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Vincent

 
Artist:

Johnny Vincent

Worked With:

Ron Evans, Rhonda Vincent
  • Born: October 03, 1927, Hattiesburg, MS
  • Genres: Blues
  • Instrument: Producer

Biography

Johnny Vincent was the founder of Ace Records, one of the pioneering forces in New Orleans R&B. Born John Vincent Imbruglio in Laurel, MS, on October 3, 1925, as a teen he earned pocket money by selling used records retired from his parents' restaurant's jukebox, charging a nickel apiece -- by the mid-'40s, the venture was a full-time job, and he serviced 28 jukeboxes across the region. Demand was particularly strong for so-called "race records," in large part because they received airplay on so few radio stations -- by 1946, Vincent was selling records for the William B. Allen Supply Company, traveling throughout the Deep South, scouting for new talent at local roadhouses and becoming friendly with any number of radio station DJs. In 1949 he purchased the Jackson, MS-based Griffin Distributing Company, which enjoyed a lucrative business throughout the state -- the company carried records from the majority of independent R&B labels, and Vincent immersed himself in the music, displaying an uncanny knack for anticipating which singles would click with audiences and, accordingly, how many copies to order. In 1952 Vincent formed his own label, the short-lived Champion -- the first artist he targeted, Arthur "Big Boy" Crudup, was already under contract to RCA Victor, so his Champion debut, "My Baby Boogies All the Time," was simply credited to an alias, Arthur Blues Crump. As his reputation grew, Vincent was hired by Art Rupe, head of the Los Angeles-based Specialty label, to head up A&R, distribution, and promotion. The list of artists Vincent either signed or produced for Specialty is staggering, including the Soul Stirrers (the launching pad of Sam Cooke), John Lee Hooker, Earl King, Reverend C.L. Franklin, Guitar Slim, and Wynona Carr, but in 1954 he was fired -- according to Vincent, Specialty was now thriving, and Rupe no longer wanted to pay him royalties. So Vincent relocated to New Orleans, founding Ace in 1955. The first release on the new imprint, "Shuckin' Stuff," was recorded by local singer Al Collins and produced by Cosimo Matassa in his J&M Studio. Another Crescent City act, pianist Eddie Bo, was the next Ace signing, debuting with "Baby." Country singers Lou Millet and Jimmy & Jack were also on the fledgling roster, as was Cajun performer Al Terry. The company's eighth release was its most notable to date -- Elmore James' "Dust My Broom," first recorded for Trumpet in 1951. Ace did not notch its first chart hit until catalog number 509: Earl King's "Those Lonely, Lonely Nights." Featuring then-unknown Huey "Piano" Smith on keys, the record expanded upon King's traditional 12-bar blues approach to forge a sound that anticipated the coming southern Louisiana "swamp pop" ethos. In all, Vincent issued eight of King's singles on Ace, even creating an alias, Handsome Earl, to issue surplus material on subsidiary label Vin -- however, it was Smith and his group the Clowns who soon emerged as superstars, reaching number 52 on the national pop charts in mid-1957 with the classic "Rockin' Pneumonia and the Boogie-Woogie Flu." A series of nationwide hits, including "Don't You Just Know It" and "Don't You Know Yockomo," followed, and Vincent channeled the revenues back into the label, signing a new stable of acts like Joe Tex, Lightnin' Hopkins, Amos Milburn, and Charles Brown, whose "Please Sing My Blues Tonight" featured the young Mac Rebennack (better known as New Orleans legend Dr. John) on guitar. Ace also began distributing fellow independent labels like KRC and Rex, and by 1958 the roster was so eclectic that it even made room for doo wop acts including the Champions, the Ascots, and the Silhouettes, the latter scoring a major hit with their rendition of "I Sold My Heart to the Junkman." However, Ace's biggest name during the late '50s was Jimmy Clanton. Beginning with 1958's "Just a Dream," which hit the number four spot on the national pop charts, Clanton reeled off a string of nine chart singles as the decade drew to a close. But perhaps the label's most enduring pop hit remains Frankie Ford's "Sea Cruise." Created by Matassa by overdubbing Ford's vocal onto a Huey Smith demo recording, the end result fell just a few notches shy of the national Top Ten in early 1959. Ace's growing emphasis on its white pop acts prompted early signings like Smith and King to defect to rival Imperial, however. Worse, a 1962 promotion and distribution deal with Vee-Jay (which began with great promise when Clanton's "Venus in Blue Jeans" hit the Top Ten) went south when Vee-Jay declared bankruptcy, leaving Vincent to repay a debt of some $650,000 to distributors. Ace never recovered, ultimately declaring bankruptcy of its own, although Vincent struggled to keep the label afloat, reviving the imprint twice in the early '70s alone and trying again in 1990. The Ace masters are currently owned by the U.K. label Westside; Vincent died February 4, 2000, of a heart ailment. He was 74. ~ Jason Ankeny, All Music Guide
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Wikipedia:

Vincent(song)

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"Starry Starry Night" redirects here. For the Don McLean live album, see Starry Starry Night (album).
"Vincent"
Song by Don McLean

from the album American Pie

Published October 1971
Recorded May 1971–June 1971
Length 4:03
Label BGO
Writer Don McLean
Producer Ed Freeman

"Vincent" is a song by Don McLean written as a tribute to Vincent van Gogh. It is also known by its opening line, "Starry Starry Night", a reference to van Gogh's painting The Starry Night. The song also describes different paintings done by the artist.

