

Legacy

The Beethoven Monument in Bonn was unveiled in August 1845, in honour of the 75th anniversary of his birth. It was the first statue of a composer created in Germany, and the music festival that accompanied the unveiling was the impetus for the very hasty construction of the original Beethovenhalle in Bonn (it was designed and built within less than a month, on the urging of Franz Liszt). A statue to Mozart had been unveiled in Salzburg, Austria, in 1842. Vienna did not honour Beethoven with a statue until 1880.

There is a museum, the Beethoven House, the place of his birth, in central Bonn. The same city has hosted a musical festival, the Beethovenfest, since 1845. The festival was initially irregular but has been organised annually since 2007.

The Ira F. Brilliant Center for Beethoven Studies serves as a museum, research center, and host of lectures and performances devoted solely to this life and works.

His music features twice on the Voyager Golden Record, a phonograph record containing a broad sample of the images, common sounds, languages, and music of Earth, sent into outer space with the two Voyager probes.

The third largest crater on Mercury is named in his honour, as is the main-belt asteroid 1815 Beethoven.

A 7-foot cast bronze statue of Beethoven by sculptor Arnold Foerster was installed in 1932 in Pershing Square, Los Angeles; it was dedicated to William Andrews Clark Jr., founder of the Los Angeles Philharmonic.

Lyrics


War

Key: C

Genre: Blues

Harp Type: Chromatic

Skill: Any

War (originally called Eric Burdon and War) is an American funk-rock band from Long Beach, California, known for several hit songs (including “Spill the Wine”, “The World Is a Ghetto”, “The Cisco Kid”, “Why Can’t We Be Friends?”, “Low Rider”, and “Summer”).  Formed in  , War is a musical crossover band that fuses elements of rock, funk, jazz, Latin, rhythm and blues, and reggae. Their album The World Is a Ghetto was Billboard’s best-selling album of 1973. The band transcended racial and cultural barriers with a multi-ethnic line-up. War was subject to many line-up changes over the course of its existence, leaving member Leroy “Lonnie” Jordan as the only original member in the current line-up; four other members created a new group called the Lowrider Band.

History

1960s: Beginnings

In 1962, Howard E. Scott and Harold Brown formed a group called The Creators in Long Beach, California. Within a few years, they had added Charles Miller, Morris “B. B.” Dickerson and Lonnie Jordan to the lineup. Lee Oskar and Papa Dee Allen later joined as well. They all shared a love of diverse styles of music, which they had absorbed living in the racially mixed Los Angeles ghettos. The Creators recorded several singles on Dore Records while working with Tjay Contrelli, a saxophonist from the band Love. In 1968, the Creators became Nightshift (named because Brown worked nights at a steel yard) and started performing with Deacon Jones, a football player and singer.

The original War was conceived by record producer Jerry Goldstein (“My Boyfriend’s Back”, “Hang on Sloopy”, “I Want Candy”) and singer Eric Burdon (ex-lead singer of the British band the Animals). In 1969, Goldstein saw musicians who would eventually become War playing at the Rag Doll in North Hollywood, backing Deacon Jones, and he was attracted to the band’s sound. Jordan claimed that the band’s goal was to spread a message of brotherhood and harmony, using instruments and voices to speak out against racism, hunger, gangs, crimes, and turf wars, and promote hope and the spirit of brotherhood.[citation needed] Eric Burdon and War began playing live shows to audiences throughout Southern California before entering into the studio to record their debut album Eric Burdon Declares “War”. The album’s best known track, “Spill the Wine”, was a hit and launched the band’s career.

1970s: Height of popularity

Eric Burdon and War toured extensively across Europe and the United States. The subtitle of a 1970 review in the New Musical Express of their first UK gig in London’s Hyde Park read: “Burdon and War: Best Live Band We’ve Ever Seen”. Their show at Ronnie Scott’s Club in London on September 18, 1970, is historically notable for being the last public performance for Jimi Hendrix, who joined them onstage for the last 35 minutes of Burdon and War’s second set; a day later he was dead. A second Eric Burdon and War album, a two-disc set titled The Black-Man’s Burdon was released in 1970, before Burdon left the band in the middle of its European tour. They finished the tour without him and returned to record their first album as War.

