Month: May 2012

Folk musician Doc Watson dies in NC hospital at 89

RALEIGH, N.C. (AP) — Doc Watson, the blind Grammy-award winning folk musician whose mountain-rooted sound was embraced by generations and whose lightning-fast style of flatpicking influenced guitarists around the world, died Tuesday at a North Carolina hospital, according to a hospital spokeswoman and his manager. He was 89.

Watson died at Wake Forest Baptist Medical Center in Winston-Salem, where he was hospitalized recently after falling at his home in Deep Gap, in the Blue Ridge Mountains. He underwent abdominal surgery while in the hospital and had been in critical condition for several days.

Arthel “Doc” Watson’s mastery of flatpicking helped make the case for the guitar as a lead instrument in the 1950s and 1960s, when it was often considered a backup for the mandolin, fiddle or banjo. His fast playing could intimidate other musicians, even his own grandson, who performed with him.

Richard Watson said in a 2000 interview with The Associated Press that his grandfather’s playing had a humbling effect on other musicians.

“Everybody that’s picked with you says you intimidate them, and that includes some of the best,” Richard Watson told him.

The ever-humble Doc Watson found it hard to believe.

Country and bluegrass singer Ricky Skaggs said Tuesday evening, “An old ancient warrior has gone home.”

“He prepared all of us to carry this on,” Skaggs added. “He knew he wouldn’t last forever, He did his best to carry the old mountain sounds to this generation.”

Doc Watson was born March 3, 1923 in Deep Gap, about 100 miles northwest of Charlotte. He lost his eyesight by the age of 1 when he developed an eye infection that was worsened by a congenital vascular disorder, according to a website for Merlefest, the annual musical gathering named for his late son Merle.

He came from a musical family — his father was active in the church choir and played banjo and his mother sang secular and religious songs, according to a statement from Folklore Productions, his management company since 1964.

Doc Watson’s father gave him a harmonica as a young child, and by 5 he was playing the banjo, according to the Merlefest website. He learned a few guitar chords while attending the North Carolina Morehead School for the Blind in Raleigh, and his father helped him buy a Stella guitar for $12.

“My real interest in music was the old 78 records and the sound of the music,” Doc Watson is quoted as saying on the website. “I loved it and began to realize that one of the main sounds on those old records I loved was the guitar.”

The wavy-haired Watson got his musical start in 1953, playing electric lead guitar in a country-and-western swing band. His road to fame began in 1960 when Ralph Rinzler, a musician who also managed Bill Monroe, discovered Watson in North Carolina. That led Watson to the Newport Folk Festival in 1963 and his first recording contract a year later. He went on to record 60 albums, and wowed fans ranging from 60s hippies to fans of traditional country and folk music.

According to the Encyclopedia of Country Music, Watson took his nickname at age 19 when someone couldn’t pronounce his name and a girl in the audience shouted “Call him Doc!”

Seven of his albums won Grammy awards; his eighth Grammy was a lifetime achievement award in 2004. He also received the National Medal of the Arts from President Bill Clinton in 1997.

“There may not be a serious, committed baby boomer alive who didn’t at some point in his or her youth try to spend a few minutes at least trying to learn to pick a guitar like Doc Watson,” Clinton said at the time.

Folklore described Watson as “a powerful singer and a tremendously influential picker who virtually invented the art of playing mountain fiddle tunes on the flattop guitar.”

Countless guitarists tried to emulate Watson’s renditions of songs such as “Tennessee Stud,” ”Shady Grove,” and “Deep River Blues.”

Doc Watson’s son Merle began recording and touring with him in 1964. But Merle Watson died at age 36 in a 1985 tractor accident, sending his father into deep grief and making him consider retirement. Instead, he kept playing and started Merlefest, an annual musical event in Wilkesboro, N.C., that raises money for a community college there and celebrates “traditional plus” music.

“When Merle and I started out we called our music ‘traditional plus,’ meaning the traditional music of the Appalachian region plus whatever other styles we were in the mood to play,” Doc Watson is quoted as saying on the festival’s website. “Since the beginning, the people of the college and I have agreed that the music of MerleFest is ‘traditional plus.'”

Doc Watson has said that when Merle died, he lost the best friend he would ever have.

He also relied on his wife, Rosa Lee, whom he married in 1947.

“She saw what little good there was in me, and there was little,” Watson told the AP in 2000. “I’m awful glad she cared about me, and I’m awful glad she married me.”