McLean wrote the lyrics in 1971 after reading a book about the life of the artist.[citation needed] The following year, the song became the number one hit in the U.K. and No. 12 in the U.S[1].

In 2000, PBS aired Don McLean: Starry, Starry Night, a concert special that was filmed in Austin, Texas.

Contents

Song interpretation

Van Gogh's painting "Starry Night"

The song clearly demonstrates a deep-seated admiration for not only the work of van Gogh, but also for the man himself. The song includes references to his landscape works, in lines such as "sketch the trees and the daffodils" and "morning fields of amber grain" - which describe the amber wheat that features in several paintings. There are also several lines that may allude to van Gogh's self-portraits: perhaps in "weathered faces lined in pain / are soothed beneath the artist's loving hand", McLean is suggesting that van Gogh may have found some sort of consolation in creating portraits of himself. There is, too, a single line describing van Gogh's most famous set of works, Sunflowers. "Flaming flowers that brightly blaze" not only draws on the luminous orange and yellow colours of the painting, but also creates powerful images of the sun itself, flaming and blazing, being contained within the flowers and the painting.

In the first two choruses, McLean pays tribute to van Gogh by reflecting on his lack of recognition: "They would not listen / they did not know how / perhaps they'll listen now." In the final Chorus, McLean says "They would not listen / They're not listening still / Perhaps they never will." This is the story of van Gogh: unrecognised as an artist until after his death. The lyrics suggest that van Gogh was trying to "set [people] free" with the message in his work. McLean feels that this message was made clear to him: "And now I understand what you tried to say to me," he sings. Perhaps it is this eventual understanding that inspired McLean to write the song.

It is also thought that the song intends to portray van Gogh's tough relationship with his family. They were a wealthy family who did not accept him for his schizophrenia ("for they could not love you") and never understood his will to help the poor. It is thought that van Gogh felt that in killing himself he would make the point to his parents. This is seen in the line "Perhaps they'll listen now."

There are also references to van Gogh's sanity and his suicide. Throughout his life, van Gogh was plagued with mental disorders, particularly depression. He "suffered for his sanity" and eventually "took [his] life, as lovers often do." In theory, the word "lover" puts into context how McLean saw the relationship of van Gogh with his art – a relationship of love. This love was strong enough for van Gogh to persevere with his art even without acceptance from his contemporaries: "For they could not love you, but still your love was true."

Another theory is that the lines refer to van Gogh's sordid relationship with Paul Gauguin,[2] with whom he had, as with many others, a complex sort of relationship, which was so intense as to lead Van Gogh to think it rational to cut off a part of his left earlobe as a sign of cutting Gauguin out of his life and heart. That led Gauguin, who had also had severe bouts of depression and suicidal tendencies, to distance himself from van Gogh, tumbling the already troubled artist into a schizophrenic depression, the theoretical straw that broke the camel's back.

Notable covers

Trivia

"Vincent" has been featured on the soundtracks of several TV shows, including Heart of Greed, Nip/Tuck, and The Simpsons, in the episode EABF11, Scuse Me While I Miss the Sky.[citation needed]

Rapper and activist Tupac Shakur was born nearly the same time as the song, one of his favorites, was recorded. He wrote a poem dedicated to Vincent Van Gogh, to whom he felt a deep connection.[citation needed]

In Tupac Shakur's final hours in hospital, the song was played over and over.

The Van Gogh museum in Amsterdam played the song daily in the 1970s and a copy of the sheet music, together with a set of Van Gogh's paint brushes, is buried in a time capsule beneath the museum.[3]

In a 2001 McSweeney's Internet Tendency piece, humorist Kevin Guilfoile reinterpreted the song's lyrics in a carefully constructed conceit: ignoring all accepted connections with Van Gogh, he interprets its lyrics as being about American football.[4]

This song was the favourite of the legendary British footballer George Best and was sung at his funeral in 2005 by Brian Kennedy.

The song was used as the soundtrack of a video entitled "Watch the World(s)" by artist Robbie Dingo, showing his 3D recreation of The Starry Night in Second Life.

References

  1. ^ http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:kifuxqe5ldfe~T51
  2. ^ http://en.wikipedia.org/wiki/Van_Gogh ,see article for further references
  3. ^ Don McLean's official website, "Vincent (Starry Starry Night)".
  4. ^ Kevin Guilfoile, Beyond American Pie: Interpreting Symbolism and Allegory in the Other Songs of Don McLean, McSweeney's Internet Tendency.
Preceded by
"Metal Guru" by T Rex
UK number one single
June 17, 1972 for two weeks
Succeeded by
"Take Me Bak 'Ome" by Slade

 
 
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