War (1971) met with only modest success, but later that year, the band released All Day Music which included the singles “All Day Music” and “Slippin’ into Darkness”. The latter single sold over one million copies, and was awarded a gold disc by the R.I.A.A. in June 1972.  In 1972, they released The World Is a Ghetto which was even more successful. Its second single, “The Cisco Kid” shipped gold,  and the album attained the number two spot on Billboard Hot 100 chart, and was Billboard magazine’s Album of the Year as the best-selling album of 1973.

Deliver the Word (1973), the next album, contained the hits “Gypsy Man” and a studio version of “Me and Baby Brother” (previously issued as a live recording), which peaked at #8 and #15 on the Billboard chart. The album went on to sell nearly 2 million copies.[citation needed] The album Why Can’t We Be Friends? was released in 1975. It included “Low Rider” and the title track, which were among the band’s bigger hits.

In 1976, War released a greatest hits record that contained one new song “Summer”, which, as a single, went gold and peaked at number 7 on the Billboard chart. Also released that year were Love Is All Around by Eric Burdon and War, containing mostly unreleased recordings from 1969 and 1970, and Platinum Jazz, a one-off album for jazz label Blue Note. The latter double album had cover art to match the greatest hits album, and was half new material and half compilation, focusing on (but not restricted to) instrumental music. The group continued to attain success with their next album Galaxy (1977), and its title single was inspired by Star Wars. War’s next project was a soundtrack album for the movie Youngblood in 1978.

1980s: The Music Band

In 1979, following the departure of B.B. Dickerson during recording sessions for their next album (replaced by Luther Rabb on bass who completed the album), the band considered changing their name to The Music Band, but decided at the last minute to continue as War, and use “The Music Band” as the title of a series of albums. The series originally consisted of two studio albums (The Music Band, The Music Band 2, both in 1979) and a live album (The Music Band Live, 1980), but after the band left MCA in 1981 and had already made records for other labels, MCA expanded the series with a compilation (The Best of the Music Band, 1982) and a third original album of left-over material (The Music Band – Jazz, 1983).

The group lost another member when Charles Miller (saxophone) was murdered in 1980. He had already been replaced by Pat Rizzo (ex Sly and the Family Stone) in 1979. Other new members joining at this time were Alice Tweed Smith (credited as “Tweed Smith” and “Alice Tweed Smyth” on various albums) on percussion and vocals (giving the band its first female vocalist), and Ronnie Hammon as a third drummer.

After making the one-off single “Cinco de Mayo” for LAX Records in 1981 (Jerry Goldstein’s own label, which also reissued Eric Burdon Declares “War” under the title Spill the Wine the same year), War signed with RCA Victor Records and recorded Outlaw (1982) which included the single plus additional singles “You Got the Power”, “Outlaw”, and “Just Because”. It was followed by Life (is So Strange) (1983) from which the title track was also a single. War’s records from 1979 to 1983 were not as successful as those from the preceding decade, and after the two RCA albums, the band’s activities became sporadic. They did not record another full album until a decade later. The 1987 compilation album The Best of War …and More included two new tracks, “Livin’ in the Red” and “Whose Cadillac Is That?”, and a remixed version of “Low Rider” (in addition to the original version). Papa Dee Allen died of a brain aneurysm which struck him onstage in 1988.

1990s: Reformations

Sampling of War by hip hop artists was prevalent enough to merit the compilation album Rap Declares War in 1992, which was sanctioned by the band. In 1993, War reformed with most surviving previous members (including original members Brown, Jordan, Oskar, and Scott, and later members Hammon and Rizzo), augmented by a large line-up of supporting musicians and still under the management and production of Jerry Goldstein, and released a new album, ☮ in 1994.

