Pierce Brosnan’s 007

Guest Blogger: Tom DeMichael, author of James Bond FAQ. Today, we celebrate Pierce Brosnan’s 60th birthday with a reflection on his iconic role as 007.

Celebrating his sixtieth birthday today, Pierce Brosnan was well-known in the 1980’s as the title character of private investigator Remington Steele, from the ABC-TV show of the same name. But that notoriety nearly cost him the role of James Bond.

Pierce Brendan Brosnan was born in County Meath, Ireland. An only child to mother May, Pierce’s dad, Thomas, was a carpenter who walked out on the family after only a few years. May moved to London to seek work as a nurse, leaving Pierce to move among relatives, friends, and even a Christian Brothers mission. In a 1997 interview in Cigar Aficionado magazine, Brosnan admitted, “It wasn’t all bleak…you learn how to create your own happiness.” When May remarried, eleven year-old Pierce joined the couple in London. One day, stepdad William took the boy to the cinema to see a film called Goldfinger. Young Pierce was very impressed, realizing, “…James Bond was very cool.”

Brosnan attended school to be a commercial artist and landed an apprentice job in a small South London studio at the age of eighteen. But he had become enamored with movies and, at the urging of a co-worker, joined up with a local theater workshop. Soon, they had formed the Oval House Theater Company and Pierce quit his art job. He waited tables, cleaned houses, anything that allowed him to be free to act in the evenings. Brosnan attended drama school, acting in repertory theater and London West End productions like Red Devil Battery Sign by Tennessee Williams. The playwright had personally selected Brosnan for the lead role.

British theater led to appearances in British TV by 1980. His wife, actress Cassandra Harris, landed a supporting role in the 1981 Bond flick For Your Eyes Only. Brosnan would amuse Harris by offering his impression of 007 when he would drive her home from the studio (Perhaps a view of things to come for Brosnan. Tragically, Harris would succumb to ovarian cancer in 1991.) A successful 1981 ABC-TV mini-series, The Manions of America, lead to Brosnan’s casting in NBC-TVs Remington Steele in 1982. The detective show ended up being in the top twenty-five TV ratings, but was canceled after four seasons as those numbers waned. Broccoli recalled Brosnan from the For Your Eyes Only days and he tested for the role of Bond for the upcoming The Living Daylights. Pleased with the results, producers named Pierce Brosnan as the new James Bond.

Apparently, NBC read the trade papers that day and, realizing the ratings boost having the “next James Bond” would give the network, they immediately renewed Brosnan’s contract as Remington Steele – effectively blocking his chances to play Bond. Ironically, the series would only air six episodes before getting the axe once more, but the damage was done. The Living Daylights would shoot with Timothy Dalton as 007.

Brosnan was understandably upset, but continued to work on TV and in films, including hits like Lawnmower Man in 1992 and Mrs. Doubtfire in 1993. When the 007 legal snafus were cleared up in 1994, it became apparent that Pierce Brosnan would be Bond in GoldenEye (over suggestions that included Mel Gibson and Ralph Fiennes) and it wouldn’t be enough to rescue the world – this time, he was expected to rescue the character from oblivion.

So, with that small task at hand, it was Pierce Brosnan who brought Bond into the 21st Century. It was Pierce Brosnan who had to come to terms with a new boss – still M, but this time, a female (gasp!). It was Pierce Brosnan that, with his four Bond films, brought nearly $1.5 BILLION to box offices worldwide. In his four turns as James Bond, Pierce Brosnan brought the suave and calm demeanor to the character that one would expect from an experienced performer. In 1995, he told Big Screen magazine, “The way I see James Bond is as a man with a passion to get the job done…This film is…not a cure for cancer, it’s supposed to be fantasy.” Film critics like Roger Ebert praised his portrayal of 007, offering that Brosnan was  “…somehow more sensitive, more vulnerable, more psychologically complete, than the (other) Bonds.” High praise, indeed.

