Which Album (CD or Vinyl) Are you listening to now Part 2 - Page 6 - AVS Forum | Home Theater Discussions And Reviews
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post #151 of 3240 Old 06-20-2019, 06:48 AM
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post #152 of 3240 Old 06-20-2019, 06:50 AM
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post #153 of 3240 Old 06-20-2019, 07:46 AM
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post #154 of 3240 Old 06-20-2019, 07:46 AM
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Venus and Mars is the fourth studio album by Wings, released in 1975.

The follow-up to Band on the Run, Venus and Mars continued Wings' run of commercial success and would prove a springboard for a year-long worldwide tour. The album was Paul McCartney's first post-Beatles album to be released worldwide on the Capitol Records label rather than Apple. McCartney decided on New Orleans, Louisiana as the recording venue. Before the departure to New Orleans, Wings had recorded three songs at Abbey Road Studios in London.

John Lennon, often in a nostalgic mood during his "Lost Weekend" period, had told May Pang (his then girlfriend) that they would visit the McCartneys during the recording sessions for Venus and Mars, and considered writing with him again. Lennon's planned visit never happened due to his reunion with Yoko Ono.

McCartney linked the songs together much like the Beatles had on Abbey Road to give the album a more continuous feel.

The album cover, which Paul summed up as "a package that would be nice to get, and also something recognizable" was photographed by Linda, depicting two billiard balls in a black background, which are yellow and red to fit the colors of the planets Venus and Mars. Hipgnosis did the art design, incorporating billiard balls and cues in the lettering.

Preceded by the single "Listen to What the Man Said", Venus and Mars appeared two weeks later and reached number one in the United States and the United Kingdom.

AllMusic Review:
Band on the Run was a commercial success, but even if it was billed as a Wings effort, it was primarily recorded by Paul, Linda, and Denny Laine. So, it was time to once again turn Wings into a genuine band, adding Joe English and Jimmy McCulloch to the lineup and even letting the latter contribute a song. This faux-democracy isn't what signals that this is a band effort -- it's the attitude, construction, and pacing, which McCartney acknowledges as much, opening with an acoustic title track that's a salute to arena rock, leading to a genuine arena rock anthem, "Rock Show."

From that, it's pretty much rocking pop tunes, paced with a couple of ballads and a little whimsy, all graced with a little of the production flair that distinguished Band on the Run. But where that record was clearly a studio creation and consciously elaborate, this is a straightforward affair where the sonic details are simply window dressing. McCartney doesn't really try anything new, but the songs are a little more varied than the uniform, glossy production would suggest; he dips into soft-shoe music hall shuffle on "You Gave Me the Answer," gets a little psychedelic with "Spirits of Ancient Egypt," kicks out a '50s rock & roll groove with "Magento and Titanium Man," and unveils a typically sweet and lovely melody on "Listen to What the Man Said."

These are a slight shifts on an album that certainly feels like the overture for the arena rock tour that it was, which makes it one of McCartney's more consistent listens, even though it's possible to scan the song listing after several listens and not recognize any song outside of "Listen to What the Man Said" and the opening medley by title.
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post #155 of 3240 Old 06-20-2019, 07:52 AM
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post #157 of 3240 Old 06-20-2019, 11:50 AM
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post #158 of 3240 Old 06-20-2019, 01:44 PM
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Capriccio, Op. 85, is the final opera by German composer Richard Strauss, subtitled "A Conversation Piece for Music", featuring soprano Elisabeth Schwarzkopf, recorded in 1953.

Conductor – Otto Ackermann
Orchestra – Philharmonia Orchestra
Soprano Vocals – Elisabeth Schwarzkopf

Dame Olga Maria Elisabeth Friederike Schwarzkopf, DBE (9 December 1915 – 3 August 2006) was a German-born Austro-British soprano. She was among the foremost singers of lieder, and was renowned for her performances of Viennese operetta, as well as the operas of Mozart, Wagner and Richard Strauss. She is considered one of the greatest sopranos of the 20th century.

Schwarzkopf was born in Prussia, Germany (now Poland). In 1933, shortly after the Nazis came to power, Elisabeth Schwarzkopf's father, a local school headmaster, was dismissed from his position by the new ruling authorities for having refused to allow a Nazi party meeting at his school. He was also banned from taking any new teaching post. Until Friedrich Schwarzkopf's dismissal, the probability was that the 17-year-old Elisabeth would have studied medicine; but as the daughter of a banned schoolteacher, she was not allowed to enter university and she commenced music studies at the Berlin Hochschule für Musik. Schwarzkopf made her professional debut at the Deutsche Oper Berlin (then called Deutsches Opernhaus) in 1938.