In 1996, the group attempted to gain independence from Goldstein, but were unable to do so under the name “War” which remains a trademark owned by Goldstein and Far Out Productions.  In response, Brown, Oskar, Scott, and a returning B.B. Dickerson (who had not worked with War since 1979) adopted a name which referenced one of War’s biggest hits: Lowrider Band. They have yet to record a studio album.

Lonnie Jordan opted to remain with Goldstein and create a new version of War with himself as the only original member. Some other musicians who had joined between 1983 and 1993 were also part of the new line-up. Both the “new” War and the Lowrider Band are currently active as live performance acts.

1996 also saw the release of a double CD compilation, Anthology (1970–1994), later updated in 2003 with a few track substitutions, as The Very Best of War. Another CD compilation from 1999, Grooves and Messages, included a second disc of remixes done by various producers.

21st century

On April 21, 2008, Eric Burdon and Lonnie Jordan reunited for the first time in 37 years to perform a concert as War at the London Royal Albert Hall. The other original surviving members were not asked to be a part of the reunion. The concert coincided with Avenue / Rhino Records’ Eric Burdon and War reissues which included Eric Burdon Declares “War” and The Black-Man’s Burdon, plus compilations The Best of Eric Burdon and War and Anthology. In 2008, Lonnie Jordan’s edition of War released a live album / DVD of songs originally from 1969 to 1975: Greatest Hits Live. War were unsuccessfully nominated for 2009 induction into the Rock and Roll Hall of Fame. There were rumours that Burdon would join them again in summer 2009, but it did not happen. In 2011, War played “Low Rider” and many other hits at the Rack n’ Roll in Stamford, Connecticut, with Remember September and Westchester School of Rock.

In 2014 the new War released a studio album, Evolutionary. Also in 2014, War was a nominee for induction into the Rock and Roll Hall of Fame.

On June 25, 2019, The New York Times Magazine listed War among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

 

Lyrics


Larry Gowan

Key: C

Genre: Blues

Harp Type: Chromatic

Skill: Any

Lawrence Gowan (born 22 November 1956) is a Scottish-Canadian musician, born in Glasgow and raised in Scarborough, Ontario. Gowan has been both a solo artist and the current lead vocalist and keyboardist of the band Styx  since May 1999. His musical style is usually classified in the categories of pop and progressive rock.

Career

At the age of 19, he earned an ARCT in classical piano performance from The Royal Conservatory of Music, in Toronto, Ontario.[ Upon graduation, he enjoyed modest local success with the band Rhinegold in 1976.

After the band broke up five years later, Gowan began a solo career under the stage name Gowan, releasing his first album under that name in 1982, which was produced by Rob Freeman and featured Kim Mitchell of Max Webster on guitar. This album contained the singles “Victory”, “Give In” and “Keep Up the Fight”.

After his 1982 debut album Gowan did not fare well, Gowan “found himself naturally gravitating” to the Queen Street West music scene that was developing in Toronto in the mid 1980s. This drew the attention of Columbia Records, which would fund his next album. Gowan spent a year writing songs, and also travelled to Scotland and Ireland to trace his heritage. While there, he received a telephone call from English record producer David Tickle, who said he would produce the album and arranged a recording session. Tickle secured the services of several session musicians from the backing band of Peter Gabriel for the recording session, including bassist Tony Levin, drummer Jerry Marotta, and guitarist David Rhodes. The album Strange Animal was recorded at Startling Studios owned by Ringo Starr. Gowan’s 1985 album Strange Animal was his commercial breakthrough in Canada. The album spawned the hit singles “A Criminal Mind”, “(You’re a) Strange Animal”, “Guerilla Soldier” and “Cosmetics”. That year he won a CASBY Award for most promising male artist.

His 1987 follow up Great Dirty World gave him another hit single with “Moonlight Desires”, featuring Jon Anderson (from Yes) on backing vocals,  as well as “Dedication”.