In a PBS NewsHour interview before a January appearance in Arlington, Va., Watson recalled his father teaching him how to play harmonica to a tune his parents had sung in church, as well as his first bus trip to New York City to perform in the early 1960s. He gave an early solo performance at Gerde’s Folk City in Greenwich Village, a hot spot for the folk music revival, and later played Carnegie Hall.

Telling the stories in a folksy manner, he broke into a quiet laugh at various points. He said he still enjoyed touring.

“I love music and love a good audience and still have to make a living,” Watson said. “Why would I quit?”
Musician Sam Bush, who has performed at every Merlefest, began touring with Doc and Merle Watson in 1974, occasionally substituting for Merle when he couldn’t travel.

“I would sit next to Doc, and I would be influenced by his incredible timing and taste,” Bush said after Watson’s recent surgery. “He seems to always know what notes to play. They’re always the perfect notes. He helped me learn the space between the notes (are) as valuable as the ones you play.”

Bush said he was also intimidated when he began playing with the man he calls “the godfather of all flatpickers.”

“But Doc puts you at ease about that kind of stuff,” Bush said. “I never met a more generous kind of musician. He is more about the musical communication than showing off with hot licks.”

His blindness didn’t hold him back musically or at home.

Joe Newberry, a musician and spokesman for the N.C. Department of Cultural Resources, remembered once when his wife called the Watson home. Rosa Lee Watson said her husband was on the roof, replacing shingles. His daughter Nancy Watson said her father built the family’s utility shed.

Guitarist Pete Huttlinger of Nashville, Tenn., said Doc Watson made every song his own, regardless of its age. ‘He’s one of those lucky guys,” said Huttlinger, who studied Watson’s methods when he first picked up a guitar. “When he plays something, he puts his stamp on it — it’s Doc Watson.”

He changed folk music forever by adapting fiddle tunes to guitar at amazing tempos, Huttlinger said. “And people all over the place were trying to figure out how to do this,” he said. “But Doc, he set the bar for everyone. He said, ‘This is how it goes.’ And people have been trying for years to match that.

“He took it (the guitar) out of the background and brought it upfront as a melody instrument. We’re no longer at the back of the class. He gave the front to us.”

Wayne Martin, executive director of the North Carolina Arts Council, said recently that Watson took southern Appalachian forms of music such as balladry, old-time string music and bluegrass, and made them accessible.

“He takes old music and puts his own creativity on it,” Martin said. “It retained its core, yet it felt relevant to people today.”

Said Bush: “I don’t think anyone personifies what we call Americana more than Doc Watson.”

North Carolina Gov. Beverly Perdue said in a statement Tuesday evening that Watson will be missed.
“Over his long and brilliant career, Doc Watson traveled the world playing the music he loved, but his heart never strayed far from his home in Deep Gap, N.C.,” Perdue said. “Our state was fortunate to have such a worldwide ambassador of North Carolina’s culture and heritage.”

In 2011, a life-size statue of Watson was dedicated in Boone, N.C., at the spot where Watson had played decades earlier for tips to support his family, according to the Folklore statement. At Watson’s request the inscription read, “Just One of the People.”

Bee Gees’ Robin Gibb dies after long cancer battle

LONDON (AP) — With his carefully tended hair, tight trousers and perfect harmonies, Robin Gibb, along with his brothers Maurice and Barry, defined the disco era. As part of the Bee Gees — short for the Brothers Gibb — they created dance floor classics like “Stayin Alive,” ”Jive Talkin’,” and “Night Fever” that can still get crowds onto a dance floor.

The catchy songs, with their falsetto vocals and relentless beat, are familiar pop culture mainstays. There are more than 6,000 cover versions of the Bee Gees hits, and they are still heard on dance floors and at wedding receptions, birthday parties, and other festive occasions.

Robin Gibb, 62, died Sunday “following his long battle with cancer and intestinal surgery,” his family announced in a statement released by Gibb’s representative Doug Wright.

Gibb was the second disco-era star to die this week. Donna Summer — who earned the Queen of Disco title by singing “Last Dance” and “I Feel Love” — died of cancer in Florida on Thursday.

The Bee Gees, born in England but raised in Australia, began their career in the musically rich 1960s but it was their soundtrack for the 1977 movie “Saturday Night Fever” that sealed their success. The album’s signature sound — some called it “blue-eyed soul” — remains instantly recognizable more than 40 years after its release.

The album remains a turning point in popular music history, ending the hard rock era and ushering in a time when dance music ruled supreme. It became one of the fastest-selling albums of all time with its innovative fusion of harmony and pulsing beats. The movie launched the career of a young John Travolta whose snake-hipped moves to the sounds of “You Should Be Dancing” established his reputation as a dancer and forever linked his image to that of the Bee Gees.

