Biography
Paul, born Lester William Polsfuss (the last name simplified later by his mother to Polfus) in Waukesha, Wisconsin, first became interested in music at the age of eight, when he began playing the harmonica. After an attempt at learning to play the banjo, Paul began to play the guitar. By 13, Paul was performing semi-professionally as a country-music guitarist. At the age of 17, Paul played with Rube Tronson's Cowboys. Soon after, he dropped out of high school to join Wolverton's Radio Band in St. Louis, Missouri on KMOX.
In the 1930s, Paul worked in Chicago, Illinois in radio, where he performed jazz music. Paul's first two records were released in 1936. One album was credited to Rhubarb Red, Paul's hillbilly alter ego, and the other was in the backing band for blues artist Georgia White.
Les Paul's 'The Log', one of the first solidbody electric guitars.Paul was unsatisfied by the electric guitars that were sold in the mid 1930s and began experimenting with a few designs of his own. Famously, he created The Log which was nothing more than a length of common "4 by 4" fence post with bridge, guitar neck, and pickup attached. For appearances he attached the body of an Epiphone jazz guitar, sawn lengthwise with The Log in the middle. This solved his two main problems - feedback, as the acoustic body no longer resonated with the amplified sound, and sustain, as the energy of the strings was not dissipated in generating sound through the guitar body.
In 1938, Paul moved to New York and landed a featured spot with Fred Waring's Pennsylvanians radio show. Paul moved to Hollywood in 1943, where he formed a new trio. As a last-minute replacement for Oscar Moore, Paul played with Nat King Cole and other artists in the inaugural Jazz at the Philharmonic concert in Los Angeles on July 2, 1944. Also that year, Paul's trio appeared on Bing Crosby's radio show. Crosby went on to sponsor Paul's recording experiments. The two also recorded together several times, including a 1945 number one hit, "It's Been a Long, Long Time." In addition to backing Crosby and artists like the Andrews Sisters, Paul's trio also recorded a few albums of their own in the late 1940s.
In 1941, Paul designed and built one of the first solid-body electric guitars (though Leo Fender also independently invented his own solid-body electric guitar around the same time, and Adolph Rickenbacker had marketed a solid-body guitar in the 30s). Gibson Guitar Corporation designed a guitar incorporating Paul's suggestions in the early fifties, and presented it to him to try. He was impressed enough to sign a contract for what became the "Les Paul" model (originally only in a "gold top" version), and agreed never to be seen playing in public, or photographed with, anything other than a Gibson guitar. That persisted until 1961, when Gibson changed the design without Paul's knowledge. He said he first saw the "new" Gibson Les Paul in a music store window, and disliked it. Though contract required him to pose with the guitar, he said it was not "his" instrument, and asked Gibson to remove his name from the headstock. Gibson renamed the guitar the " SG", and it also became one of the company's best sellers. Later, Paul resumed his relationship with Gibson, and endorses the instrument even today (though his personal Gibson Les Pauls are much modified by him - Paul always uses his own self-wound pickups on his guitars). To this day, the Gibson Les Paul guitar is used all over the world, both by novice and professional guitarists.
In 1947, Capitol Records released a recording that had begun as an experiment in Paul's garage, entitled "Lover (When You're Near Me)", which featured Paul playing eight different parts on electric guitar, some of them recorded at half-speed, hence "double-fast" when played back at normal speed for the master. This was the first time that multi-tracking had been used in a recording. Amazingly, these recordings were made, not with magnetic tape, but with wax disks. Paul would record a track onto a disk, then record himself playing another part with the first. He built the multi-track recording with overlaid tracks, rather than parallel ones as he did later. There is no record of how few 'takes' were needed before he was satisfied with one layer and moved onto the next.
Paul even built his own wax-cutter assembly, based on auto parts. He favored the flywheel from a Cadillac for its weight and flatness. Even in these early days, he used the wax disk setup to record parts at different speeds and with delay, resulting in his signature sound with echoes and birdsong-like guitar riffs. When he later began using magnetic tape, the major change was that he could take his recording rig on tour with him, even making episodes for his 15-minute radio show in his hotel room.
Paul was injured in a near-fatal automobile accident in January 1948 in Oklahoma, which shattered his right arm and elbow. Paul spent a year and a half recovering. Paul instructed the surgeons to set his arm at an angle that would allow him to cradle and pick the guitar.
In the early 1950s, Paul made a number of revolutionary recordings with wife, Mary Ford. These records were unique for their heavy use of overdubbing, which was technically impossible before Paul's invention of multitrack recording. Paul's multitracking system was made possible by the introduction of reel-to-reel audio tape recording, developed by Jack Mullin and the Ampex company in the late 1940s, with the backing of radio, film and recording star Bing Crosby.
Crosby gave Les Paul what was only the second of the now-famous Ampex Model 200 recorder, which was the world's first commercially-produced reel-to-reel tape recorder. Using this machine, Paul developed his tape multitrack system by adding an additional recording head and extra circuitry, allowing multiple tracks to be recorded separately and asynchronously on the same tape. Paul's invention was quickly developed by Ampex into commercially-produced two-track and three-track recorders, and these machines were the backbone of the professional recording studio, radio and TV industry in the 1950s and early 1960s.
In 1954 Paul, continued to develop this technology, by commissioning Ampex to build the first eight track tape recorder, at his expense. His idea, later known as "Sel-Sync," in which a specially-modified recording head could simultaneously record a new track and play back previously recorded ones, was the core technology for multi-track recording for the next thirty years.