1990’s Lost Brotherhood, recorded at Metalworks Studios in Mississauga, Ontario, had a harder rock sound, and featured such players as Red Rider member Ken Greer, former Coney Hatch guitarist Steve Shelski and Rush’s Alex Lifeson. It produced the singles “Lost Brotherhood”, “All the Lovers in the World”, and “Out of a Deeper Hunger”. This was Gowan’s first album for Anthem Records and his first US release.

A few bars from “The Dragon” were heard playing on a car radio in the 1990 movie “Navy Seals” and appears on the original motion picture soundtrack.

He released the more acoustic …but you can call me Larry in 1993 under his full name, returning to the Canadian pop charts with “When There’s Time for Love”, “Soul’s Road” and “Dancing on My Own Ground”. He subsequently released The Good Catches Up in 1995, which featured the single “Guns and God”, which received moderate airplay in Canada. Also that same year, Gowan was part of an all-star lineup at Toronto’s Massey Hall to celebrate Ronnie Hawkins’ 60th birthday, as documented on the album Let It Rock, sharing the stage with veteran rockers Jerry Lee Lewis, Carl Perkins and The Band. In 1997, Gowan released two live CDs: Sololive – No Kilt Tonight containing a rendition of Ragtime’s classic “King Chanticleer Rag”, and Au Québec with a cover of Harmonium’s “Pour un instant” as well as his first composition in French, “Stéphanie”, for his fan base in Quebec.

In 1997, Gowan released “Healing Waters” as a tribute to Diana, Princess of Wales after her death. “Healing Waters” was officially an unreleased song from Gowan, though it was used in its original form in the 1995 Jeff Wincott movie, When the Bullet Hits the Bone.

In 1998, Gowan was the recipient of the National Achievement Award at the annual SOCAN Awards in Toronto.

His song “A Criminal Mind” was covered in 2005 by Canadian hip-hop artist Maestro; Gowan appears in the video and his vocals are sampled on the track. The song was also covered by Canadian gypsy jazz music group The Lost Fingers. The song was sampled in a song performed by Akon and Freck Billionaire.

He also guest-starred on the Canadian animated comedy series Chilly Beach.

In February 2006, Gowan did four orchestra-accompanied concerts in London, Ontario and Kitchener, Ontario. Also in 2006, his home was featured on MTV’s Cribs.

In March 2010, Gowan released “Return of the Strange Animal”, a remastered version of 1985’s “Strange Animal” plus a making-of documentary and music videos on DVD.[18] In May 2010, Gowan performed two solo shows in support of the 25th anniversary of the “Strange Animal” album.

In May 2012, Gowan re-issued a remastered version of 1987’s “Great Dirty World”.

As of 2012, Gowan was recording a new solo album which he hoped to have completed sometime in 2013, but has yet to be released.

Gowan acquired the master tapes to his catalogue from CBS Records International in the 2010s, and a*signed them to Linus Entertainment under the True North Records label.

On 11 October 2012, Gowan appeared on episode 29 of John Wants Answers.

On 13 October 2013, Gowan played a solo concert, titled ‘In Kilt Tonight’ at the Glenn Gould Studio in Toronto, Ontario, Canada. All proceeds were donated to McDermott House Canada, a charitable organization.

Styx

In 1997, during Styx’s tour, Gowan performed as a supporting act for Styx at Montreal’s Molson Centre and Quebec City’s Colisée.

Tommy Shaw admired his talent and vibrant stage charisma, and called him in May 1999 asking him to tour with them for 53 dates, replacing their lead singer Dennis DeYoung. Since then, Gowan’s classic hit, “A Criminal Mind”, is often played by Styx.

Styx had long been plagued by differences in artistic inclination. DeYoung’s absence created an opportunity for a more permanent restructuring of Styx. Gowan subsequently became the band’s permanent vocalist.

Styx’s 2003 album Cyclorama was Gowan’s first studio album with the band. Gowan sings two songs on Cyclorama, “Fields of the Brave” and “More Love for the Money”, both of which have an easily recognizable Gowan signature. He then continued recording with Styx for their 2005 album, Big Bang Theory.