Despite financial success, Robin Gibb and his brothers endured repeated tragedies. Maurice died suddenly of intestinal and cardiac problems in 2003. Their younger brother Andy Gibb, who also enjoyed considerable chart success as a solo artist, had died in 1988 just after turning 30. He suffered from an inflamed heart muscle attributed to a severe viral infection.

Robin Gibb himself took care of his health and, at the time of his death, was a vegan who did not drink alcohol.

Gibb was for decades a familiar figure on the pop stage, starting out in the 1960s when the Bee Gees were seen as talented Beatles copycats. They sounded so much like the Beatles at first that there were strong rumors that the Bee Gees’ singles were really the Beatles performing under another name.

Many late-’60s bands were quickly forgotten, but the Bee Gees transformed themselves into an enduring A-List powerhouse with the almost unbelievable, and certainly unexpected, success of the song “Stayin’ Alive” and others from the “Saturday Night Fever” soundtrack that accompanied the movie.

With this second wind, the Bee Gees sold more than 200 million records and had a long string of successful singles, making their way into the Rock and Roll Hall of Fame.

“Saturday Night Fever” — actually a compilation album featuring the Bee Gees but including songs by other performers — represented the pinnacle of Gibb’s career, but he enjoyed more than 40 years of prominence as a Bee Gee, as a solo artist, and as a songwriter and producer for other artists.

The Bee Gees consisted of Barry Gibb, the eldest, and twins Robin Gibb and Maurice Gibb. Their three-part harmonies became their musical signature, particularly in the disco phase, when Barry’s matchless falsetto often dominated, and they were renowned for their wide-ranging songwriting and producing skills.

The Gibbs were born in England on the Isle of Man, an island in the Irish Sea, but moved to Australia with their parents in 1958 when they were still quite young and began their musical career there. They had been born into a musical family, with a father who was a drummer and bandleader and a mother who liked to sing.

After several hits in Australia, their career started to really take off when they returned to England in 1967 and linked up with promoter Robert Stigwood.

After several hits and successful albums, Robin Gibb left the group in 1969 after a series of disagreements, some focusing on whether he or Barry should be lead vocalist. He released some successful solo material — most notably “Saved by the Bell” — before rejoining his brothers in 1970 and scoring a major hit with “How Can You Mend a Broken Heart.”

The Gibbs then suffered some slack years — searching for a style that could sustain them in the post-Beatles era — and Barry Gibb started experimenting with falsetto vocals, first on backup, and then in the lead position.

The brothers were at a low point when they went into a French studio to try to come up with some songs for the “Saturday Night Fever” soundtrack at the urging of Stigwood.

The success of those tunes — closely linked to the popularity of the movie, and the power of the disco movement — changed their lives forever, giving them a string of number one hits.

After several years of chart success, the Gibbs spent much of the 1980s writing songs and producing records for other artists, working closely with top talents such as Barbra Streisand, Dionne Warwick, Diana Ross and Dolly Parton. They also continued touring and releasing their own records.

Gibb also released more solo albums, including “Secret Agent,” during this period.

The band continued in the 1990s, gaining recognition for their body of work with induction into the Songwriters Hall of Fame and the Rock and Roll Hall of Fame.

Then came Maurice’s sudden death in 2003. The surviving brothers announced that the name Bee Gees would be retired with Maurice Gibb’s death, although Robin and Barry did collaborate on projects and Robin Gibb continued his solo career and extensive touring despite mounting health problems.

He had to cancel several engagements in 2011, including one with British Prime Minister David Cameron, and he showed an alarming weight loss on his rare public appearances. He was hospitalized briefly in 2011 with what doctors said was an inflamed colon and had surgery for intestinal problems in March, 2012.

One of his final projects was “The Titanic Requiem,” a classical work he co-wrote with his son RJ, that the Royal Philharmonic Orchestra premiered in April to mark the 100th anniversary of the sinking of the Titanic.

Robin Gibb remained emotionally attached to the Isle of Man, keeping a house there as well as homes in rural Oxfordshire, England, and Miami.

He also became involved with numerous charities and worked to establish a permanent memorial to the veterans of Britain’s World War II Bomber Command and recorded songs honoring British veterans.

Gibb is survived by his second wife, Dwina, and four children, as well as his older brother, fellow Bee Gee Barry Gibb, and his sister Lesley Evans, who lives in Australia.