No matter, producers Barbara Broccoli and Michael G. Wilson decided to (get ready, here it comes…) “reboot” the role of Bond once more in 2005, just as Brosnan was in negotiations for a fifth whirl as 007. In a 2005 interview for Premiere magazine, he said, “It would have been sweet to go back for a fifth…It would have been wonderful to go out there for one last game and pass the baton.” Less poetically, he added, “…it f***ing sucks.”

Since leaving the world of Bond, Brosnan has worked steadily in films, with a wide variety of genres – drama, comedy, romance, western – even singing his own parts in Mamma Mia!, the quirky musical featuring the music of ABBA.

Like several of the actors who played 007, Brosnan has used his celebrity status to further many philanthropic causes. He has championed environmental activities by organizations like Save the Whales and Global Green, among others. Brosnan’s work for children’s welfare includes First Star and UNICEF in his home country in Ireland. The actor has also supported animal rights and women’s health.

James Bond FAQ is a book that takes on the iconic cinema franchise that’s lasted for so many years. Sometimes serious as SPECTRE, sometimes quirkier than Q, but always informative, this FAQ takes the reader behind-the-scenes, as well as in front of the silver screen. Everyone’s included: Connery, Lazenby, Moore, Dalton, Brosnan, and Craig; little-known facts about TV’s first shot at 007, the same Bond story that was made into two different films; whatever happened to those wonderful cars and gizmos that thrilled everyone; plus much more. It’s a book for the casual, as well as hardcore, James Bond fan.

20 Essential Live Reggae Albums

The following is an excerpt from If You Like Bob Marley… by Dave Thompson.

As the album that spawned the original hit version of “No Woman, No Cry,” the song that remains Bob Marley’s best-loved (and most-covered) number, the Wailers’ 1975 Live album ignited a trend for in-concert recordings that persisted for much of the next decade, at least in western markets. More recently, the regular release of archived live recordings from the same period has done much to distill the importance of such documents—even the original “No Woman, No Cry” has been supplanted on certain Marley compilations by other live recordings.

Nevertheless, an hour or so spent in the company of a great live album is almost . . . almost . . . as good as being there; or, at least, know­ing somebody who was. And here are ten of the very greatest.

Trojan Reggae Party—various artists (1971)

Recorded live in London in 1971, and the soundtrack to many a period party, Trojan Reggae Party preserves punchy performances from the Cimarons, Bruce Ruffin, Nicky Thomas, the Pioneers, Dandy Living­stone, Greyhound, and more. (All had scored U.K. hits recently, with Thomas’s impassioned “Love of the Common People” and Ruffin’s loopy “Mad About You” especially outstanding.) Hard to find, and ex­pensive when it does turn up, but a seriously magnificent album.

Live—Burning Spear (1977)

Recorded on Burning Spear’s sensational visit to London in 1977, where he was accompanied by local reggae band Aswad, Live is an electrifying set that could easily be his best album ever.

Live—U-Roy (1978)

Not an album per se, Live was a twelve-inch EP capturing highlights of the DJ’s summer 1976 visit to the U.K. Recorded at the Lyceum Ballroom, with Sly and Robbie in thunderous attendance, it whets the appetite for more. Which, sadly, has still to be delivered.

Prisoner in the Street—Third World (1980)

Third World’s studio output often painted them as the soft and sweeter side of roots reggae. This set tears expectations to shreds, delivering wildfire eruptions through “96 in the Shade,” “African Woman,” and the title track, keeping it up so long that the vinyl has practically melted by the time you hit the end.

Live at the Music Machine—Dillinger (1981)

Recorded in London before a deliriously packed house, it is no surprise to find this album has since been repackaged as The Best of Live. Because that is what it is, as Dillinger travels through all his best-known numbers: “Natty Don’t Need Glasses,” “Roots Natty Congo,” “CB 200,” “Judgement Time,” and, of course, “Cocaine in My Brain,” a thumping celebration of white powder and its power, together with a lesson in literacy that the crowd that night knew by heart.

Live at Reggae Sunsplash—Big Youth (1983)

He opens with “I Pray Thee”/“Satta Massagana”; closes with “Hit the Road Jack”; and, in between, delivers a seething greatest-hits collection that is topped by what might be a career-best “Green Bay Killers.”