Gowan continues with Styx to the present and is featured on many live releases from the band. The band released studio recordings of older Styx songs with the new line-up, titled Regeneration (released in two volumes in 2010 and 2011), and Gowan sings lead vocals on several tracks that were originally recorded by Dennis DeYoung.

In May 2017, Styx announced their new album The Mission and revealed the first single “Gone, Gone, Gone” featuring Gowan on lead vocals. On the album, Gowan also does lead vocals for “The Greater Good”, “Time May Bend”, and “The Outpost”. He also composed an instrumental piece that he told the other band members doesn’t have a name yet. He was playing it for his dad one time, and he asked Larry what the name was, and he said it doesn’t have a name yet, and when he looked down he saw a picture of the ship that his dad was in when he was in the royal navy in World War II and the name of the ship was Khedive which meant Egyptian ruler. He said it was a fitting name so he gave it that name, and decided to release it on The Mission.

Awards and nominations

The following are Gowan’s Juno nominations:

  • 1983 – Nominated – “Most Promising Male Vocalist of the Year”
  • 1985 – Winner – “Best Video” for “A Criminal Mind” with director Rob Quartly animation and direction by Greg Duffell / Lightbox Studios Inc.
  • 1985 – Winner – “Best Album Graphics” for Strange Animal (awarded to designers Rob MacIntyre and Dimo Safari)
  • 1985 – Nominated – “Male Vocalist of the Year”
  • 1985 – Nominated – “Album of the Year” for Strange Animal
  • 1985 – Nominated – “Best Selling Single” for “A Criminal Mind
  • 1985 – Nominated – “Best Video” for “You’re a Strange Animal” animation by Greg Duffell / Lightbox Studios Inc.
  • 1986 – Nominated – “Best Video” for “Cosmetics” (director: Rob Quartly)
  • 1987 – Nominated – “Male Vocalist of the Year”
  • 1987 – Nominated – “Album of the Year” for Great Dirty World
  • 1987 – Nominated – “Canadian Entertainer of the Year”
  • 1991 – Nominated – “Male Vocalist of the Year”

In 1995, Gowan was presented with the SOCAN award for songs that have won major airplay in 1995 for his song, “Dancing on My Own Ground”.

On 16 November 1998, Gowan received the National Achievement Award from the Society of Composers, Authors and Music Publishers of Canada (SOCAN).

In 2003, Gowan was presented with the SOCAN award (along with three other musicians) for songs that have surpassed the 100,000 radio-airplay mark for his song, “Moonlight Desires”.

In 2011, Gowan was presented with a star on the Scarborough Walk of Fame – Entertainment.

In 2013, Gowan announced he was recording a new studio album, complete with new original material. The album is apparently in production in downtown Toronto at a private studio. According to Gowan, the album is based on an old concept album by Rhinegold, which was written and conceived in the mid-1970s, during their rounds of the Toronto club scene.

In 2018, Gowan’s song “A Criminal Mind” was certified as a Platinum Single in Canada, surpassing a combined 80,000 physical 7″ and digital downloaded units sold.  Gowan was presented with the plaque on stage at his show in Windsor, Ontario at The Colosseum at Caesars Windsor .

Members

  • Lawrence Gowan – lead vocals, keyboards, guitar
  • Danny J. Ricardo – guitar (2010–2014)
  • Ricky Tillo – guitar (2016)
  • Bob McAlpine- guitar (2017)
  • Pete Nunn – keyboards (2010–2013)
  • Emm Gryner – keyboards, backing vocals (2014)
  • Ryan Bovaird – keyboards (2016)
  • Terry Gowan – bass, backing vocals
  • Todd Sucherman – drums, percussion
  • Taylor Mills – backing vocals (2010–2012)
  • Divine Brown – backing vocals (2016)
  • SATE (Saidah Baba Talibah) – backing vocals (2017)

Personal life

Gowan is married to Jan Gowan and has two children.