In 1940 Schwarzkopf was awarded a full contract with the Deutsches Opernhaus, a condition of which was that she had to join the Nazi party. She joined the party only at the insistence of her father who, himself, had earlier lost his position as school principal after forbidding a Nazi program in the school. She always strictly separated art from politics and that she was a non-political person.

In 1945, Schwarzkopf was granted Austrian citizenship to enable her to sing in the Vienna State Opera. In 1946, Schwarzkopf auditioned and impressed Walter Legge, an influential British classical record producer and a founder of the Philharmonia Orchestra. Legge signed her to an exclusive contract with EMI. They began a close partnership and Legge subsequently became Schwarzkopf's manager and companion. They were married in 1953. Schwarzkopf thus acquired British citizenship by marriage.

Schwarzkopf appeared on tour with the Vienna State Opera at London's Royal Opera House. Schwarzkopf made her American debut with the Chicago Symphony Orchestra in 1954, in Strauss's Four Last Songs and the closing scene from Capriccio with Fritz Reiner conducting; her Carnegie Hall debut was a Lieder recital in 1956.

In the 1960s, Schwarzkopf concentrated nearly exclusively on five operatic roles: Donna Elvira in Don Giovanni, Countess Almaviva in The Marriage of Figaro, Fiordiligi in Così fan tutte, Countess Madeleine in Strauss's Capriccio, and the Marschallin.

In 1979, Walter Legge suffered a severe heart attack. He disregarded doctor's orders to rest and attended Schwarzkopf's final recital in Zurich. Three days later, he died. After retiring (almost immediately after her husband's death), Schwarzkopf taught and gave master classes around the world, notably at the Juilliard School in New York City. After living in Switzerland for many years, she took up residence in Austria. She was made a doctor of music by the University of Cambridge in 1976, and became a Dame Commander of the Order of the British Empire (DBE) in 1992.

Schwarzkopf died in her sleep in 2006 at her home in Austria, aged 90. Her ashes, and those of Walter Legge, were buried next to her parents near Zürich.

She left a discography that is considerable both in quality and in quantity and will be mostly remembered for her Mozart and Richard Strauss operatic portrayals, her two commercial recordings of Strauss's Four Last Songs, and her countless recordings of lieder.
Autographed by Elisabeth Schwarzkopf.

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Canned Heat-Living the Blues
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Climax Blues Band-Couldn't Get It Right
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post #162 of 3240 Old 06-20-2019, 04:22 PM
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Sir Douglas Quintet-Mendocino
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post #163 of 3240 Old 06-20-2019, 08:01 PM
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Live the Love Beautiful is the 18th album from Drivin' N Cryin', released in June 2019.

Staccatofy Review: (9.2)
Live the Love Beautiful roster consist of Kevn Kinney on lead vocals, guitar hero Laur Joamets — an Estonian-born instrumentalist who first moved to America to perform with Sturgill Simpson, making his debut on the singer's Grammy-nominated Metamodern Sounds in Country Music, bass-playing co-founder Tim Nielsen, and longtime drummer Dave V. Johnson. The lineup may be revised, but the beating heart of Drivin N Cryin has just as much edge today as it did in 1985, when Kinney and Nielsen played their first show together.

Live the Love Beautiful captures the energy and electricity of DNC's live shows. Most of the 11 songs were captured in a series of live takes at Welcome to 1979 Studio in Nashville, Tennessee. There is always the hip spice of southern rock in DNC’s sound, which can be heard throughout the album.

Starting with the opening track, "Free Ain't Free," a populist anthem about everyday Americans, capitalist corporations, and the widening gap between the two. The album celebrates a life free of addiction with "Step by Step," gets political with "Spies," and takes a simple turn during "Over and Over." The driving force behind any great rock album is the guitar and Live the Love Beautiful has plenty of crunch, harmonized guitar solos, solid riffs, and some skilled slide guitar from Joamets. “Step by Step” strikes a solid balance of acoustic sounds with crunch guitar riffs set to a moving Southern Rock vibe.

The band’s sound is cohesive and balanced. The songwriting is strong with plenty of subtleties to bring a rewarding listening time and time again. Enjoy an American rock tradition built from experiences of decades on the road, live shows and rockin’ southern style with DNC’s Live the Love Beautiful. That’s the short of it!
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Ohm were a space-rock/psych outfit, featuring analogue keys enthusiast Doug Ferguson (also of Yeti). The first of their three albums, 1997's O2, is a fairly startling piece of work, full of the kind of sonic exploration that so many late '60s bands promised, but were ultimately unable to deliver. Its two chief instrumental components seem to be synths and woodwind; not the commonest combination, but not the commonest band, either.