Live at the Controls at Jack Ruby Sound Ocho Rios J.A. —Brigadier Jerry (1983)

A blistering dancehall celebration, with the Brigadier joined by fellow stars Sammy Dread, Michael Prophet, and, sounding great in the midst of things, the veteran Dennis Brown.

Junjo Presents Two Big Sounds—various artists (1983)

The album that introduced the world to Beenie Man, a wild DJ collection that also features Dillinger, Michael Irie, Fathead, and Ringo, recorded live at 82 Chisholm Avenue, Kingston, in early 1983.

Prince Jammy and the Striker Lee Posse Presents Music Maker Live at the Halfway Tree Jamaica —various artists (1984)

Horace Andy, Chaka Demus, Don Carlos, Super Liki, and many more gather for a night of high-energy dancehall mania. Raw and unproduced to some ears, this album redefines excitement.

Live in Tokyo—Augustus Pablo (1991)

Pablo’s reluctance to tour is good reason why there are no live recordings from his earlier period; but this set, dating from his first-ever visit to Japan in 1991, catches him making up for lost time.

Vibes Alive—Israel Vibration (1992)

Recorded in California the previous year, the long-running saga of Israel Vibration hits the road with the ever-seething Roots Radics.

Live On—Wailing Souls (1994)

Another album that you wish could have been recorded a decade-and-a-half before, but it wasn’t, so you live with it. And that really isn’t that great a hardship.

Party in Session Live—Michael Rose (1997)

Recorded at various halts on former Black Uhuru frontman’s Michael Rose’s 1997 U.S. tour, what could have been a wearying set of revivals instead morphs into a magical celebration of past and present.

Cultural Livity—Live 1998—Culture (1998)

Spanning the years with a crowd-pleasing set, Cultural Livity scarcely remedies the absence of a 1970s concert recording from this most powerful of live bands, but it’s still hot. Especially if you can ignore the keyboards.

Live at Reggae Sunsplash 1994—Garnett Silk (1999)

Garnett Silk was poised to become the biggest reggae star of his era when he was killed in a house fire in December 1994. Recorded at Sunsplash earlier that same year, this is thus the sound of Silk at his peak, neither beholden to the familiar versions of his greatest hits, nor particularly interested in them. If you own just one Silk album, make sure it is this one.

Live—Ziggy Marley and the Melody Makers (2000)

A handful of his father’s songs could, but do not, overshadow Ziggy Marley and the Melody Makers’ own material on an album that captures all the joy and excitement of a period Melody Makers gig.

Words of Truth—Sizzla (2000)

Two CDs for the price of one: a new studio collection and a savage Sizzla live set that is alone worth the price of admission.

Live—Luciano (2000)

The king of the 1990s roots-consciousness revival, Luciano is caught live at the end of the decade he dominated with a set that shows you how he accomplished such.

Live in Paris—Yami Bolo (2000)

Yami Bolo’s version of “Curly Locks,” which turns up at the end, is what clinches this as a fabulous album—but the entire performance is spot on.

Live in San Francisco—Capleton (2007)

Too many live albums are now delivered as DVDs these days, and the pros and cons of that approach are for you to decide. This stunning Capleton set, however, repeats the concert on an audio disc, and it’s definitely worth diving into.

If You Like Bob Marley… is the unique and utterly compulsive story of the King of Reggae, told not through the life and times of Marley himself, but through the music and magic of the musicians who grew up around and under the influence of Bob Marley and his band, the Wailers.

Houses of the Holy

Guest Blogger: Rikky Rooksby is the author of many musical how-to books such as How to Write Songs on Guitar or Arranging Songs. Below is an excerpt from his blog. Please visit his site to read the whole article.

Houses of the Holy

As Dave Lewis (see the http://www.tbl.com website and Record Collector magazine feature) reminds us, March saw the 40th anniversary of the release of Led Zeppelin’s fifth album. Having numbered their first three LPs and titled the fourth with four symbols, they more conventionally gave the fifth a title: Houses of the Holy (a reference to their audiences and concert halls). The Zeppelin mystique was assuaged by the fact that the title was not printed on the sleeve but came as a paper wrap-around. The sleeve itself was a strikingly tinted photo montage of the Giant’s Causeway. Nor did the album contain the song ‘Houses of the Holy’, which was eventually released in 1975 on Physical Graffiti.