Lyrics


Out On The Tiles

Key: C

Genre: Blues

Harp Type: Chromatic

Skill: Any

By: Jimmy Page, Robert Plant,
John Bonham
Led Zeppelin
Key: Gb, A

Key: Gb

-2*-2* 4* 4* -5* -3* -2*
As I walk down the high-way
-2*-1*-1*-2* -2* -2* 1*
all I do is sing this song,
1* 1* 4* 4* 4* -5* -3* 3*
And a train that pass-es my way
-2* 1* -2* -2* -2*-2* 1*
helps the rhy-thm move a-long.
1* 4* 4* 4* -5* -3 -2* -3 -2* -3
There is no doubt a-bout the words are clear,
-2* -3 -2* -3 -2* -3 -2* -2*
The voice is strong, is oh so strong.
1* 4* 4*-3* 3* -2*
I’m just a sim-ple guy,
1* 1* -1* -2* -2* -2*-2*
And I live from day to day.
1* 4* 4* 4* -5* -3 3* -2*
A ray of sun-shine melts my frown
1* -1* -2* -2* -2* 1*
and blows my blues a-way,
1* 4* 4* 4* -5* -3 3* -2*
There’s noth-ing more that I can say
-2*-2*-2* -3 -3 -2* -3
but on a day like to-day
-2*-2* -2* -3 -2* -3
I pass the time a-way
-2* -3 -3 -3 -3 -3 -2* -2*
and walk a qui-et mile with you.

Key: A

3* 3* -3 -3 4* -4 4* -4 -43*2
All I need from you is all your love,
3* 3* 3* 3* -3 -3 4* -4 4* -4 -43*2
All you got to give to me is all your love,
3* 3* -3 -3 4*-4-4 4* -4 -43*2
All I need from you is all your love,
3* 3* 3* 3* -3 -34*-4-4 4* -4 -43*2
All you got to give to me is all your love.

Key: Gb

4* 4* 4* -5* -3* -2*
I’m so glad I’m liv-ing
-2* 1* -1* -2* -2* -2*1*
Gon-na tell the world I am,
1* 4* 4* 4* -5* -3* 3* -2*
I got me a fine wom-an and
1* -2* -2* -2* -2* 1*
she says that I’m her man,
4* 4* 4* -5* -3 -2* -3
One thing that I know for sure
-2*-2* -3 -2* -3 -2* -3
Gon-na give her all the loving
-2* -3 -2* -2*
Like no-body can.
4* 4* -3* 3* -2* -2* 1*
Stand-ing in the noon-day sun
-1* -2* -2*-2* -2*
Try’n’ to flag a ride,
4* 4* 4* -5* -3* 3* -2*
Peo-ple go and peo-ple come,
1* 1* -1* -2* -2* -2* 1*
see my rider right by my side,
1* 1* 4* 4* 4* -5* -3 3* -2*
It’s a total dis-grace, they set the pace,
-2* -3 -3-2* -3
it must be a race
-2* -2* -3 -3 -2*-3 -3 -2* -3
And the best thing I can do is run.

Key: A

3* 3* -3 -3 4* -4 4* -4 -43*2
All I need from you is all your love,
3* 3* 3* 3* -3 -3 4* -4 4* -4 -43*2
All you got to give to me is all your love,
3* 3* -3 -3 4*-4-4 4* -4 -43*2
All I need from you is all your love,
3* 3* 3* 3* -3 -34*-4-4 4* -4 -43*2
All you got to give to me is all your love.

Lyrics


Start Me Up

Key: C

Genre: Blues

Harp Type: Chromatic

Skill: Any

7 -7 -7 7 7
If you start me up
7 7 -7 7 7 7 -6 -6 6 -5
If you start me up I’ll never stop

7 -7 -7 7 7
If you start me up
7 -7 -7 7 7 7 -6 -6 6 -5
If you start me up I’ll never stop
7 -7 -7 7 7
I’ve been running hot
7 7 7 7 7 7 7 -7 -7 6 -5
You got me ticking gonna blow my top-
7 -7 -7 7 7
If you start me up
7 7 -7 7 7 7 -6 -6 6 -5
If you start me up I’ll never stop