During his early radio shows, Paul introduced the mythical "Les Paulverizer" device, which was supposed to multiply anything fed into it, like a guitar sound or a voice. This even became the subject of comedy, with Mary Ford multiplying herself and her vacuum cleaner with it so she could finish the housework faster (a typical joke in the pre-feminist era). Later Paul made the myth real for his stage show, using hidden equipment which over the years has become smaller and more visible. Currently he uses a small box attached to his guitar - it is not known how much of the device remains off-stage. He typically lays down one track after another on stage, in-sync, and then plays over the repeating forms he has recorded. With newer digital sound technology, such an effect is available commercially.
In the late 1960s, Paul went into semi-retirement, although he did return to the studio occasionally. He recorded an album Lester and Chester with Chet Atkins. He and Mary Ford (born Iris Colleen Summers) divorced amicably in December 1964, as she could no longer tolerate the itinerant lifestyle their act required of them.
In 1978, Les Paul and Mary Ford were inducted into the Grammy Hall of Fame. He received a Grammy Trustees Award for his lifetime achievements in 1983. In 1988, Paul was inducted into the Rock and Roll Hall of Fame by Jeff Beck, who said, "I've copied more licks from Les Paul than I'd like to admit." Les Paul was inducted into the National Inventors Hall of Fame in May 2005 for his development of the solid-body electric guitar.
As of 2006, At the age of 90, Les Paul won two Grammys at the 48th Annual Grammy Awards for his album Les Paul & Friends: American Made World Played. He also performs weekly at the Iridium Jazz Club on Broadway in New York City, despite the arthritis that has stilled all but two of the fingers on his left hand.
Source: From Wikipedia, the free encyclopedia
http://en.wikipedia.org/wiki/Les_Paul
It's the Talk of the Town
Les Paul Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
We were more than sweethearts,
It's so hard to understand.
Don't know why it happened,
Don't know how it started,
Why should we be strangers,
After all we planned.
I can't show my face,
Can't go anyplace,
People stop an' stare,
It's so hard to bear,
Everybody knows you left me,
It's the talk of the town
Every time we meet,
My heart skips a beat,
We don't stop to speak,
'Though it's just a week,
Everybody knows you left me,
It's the talk of the town
We send out invitations,
To friends and relations,
Announcing our weddin' day
Friends and our relations,
Gave congratulations,
How can you face them?
What can you say?
Let's make up sweetheart,
We can't stay apart,
Don't let foolish pride,
Keep you from my side,
How can love like ours be ended?
It's the talk of the town
How can you face them?
What can you say?
Let's make up sweetheart,
We can't stay apart,
Don't let foolish pride,
Keep you from my side,
How can love like ours be ended?
It's the talk of the town, hm
It's the talk of the town.
Les Paul's song "It's the Talk of the Town" is a ballad that addresses a broken love relationship. The song begins by describing how the two were not only lovers but also friends, and now they are strangers due to some unknown circumstances. The singer is heartbroken and can't face people, as they all know that his loved one has left him. He longs to make amends and reconcile, but he is unsure if his pride will allow him to do so.
The chorus repeats the central theme, that their failed relationship is the talk of the town. Whenever they meet, the singer's heart skips a beat, but they do not speak as they are estranged. The singer reminisces about sending out invitations to their wedding before the breakup happened, how friends and family congratulated them, and now, the singer fears facing them. In the end, he pleads with his former partner to reconcile, to let go of foolish pride and return to his side.
Line by Line Meaning
We were more than lovers,
We had a connection that was deeper than just physical intimacy.
We were more than sweethearts,
We were each other's best friend and companion.
It's so hard to understand.
I am struggling to comprehend why our relationship ended.
Don't know why it happened,
I am confused about the reasons for our breakup.
Don't know how it started,
I am unsure of when or how our relationship took a turn for the worse.
Why should we be strangers,
It seems unfair that we can no longer be close to each other.
After all we planned.
We had hopes and dreams for our future together that will now never come true.
I can't show my face,
I feel embarrassed and ashamed about our breakup and don't want to face anyone.
Can't go anyplace,
I feel like I can't show myself in public without facing ridicule or judgment.
People stop an' stare,
Others are curious about what happened between us and can't help but look our way.
It's so hard to bear,
The constant attention and scrutiny is taking a toll on my emotional well-being.
Everybody knows you left me,
Our breakup has become public knowledge and everyone is talking about it.
Every time we meet,
Whenever I see you, I feel a rush of emotions.
My heart skips a beat,
I still have feelings for you and my heart races with anticipation.
We don't stop to speak,
Despite our history, we can't even bring ourselves to talk to each other now.
'Though it's just a week,
It feels like an eternity since we last spoke or saw each other.
We send out invitations,
We had planned to get married and had already sent out invitations to family and friends.
To friends and relations,
We wanted our loved ones to witness our commitment to each other.
Announcing our weddin' day
We were excited to publicly declare our love and commitment to each other.
Gave congratulations,
Our loved ones were happy for us and gave their well-wishes.
How can you face them?
It must be difficult for you to see our friends and family now that we have broken up.
What can you say?
I don't know what explanation or excuse you can give to our loved ones for why we are no longer together.
Let's make up sweetheart,
I still love you and want to try to fix our relationship.
We can't stay apart,
Being apart from you feels unbearable and wrong.
Don't let foolish pride,
We shouldn't let our egos get in the way of our love for each other.
Keep you from my side,
I want us to be together and work through our problems.
How can love like ours be ended?
Our love was strong and true, so it's hard to believe that it's over.
It's the talk of the town
Our breakup has become a topic of conversation among our community.
Lyrics © O/B/O APRA AMCOS
Written by: AL J NEIBURG, JERRY LEVINSON, MARTY SYMES
Lyrics Licensed & Provided by LyricFind