Houses of the Holy was a hugely-anticipated album, following the band’s elevation to international fame during the preceding two years, and the fourth album which contained ‘Stairway To Heaven’. Many were hoping for another ‘Stairway’ on the new album, and Robert Plant revealed in one interview that the band did indeed have a song metaphorically fired from the same cannon. This was ‘The Rain Song’, a very attractive altered-tuning ballad with rising and falling dynamics. The remaining seven songs included the uptempo rollercoaster ‘The Song Remains The Same’, the delightful acoustic / electric mix of ‘Over The Hills and Far Away’, the heavy rock winter nocturne of ‘No Quarter’, the unbuttoned and joyful rifferama of ‘The Ocean’ (its opening riff combing a bar of 4/4 with one of 7/8), and the two controversial tracks ‘D’Yer Mak’er’ and ‘The Crunge’.

These were received by the more prog-rock ‘hairy’ part of Zep’s audience as ideological crimes: the first for being reggae and the other for being James Brown funk, and both for being apparently Not Serious. How dare Zep waste several inches of vinyl bandwidth on musical jokes! was the cry. What happened to the Viking-horde-clamouring-for-Valhalla head-banging which was what the World’s Official Heaviest Band were supposed to deliver?

Keep reading on Rikky Rooksby’s blog!

Rikky Rooksby is a guitar teacher, songwriter/composer, and writer on popular music. Considered the premiere author of songwriting guides, Rooksby has also written numerous music history and guitar instruction books and has published over 200 interviews, reviews, articles, and transcriptions in music magazines. He has also transcribed and arranged more than 40 chord songbooks, including music by Bob Dylan, Bob Marley, David Bowie, Eric Clapton, The Beatles, and many other artists.

A member of the Guild of International Songwriters and Composers, Rooksby is also a sought-after teacher who leads courses on music at The Oxford Experience and other international continuing education summer schools.

Jokes for Film Composers

Guest Post: Jonathan Feist is the author of Project Management for Musicians, published by Berklee Press, distributed by Hal Leonard.

Here’s a joke about a film composer that I like to tell to my project management students—among other reasons, because there just aren’t enough jokes about film composers, out there! It nearly made it into my book, Project Management for Musicians, but I had to cut it out, due to space constraints.

So, this film composer goes to his doctor, and says, “Doc, I’m supposed to be finishing up a film score, but I just can’t concentrate. I wonder if there’s something wrong with me. Maybe I have Lyme Disease?”

The doctor looks at him and says, “Lyme Disease! Did you see a bullseye rash? Do you have any joint pain?”

The composer says, “Well, I’m a little sore, but I think that’s just from skiing last weekend. We went to Aspen for a few days. I was hoping the mountain air would clear my head. But no dice, I still can’t write.”

The doctor asks, “What about your reflexes? Do you notice any change in your hand-eye coordination?”

The composer says, “Hmm, nah, in fact, I just got my highest score ever playing Guitar Hero with my daughter. We play every day for a couple hours when she gets home from school. My reflexes are in tip-top shape.”

The doctor thinks for a minute, then asks, “Tell me, how many drinks do you have in a week?’

The composer shrugs and says, “Not too many, really. Maybe a beer at lunch. A couple glasses of wine at dinner. But not to excess, I’m not a real big drinker.”

The doctor nods, frowns, and says, “Hmm, I think I know what’s wrong with you. “

“You do?”

Yes,” he says. “I’m afraid, there’s something wrong with your butt.”

“With my butt?!” cries the composer, shocked.

“Yes,” says the doctor. “It’s too far from your chair!”

Do you also suffer from CBPS— Chair/Butt Proximity Syndrome? It’s a common affliction, in music as with any profession. Studying project management can help!