-7 -7 -7 7 -7 -7 7 6
You make a grown man cry
-6 -7 -7 -7 -6 -7 -7 -7
Spread out the oil, the gasoline
-7 -7 -7 -7 -7 6 7 7 7 7 5
I walk smooth, ride in a mean, mean machine
4 4 4
Start it up

7 -7 -7 7 7
If you start it up
7 7 -7 -7 7 7 7 -6 -6 6 -5
Kick on the starter give it all you got-
-7 -7 7 7 7 7 7 7 7 7 -6 -6 6 -5
I can’t compete with the riders in the other heats
7 -7 -7 7 7
If you rough it up
7 7 -7 7 7 7 -6 -6 -6 -6 -6 -6
If you like it you can slide it up, slide it up

-7 -7 -7 -7 7 7 7 6
Don’t make a grown man cry
-6 -7 -7 -7 -6 -7 -7 -7
My eyes dilate, my lips go green
-7 -7 -7 -7 -7
My hands are greasy
-7 6 7 7 7 7 5
She’s a mean, mean machine
4 4 4
Start it up

-7 -7 -7 7 -7 -7 7 6
You make a grown man cry
-6 -7 -7 -7 -6 -7 -7 -7
Ride like the wind at double speed
-7 -7 -7 -7 -7 -7 6 7 7 7 7 7
I’ll take you places that you’ve never, never seen

-7 7 7
Start it up
7 7 7 7 7 7 -6 -6 -6 -5 -5 -5
Love the day when we will never stop, never stop
4 4 -5 -5 -6 -6 -5
Never never never stop
-7 7 7
Tough me up
4 4 -5 -5 -6 -6 -5
Never never never stop

-7 7 7 7 7 7 7 -6 -5
You, you, you make a grown man cry–

Lyrics


Jeg lagde meg så silde

Key: C

Genre: Blues

Harp Type: Chromatic

Skill: Any

-5* 6 6 6 7* -7 -7 8 8 -8 -8 7 6

Jeg lagde mig saa sildig alt seent om en Kvæld

6 -7 -7 7 6 -6 -6 6 5 -5 6

jeg vidste ingen Kvide til at have.

-5* 6 6 7* -7 8 -8 -8 -7 -8 7 6

Saa kom der da Bud i fra Kjæresten min

6 -7 7 6 -6 -6 6 5 -5 6

jeg maate til hende vel fare.

6 6 8 -8 -8 8 -7 -6* 7* -7

REF: Ingen har man elsked over hende.

Saa gik jeg da mig oppaa høiande Loft

aa klædde mine bedste Klæder

jeg klædde påå mig en Klædning af ny

en Klædning av Bomølske Fløiel.

Saa gik jeg da meg i Stalderen ind

aa klapped Graagangeren paa Bagen

jeg lagde på hannem Salen af Sølv

og Beslet av Guld var beslagen.

Saa rider jeg fire Styver Milervei

mens andre monne sødeligen sove,

som jeg da kom til min Kjærestes Hjem

da mødte jeg min Kjæreste Svoger.

Saa gik jeg da mig oppaa høiande loft

hvor jeg haver været saa mange

der stander de Jomfruer alt uti en Flok

aa pynta min Kjærest til Graven.

Hennes Føder va hvide hennes Fingre va smaa

hennes Øine va blaa som en Due.

Aa bryst havde hun som Sneen uti Huul

aa Munden som Sukker den søde.

Haar havde hun som va spunden av Guld

aa flettet med en liten Fløyels Nøsse.

Hennes Bønner vore saa inderlig te Gud

i Himmerig maate hun møde.

Saa rider jeg et stykke derifra

saa fik jeg høre de Klokkerne klinga

ikke andet jeg vide og ikke andet jeg fornam

end mitt Hjerte i stykker mon springa.

Saa rider jeg te Kirkegaarden frem

da fik jeg see de Klokkerne udvælga

der stander de Jomfruer høviske Mænd

bad mig en anden Ven utvælga.

