June 11, 1968: John Lennon recorded "Revolution 9" in one studio at Abbey Road while Paul McCartney recorded "Blackbird" in another for The White Album.
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Although it is Bob Dylan who is the single most important figure in rock and roll; and although it is the Rolling Stones who are the embodiment of a rock and roll band; it is nonetheless Our Boys.
Read more: Rolling Stone
June 11, 1957: Elvis Presley released the single "(Let Me Be Your) Teddy Bear."
Although “Teddy Bear” was one of Elvis’s most successful singles on the charts and in record sales, it has continued to be dismissed in every serious discussion of Presley’s most important recordings.
Read more: Elvis History Blog
June 11, 1979: The Knack released the album Get the Knack.
In early 1979, the band entered the studio with producer Mike Chapman to begin work on their debut. Get the Knack was wrapped up in less than two weeks.
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| Get the Knack album cover |
"I don't think we did two takes on any song, except for 'Maybe Tonight,'" Fieger once said. "What we had to do was make the record quickly," added Chapman, "because to labor over it would have taken that spontaneity out of it."
Read More: Ultimate Classic Rock
June 11, 1986: Ferris Bueller's Day Off hit theaters. Matthew Broderick leads a parade through downtown Chicago to The Beatles "Twist And Shout" and the song soon returns to the charts.
You don't hear a lot of Beatles music in modern movies, unless you are a movie like Across the Universe, which is structured around Beatles classics. Maybe it's because Ferris Bueller's Day Off poisoned the well.
John Hughes's epic anti-school comedy has a show-stopping musical number set to The Beatles' 1963 earworm Twist and Shout, but we are learning -- thirty years later -- that changes Hughes made to the song pissed off executives at EMI.
Read more: Cinema Blend
June 11, 1988: George Michael's album Faith had been bumped from Number 1 three times on the Album chart and each time, it returned to the top spot. On this date, it was in week number 11 at Number 1.
In 1986, George Michael wandered deep into himself. He realized that, at some point in the five years he had recorded and toured with his bandmate Andrew Ridgeley in Wham!, he had completely lost track of who he was. Michael felt isolated, anxious over what to do next—the future seemed elusive and unstable, as precarious as a song’s placement on the pop charts.
Read more: Pitchfork
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