Project Management for Musicians

Get organized, and take charge of your music projects! This book will help you harness your creativity into clear visions and effective work plans. Whether you are producing a recording, going on tour, developing a studio, launching a business, running a marketing campaign, creating a music curriculum, or any other project in the music industry, these road-tested strategies will help you to succeed. Music projects come in all sizes, budgets, and levels of complexity, but for any project, setting up a process for planning, executing, and monitoring your work is crucial in achieving your goals. This book will help you clarify your vision and understand the work required to complete it on time, within budget, and to your highest possible quality standard. It is a comprehensive approach, with hundreds of music industry-specific tools for keeping your work on track, mitigating risk, and reducing stress, so that you can complete your project successfully. You will learn to: develop work strategies; delegate tasks; build and manage teams; organize your project office; develop production schedules; understand and organize contracts; analyze risk; and much more.

U2′s Controversies

In honor of Bono’s 53rd birthday today, we’re sharing some of U2′s more entertaining controversies, excerpted from the pages of U2 FAQ: Anything You’d Ever Want to Know About the Biggest Band in the World…And More! by John D. Luerssen (Backbeat Books).

1. Jamaica Mistake-a
On January 16, 1996, Bono and his family wound up on the receiving end of police gunfire when his plane landed in Negril, Jamaica. Planning to meet up with Adam Clayton on the island, somehow local police were of the belief that a plane loaded with drugs would be landing in the same area around the same time. When the gunfire finally stopped, the Hewsons, Chris Blackwell, and Jimmy Buffett were offered an apology by the local police, who had fired at the wrong plane.

2. Oasis Kiss
In March 1996, a photo of Bono and Liam Gallagher of Oasis sharing an open-mouthed kiss caused a stir. Taken backstage at the Point Depot in Dublin, fans of both bands quickly derived that it was an alcohol-fueled joke, but not before the media got a lot of mileage out of it. Bono confirmed this to Rolling Stone in 1999, saying, “Actually, what happened was he had a guitar pick in his mouth, and he dared me to take it off him while the paparazzi were standing around. I couldn’t resist.

3. Tabloid Trash
In September 1998, U.K. tabloid the Daily Star published photos of Bono’s bare ass. Bono had been changing his clothes on an Italian beach during a vacation with his wife Ali at the time the paparazzi snapped his bottom. The couple sued the paper for invasion of privacy.

4. Shut Up, Paul
In June 2008, after Paul McGuinness suggested that Radiohead’s 2007 pay-what-you-like download release of In Rainbows had backfired, Bono announced his disagreement with U2′s long running manager. Bono called the Thom Yorke-fronted band “courageous and imaginative in trying to figure out some new relationship with their audience,” in an open letter to the music weekly NME. Calling Radiohead a “sacred talent,” Bono added, “such imagination and courage are in short supply right now,” and explained that U2 “feel blessed to be around at the same time.”

In U2 FAQ, award-winning music journalist John D. Luerssen goes beyond the essential facts, delving into the legendary fables and unique anecdotes that make U2 FAQ an indispensable read for all U2 disciples. How did Bono recover his cherished suitcase of lyrics 23 years after its 1981 disappearance? What movie dialogue is sampled in the middle of “Seconds”? What effect did bull’s blood have on Larry’s drumming? How did Bono’s visit to Central America inform The Joshua Tree? What are the details of Adam’s 1989 marijuana bust? How did Mick Jagger wind up on All That You Can’t Leave Behind? These are just some of the topics U2 FAQ explores.

Happy Birthday, Billy Joel!

Today is music legend Billy Joel’s 64th birthday. Enjoy an excerpt from Hank Bordowitz’s book, Billy Joel: The Life and Times of an Angry Young Man. 

Billy was the first artist to perform, in 1990, to back-to-back, standing-room-only audiences at 54,000-seat Yankee Stadium. In 1992, he was inducted into the Songwriters Hall of Fame, and in 1999 into the Rock and Roll Hall of Fame. In 1994, he received the Billboard Century Award, and he’s been awarded doctorates in humane letters. Billy’s popularity helped power the series of “Face to Face” tours with Elton John into some of the most successful live events of all time, setting attendance records around the world. Despite not having written a song in more than a decade and having turned his compositional talents to the composed classical music arena, he remains one of the few acts that can practically guarantee a sellout on the touring circuit.