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If you like Blue Man Group, especially Audio, you might like this.
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post #170 of 3240 Old 06-21-2019, 08:37 AM
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Showtime! is the third and final live album by American rock band The J. Geils Band, released in 1982.

It was recorded at the Pine Knob Music Theater in Clarkston, Michigan on September 4th, 1982. This was the last release by the band before frontman Peter Wolf's departure in 1983.

AllMusic Review:
A great live band recorded on stage in a city that loves them. What could go wrong? Enough. For one thing, the material is not as strong as on the 1972 classic Full House Live, also recorded in Detroit. And this release is marred by a witless, overlong Peter Wolf intro to "Love Stinks." He was ousted not long after this album, and the band dispersed after one album without him.

To hear this sextet at its crowd-pleasing best, delve back another decade and pluck Full House Live.
John Warren Geils Jr. (February 20, 1946 – April 11, 2017), known as J. Geils, From an early age, he listened to his father's albums by Benny Goodman, Duke Ellington, and Count Basie, and attended a Louis Armstrong concert with his father. He worked out Miles Davis music on trumpet and drums, and he listened to blues guitarists Howlin' Wolf and Muddy Waters on the radio. In 1964, he began attending Northeastern University and was a trumpeter in the marching band. Drawn to folk musicians in Boston, he left Northeastern for Worcester Polytechnic Institute, where he studied mechanical engineering. He formed the J. Geils Blues Band while still a student at Worcester Polytechnic Institute with bassist Danny Klein, harmonica player Richard "Magic Dick" Salwitz, and added lead vocalist Peter Wolf, who was a late-night DJ on WBCN. After dropping the word "Blues" from their name, the band released their first album in 1970, performing soul and rhythm and blues-influenced rock music for most of the 1970s before turning to pop music in the 1980s.

Geils fell in love with Italian sports cars. He drove in five races a year during the early 1980s, at the peak of the J. Geils Band's popularity. He opened an automobile restoration shop in Massachusetts to service and repair vintage sports cars such as Ferrari and Maserati. Tension and conflict arose among band members, and Wolf left to pursue a solo career. The band broke up in 1985. Geils put down the guitar to concentrate on auto racing and restoration.

In 2016, Geils was arrested and charged with drunk driving after allegedly rear-ending a car. On April 11, 2017, police conducted a well-being check on Geils and found him unresponsive at his home. He was pronounced dead from natural causes at age 71.
Autographed by J. Geils.
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post #172 of 3240 Old 06-21-2019, 11:34 AM
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post #173 of 3240 Old 06-21-2019, 11:56 AM
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Greatest Hits is a compilation album by Mitch Ryder & The Detroit Wheels, released in 1981.

Mitch Ryder (bord William S. Levise, Jr., February 26, 1945) is noted for his gruff, wailing singing style and his dynamic stage performances. As a teenager, Ryder sang backup with a black soul-music group known as the Peps, but racial animosities interfered with his continued presence in the group. Ryder fronted a band named Billy Lee & The Rivieras, which had limited success until they met songwriter / record producer Bob Crewe. Crewe renamed the group Mitch Ryder & The Detroit Wheels, and they recorded several hit records for his DynoVoice Records and New Voice labels in the mid to late 1960s, most notably "Devil with a Blue Dress On", their highest-charting single.

Ryder would be the last person to perform with Otis Redding, they performed the song "Knock On Wood", December 9, 1967, in Cleveland, Ohio. Redding and four members of his touring band, The Bar-Kays, would perish in a plane crash near Madison, Wisconsin the following day.

Ryder's song, "Ring My Bell" was not permitted to be played by radio in many states due to its sexual innuendos. They had a hit with their version of the Lou Reed-penned song "Rock & Roll", which Reed liked enough to ask guitarist Steve Hunter to join his backing band. Steve Hunter has played some of the greatest riffs in rock history - the solo in Aerosmith's "Train Kept A Rollin'", the acoustic intro on Peter Gabriel's "Solsbury Hill", and the legendary intro interlude of Lou Reed's "Sweet Jane". He also recorded with Alice Cooper, David Lee Roth, Julian Lennon, Dr. John, Tracy Chapman, and Glen Campbell.

Ryder withdrew from music after experiencing throat trouble, moving to Colorado with his wife and taking up writing and painting. In 1983, Ryder returned to a major label with an album produced by John Mellencamp, featuring a cover version of the Prince song "When You Were Mine", which was Ryder's last score on the Billboard Hot 100.