Vel kan jeg fæste en anden ved min Haand

aldrig finder jeg hennes Liga.

Hennes Liga findes ikke i denne verdens Land

ei heller i de tre Kongerigar.

Lyrics


I Hung My Head (Tremolo)

Key: C

Genre: Blues

Harp Type: Chromatic

Skill: Any

tThis is tabbed for a 24 hole Echo Celeste tremolo

-7 7 -7 6 -5 5 -3 7 -6 5 -3
Early one morning with time to kill
-3 6 -5 5 -5 6
I borrowed Jeb’s rifle
-3 -5 5 -3 5 -3
And sat on the hill
4 6 -5 5 -5 6 -5 5 -3 5 -3
I saw a lone rider crossing the plain
-3 6 -5 5 -5 6
I drew a bead on him
-3 -5 5 -3 5 -3
To practice my aim
6 -5 5 6 -5 4 6 -5 5 -5
My brother’s rifle went off in my hand
4 6 -5 5 -5 4 6 -5 5
A shot rang out across the land
5 -7 7 -6 7 -7
The horse he kept running,
-3 -5 5 -3 -3
The rider was dead
-3 5 5 5 -3 5 5 5
I hung my head, I hung my head

I set off running to wake from the dream
And my brother’s rifle
Went into the stream
I kept on running into the salt lands
And that’s where they found me,
My head in my hands
The sheriff he asked me “Why had I run”
Then it came to me just what I had done
And all for no reason,
Just one piece of lead
I hung my head, I hung my head

Here in the courthouse,
The whole town is there
I see the judge high up in his chair
“Explain to the courtroom
What went through your mind
And we’ll ask the jury
What verdict they find”
I said “I felt the power
Of death over life
I orphaned his children,
I widowed his wife
I beg their forgiveness,
I wish I was dead”
I hung my head, I hung my head

Early one morning with time to kill
I see the gallows up on the hill
And out in the distance
A trick of the brain
I see a lone rider crossing the plain
He’s come to fetch me
To see what they done
We’ll ride together til Kingdom come
I pray for God’s mercy
For soon I’ll be dead
I hung my head, I hung my head

Lyrics


I Hung My Head

Key: C

Genre: Blues

Harp Type: Chromatic

Skill: Any

-6 6 -6 5 -4 4 -3” 6 -5 4 -3”
Early one morning with time to kill
-3” 5 -4 4 -4 5
I borrowed Jeb’s rifle
-3” -4 4 -3” 4 -3”
And sat on the hill
3 5 -4 4 -4 5 -4 4 -3” 4 -3”
I saw a lone rider crossing the plain
-3” 5 -4 4 -4 5
I drew a bead on him
-3” -4 4 -3” 4 -3”
To practice my aim
5 -4 4 5 -4 3 5 -4 4 -4
My brother’s rifle went off in my hand
3 5 -4 4 -4 3 5 -4 4
A shot rang out across the land
4 -6 6 -5 6 -6
The horse he kept running,
-3” -4 4 -3” -3”
The rider was dead
-3” 4 4 4 -3” 4 4 4
I hung my head, I hung my head

I set off running to wake from the dream
And my brother’s rifle
Went into the stream
I kept on running into the salt lands
And that’s where they found me,
My head in my hands
The sheriff he asked me “Why had I run”
Then it came to me just what I had done
And all for no reason,
Just one piece of lead
I hung my head, I hung my head

Here in the courthouse,
The whole town is there
I see the judge high up in his chair
“Explain to the courtroom
What went through your mind
And we’ll ask the jury
What verdict they find”
I said “I felt the power
Of death over life
I orphaned his children,
I widowed his wife
I beg their forgiveness,
I wish I was dead”
I hung my head, I hung my head

Early one morning with time to kill
I see the gallows up on the hill
And out in the distance
A trick of the brain
I see a lone rider crossing the plain
He’s come to fetch me
To see what they done
We’ll ride together til Kingdom come
I pray for God’s mercy
For soon I’ll be dead
I hung my head, I hung my head

Lyrics