If this weren’t enough, a Broadway show, Movin’ Out, featuring Billy’s songs and Twyla Tharp’s choreography to tell a story in the best tradition of ballet, has been running for nearly three years as of this writing, and has spawned a touring company, allowing Billy to have his music tour while he stays home in the Hamptons.

That said, anyone who has followed his career and his very public (much to his chagrin) private life doesn’t need to be Freud to figure out that Billy Joel has, as modern parlance would have it, issues. He has spent most of his career at war with the media in general and music critics in particular. Early in his career, he was not entirely wrong to rail. Critics didn’t “get” the musically mercurial Billy. “Critics have accused Joel of trying to have it all ways,” Time Magazine writer Tony Schwartz noted as Billy started flirting with stardom in the late ’70s, “but it’s precisely his capacity to blend old-fashioned melodies, literate lyrics and a rock ’n’ roll spirit that makes him special.”

 

Billy Joel: The Life and Times of an Angry Young Man is a look at the superstar’s entire career, including his troubled youth as a gang member; the controversy surrounding his first hit, “Captain Jack”; his legal problems; his storied marriage with Christie Brinkley; and his continued artistic frustration. “The Beatles did ‘Michelle’ and ‘Yesterday,’” he has said. “They also did ‘Revolution’ and ‘Helter Skelter’ and they weren’t pegged as balladeers. But because I had hit singles that were ballads, I became known as a balladeer. I’ve always resented it.”

David Popper: Cellist and Composer

Guest Blogger: Janet Horvath is the author of Playing Less Hurt. Here is an excerpt of her article on David Popper at Interlude.

David Popper

Composer and cellist David Popper is well known among cellists. His High School of Cello Playing is our Bible—40 Études comprising every acrobatic feat of cello pyrotechnics.

Popper was born among the narrow streets of the Jewish ghetto of Prague, Czechoslovakia June 16, 1843. David was five years old when in 1848 the Hapsburg emperor granted civil equality to the Jews and their isolation in the ghetto ended. The gloomy, unhealthy homes of the ghetto made a lasting impression on Popper despite the fact that most of his music is cheery and uplifting. The family was able to move out of the area when Popper was eight years old. By then employment restrictions had been lifted and some trades were permitted, as was being a musician.

Popper’s father was a Cantor—the religious leader who sings the prayers in the Synagogue. At a very young age Popper began to imitate his father’s singing. Popper’s talent was such that he was allowed to study with the famed cello pedagogue Julius Goltermann, (a name cellists are familiar with due to his cello compositions.)

In December of 1862 Popper was bestowed the coveted title of “Kammervirtuoso” by Prince Constantine Hohenzollern-Hechingen. In appreciation, Popper composed a series of pieces that are among his most cherished works Arlequin and Papillon from the Six Character Pieces. Conductor Hans von Bülow, heard Popper perform and was so impressed with the young man that he helped arrange a concert tour for Popper, his first, in 1863. As a solo cellist Popper had the opportunity to try his own compositions as well as to perform the major works for cello and orchestra. He was always dedicated to the music of his time, premiering several new cello concertos.

Find out more about David Popper on Janet Horvath’s blog!

Playing Less Hurt

Making music at any level is a powerful gift. While musicians have endless resources for learning the basics of their instruments and the theory of music, few books have explored the other subtleties and complexities that musicians face in their quest to play with ease and skill. The demands of solitary practice, hectic rehearsal schedules, challenging repertoire, performance pressures, awkward postures, and other physical strains have left a trail of injured, hearing-impaired, and frustrated musicians who have had few resources to guide them.

Playing Less Hurt addresses this need with specific tools to avoid and alleviate injury. Impressively researched, the book is invaluable not only to musicians, but also to the coaches and medical professionals who work with them. Everyone from dentists to orthopedists, audiologists to neurologists, massage therapists and trainers will benefit from Janet Horvath’s coherent account of the physiology and psyche of a practicing musician. Writing with knowledge, sympathetic insight, humor, and aplomb, Horvath has created an essential resource for all musicians who want to play better and feel better.