Allmusic called Ryder "the unsung hero" of Michigan rock and roll. In 2005, Mitch Ryder & The Detroit Wheels were inducted into the Michigan Rock and Roll Legends Hall of Fame. In 2009, he was inducted as a solo artist.

Ryder influenced the music of such blue collar rock music artists as Bob Seger, John Mellencamp, and Bruce Springsteen. Springsteen's "Detroit Medley" refers directly to the Detroit Wheels. Included in this medley are the songs, "Devil With a Blue Dress", "Jenny Take a Ride", "Good Golly Miss Molly" and "C.C. Rider".

Winona Ryder, the stage name of Winona Laura Horowitz, was inspired by Mitch Ryder's name.

Ryder (age 74) currently resides in northern Georgia and continues to record and tour.
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post #174 of 3240 Old 06-21-2019, 12:34 PM
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The Firing Squad for God is an EP by The Swimming Pool Q's, released in 1987.

The band was formed in 1978 by Jeff Calder (vocals, guitar, saxophone, theremin) and Bob Elsey (guitar), who recruited Billy Jones (bass guitar). Their first single brought them critical praise and they secured support slots with Devo and The Police. J.E. Garnett and Billy Burton joined the band when they signed with A&M Records. They opened for REM and toured with Lou Reed.

Allmusic Artist Biography:
Atlanta's Swimming Pool Q's were one of the first Southern new wave bands to gain nationwide recognition in the early '80s after the breakthrough of the B-52's made folks aware that there was more to Southern rock than what Q's leader Jeff Calder called "the Boogie Establishment." However, while most of their Georgia brethren were famous for serving up light, off-kilter pop, Swimming Pool Q's music had a darker and more challenging undercurrent, balancing twisted guitar patterns against lyrics that played on Southern Gothic archetypes in a manner that was often witty, and sometimes ominous.

Eager to form a band and believing Atlanta was a more conducive venue for his ideas than anywhere else in the South, Calder moved to the Peach state, picked up a guitar, and began writing songs with Esley. In 1978, Calder and Esley had formed Swimming Pool Q's (the name came from mishearing a redneck talking about "swinging pool cues" in a fight).
Autographed by
  • Jeff Calder (vocals, guitar, blowharp, bullhorn)
  • Bob Elsey (lead guitar, keys)
  • J.E. Garnett (bass)
  • Bill Burton (drums)
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post #175 of 3240 Old 06-21-2019, 12:37 PM
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post #176 of 3240 Old 06-21-2019, 12:53 PM
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post #177 of 3240 Old 06-21-2019, 01:09 PM
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Bluegrass Gold Volume I is an album by Hal Wylie, Roger Sprung And The Progressive Bluegrassers, released in 1978.

Hal Wylie, guitarist, vocalist, and long time sidekick of Roger Sprung, passed away on September 20, 2014. He was born in the Bronx, NY on May 21, 1930, and was a fixture in the early days of the folk music scene in Washington Square Park in New York City during the 1960s. Later he performed with Roger Sprung, Hal Wylie and the Progressive Bluegrassers, who toured extensively throughout New York state and New England. Hal possessed a rich, warm baritone voice which was influenced by traditional American folk and Irish music.

He was a fascinating guy – principally because he was fascinated by so many different things. He spent his career as engineer (without an engineering degree, as he had to drop out of Cooper Union before graduation), specializing in designing production systems of various sorts. Hal was a problem-solver of last resort – the guy you went to when no one else was able to figure out how to get something done. He was also an inventor, a therapist, a hypnotist, a dabbler in the occult, etc., etc. Hal was endlessly fascinated by the highways and byways of the human mind.

As for his music, he was always a vocalist and rhythm guitarist. He never played lead. Nonetheless, even into his 80's, he tried to expand his guitar horizons, working with the pentatonic scale. Most recently, he was in the process of inventing a specially designed fingerpick for the classical guitar.

Hal also was unceasingly encouraging. I recall once his noticing that I had not joined in on one song a bunch of us were playing together informally. He asked me why. I said, "I don't play that fast." He responded: "Yet. You don't play that fast yet. Add 'yet' to the end of every statement like that and you turn a negative into a positive."

Roger Sprung (age 88, born August 29, 1930, in New York City) is an American banjo player and teacher best known for introducing authentic bluegrass banjo picking styles to the folk music community in the north and for the eclectic manner in which he has adapted bluegrass banjo techniques to music of other genres. His 1963 album Progressive Bluegrass may have been the first use of that title, later applied to a subgenre of bluegrass music by him and others. He was introduced to folk music as a teenager in 1947 when his older brother took him to hear musicians perform in New York's Washington Square. After taking up the guitar Roger soon took up the banjo, teaching himself to play by ear with the aid of 78 rpm records by Earl Scruggs. He was also influenced by Pete Seeger and Paul Cadwell, as well as Tom Paley, from whom he took a few banjo lessons.

In 1950, Sprung made the first of many trips to bluegrass country, accompanying mandolinist Harry West to Asheville, North Carolina. These trips became a regular part of Sprung's musical life, and he passed along the styles and techniques he absorbed during them to his fellow musicians in the north. As bluegrass historian and performer Ralph Lee Smith wrote, "Banjo player Roger Sprung almost single-handedly introduced Southern bluegrass music to New York through his playing in Washington Square."

In 1970 he was winner of the banjo competition at the Union Grove Fiddler's Convention in North Carolina. Over the past six decades, Sprung has performed with such legendary musicians as Doc Watson, Willie Nelson, Wynonna Judd, and Tanya Tucker. He has performed at the Lincoln Center and Carnegie Hall. He performed at the Philadelphia Folk Festival for 30 consecutive years.

Sprung's banjo is a 1927 Gibson which he reconstructed himself.
Autographed by Hal Wylie and Roger Sprung.

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post #178 of 3240 Old 06-21-2019, 02:05 PM
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The Beat of Brazil is the eleventh album by Sergio Mendes, released in 1967.

Sérgio Santos Mendes (age 78, born February 11, 1941) is a Brazilian musician. He has over 55 releases, and plays bossa nova heavily crossed with jazz and funk. Mendes was born in Niterói, Brazil, the son of a physician. He attended the local conservatory with hopes of becoming a classical pianist. As his interest in jazz grew, he started playing in nightclubs in the late 1950s just as bossa nova, a jazz-inflected derivative of samba, was emerging. Touring Europe and the United States, Mendes recorded albums with Cannonball Adderley and Herbie Mann and played Carnegie Hall. Mendes moved to the U.S. in 1964.

Mendes really burst into mainstream prominence when he performed the Oscar-nominated "The Look of Love" on the Academy Awards telecast in April 1968. Brasil '66's version of the song quickly shot into the top 10, eclipsing Dusty Springfield's version from the soundtrack of the movie, Casino Royale. Mendes spent the rest of 1968 enjoying consecutive top 10 and top 20 hits with his follow-up singles, "The Fool on the Hill" and "Scarborough Fair."

From 1968 on, Mendes was arguably the biggest Brazilian star in the world and enjoyed immense popularity worldwide, performing in venues as varied as stadium arenas and the White House, where he gave concerts for both presidents Lyndon B. Johnson and Richard Nixon.
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post #179 of 3240 Old 06-21-2019, 02:21 PM
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Alice cooper welcome to my nightmare
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post #180 of 3240 Old 06-21-2019, 03:08 PM
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Turned Loose is an album by Roy Clark, released in 1982.

oy Linwood Clark (April 15, 1933 – November 15, 2018) was an American singer and musician. He is best known for having hosted Hee Haw, a nationally televised country variety show, from 1969 to 1997. Clark was an important and influential figure in country music, both as a performer and in helping to popularize the genre.

During the 1970s, Clark frequently guest-hosted for Johnny Carson on The Tonight Show and enjoyed a 30-million viewership for Hee Haw. Clark was highly regarded and renowned as a guitarist, banjo player, and fiddler. He was skilled in the traditions of many genres, including classical guitar, country music, Latin music, bluegrass, and pop. He had hit songs as a pop vocalist (e.g., "Yesterday, When I Was Young" and "Thank God and Greyhound"), and his instrumental skill had an enormous effect on generations of bluegrass and country musicians. He became a member of the Grand Ole Opry in 1987, and, in 2009, was inducted into the Country Music Hall of Fame. He published his autobiography, My Life in Spite of Myself, in 1994.

Clark was born April 15, 1933, in Meherrin, Virginia. He was one of five children born to Hester and Lillian Clark. His father was a tobacco farmer. He spent his childhood in Meherrin and New York City, his father having moved the family to take jobs during the Great Depression. When Clark was 11 years old, his family moved to a home on 1st Street SE in the Washington Highlands neighborhood of Washington, D.C., after his father found work at the Washington Navy Yard. Clark's father was a semi-professional musician who played banjo, fiddle, and guitar, and his mother played piano. The first musical instrument Clark ever played was a four-string cigar box with a ukelele neck attached to it, which he picked up in elementary school.
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