Earlier today, the sad news broke that Aretha Franklin passed away at age 75 from advanced pancreatic cancer. Not surprisingly, obituary after obituary has been published since. Instead of putting together yet another review of her life, I’m posting the above clip to celebrate Franklin’s music. I think the above footage of (You Make Me Feel Like) A Natural Woman says it all why Franklin rightly was called the Queen of Soul.
Co-written by Carole King and Jerry Goffin with input from producer Jerry Wexler, the beautiful tune was released by Franklin as a single in September 1967. It also was included on her 14th studio album Lady Soul from January 1968. King also recorded her own version of the song for her 1971 landmark record Tapestry.
Since Franklin certainly deserves more than this brief post, I’m planning to do additional writing about her in the coming days.
Compact keyboard with characteristic sound became hit among touring bands in ’60s
When I listened to Light My Fire by The Doors the other day, I was reminded of Ray Manzarek’s distinct keyboard on that tune, a sound I’ve always loved. It also came to me that I hadn’t done a post on important music hardware in a long time – two good reasons to write about the Vox Continental, a handy and cool-looking organ that became popular in the ’60s and can be heard on many songs released during that decade and thereafter.
For those who are visiting my blog for the first time or haven’t seen one of my previous hardware posts, I’d like to reiterate that I’m not an engineering guy; in fact, having two left hands, it’s more of the opposite! As such, one could say there’s a certain degree of irony that I write about the subject. But while I’m not exactly a techie and therefore don’t go deeply into the technical aspects, music gear can still excite me like a little child, primarily from a sound and visual perspective. With that disclaimer out of the way, let’s get to it.
Prior to the Vox Continental’s introduction in England in 1962, the Vox brand name had been synonymous with guitar amplifiers, especially the Vox AC30 used by The Shadows, The Beatles, The Rolling Stones, The Kinks and other ’60s bands. However, as its name already indicates, the company that made the amps, The Jennings Organ Company founded by Thomas Walter Jennings in Kent, England after the Second World War and renamed Jennings Musical Industries (JMI) in 1957, started out as a manufacturer of home and church organs. Their first successful product was the Univox, an electronic keyboard similar to the Clavioline.
The Vox Continental is a so-called combo keyboard. Does it come with French fries and a Coke you might ask? Well, not quite. Combo actually is another (British) term for band. Okay, it’s a keyboard for a band, but so is a Hammond or a regular piano, so what’s the big deal? While pianos were frequently used in the recording studio, amplifying their sound during live performances was tricky. Hammond organs like the mighty B3 certainly could meet volume requirements, but they were pretty clunky. A compact combo keyboard like the Vox Continental offered a great solution. It also looked pretty cool!
The Vox Continental was made possible by the invention of transistors that were less heavy and smaller than the electron tubes used in big electronic organs. The handy keyboard came in two basic variations, a single manual and a dual manual. One of the Continental’s distinct visual features is its reversed colored keys: what on a regular keyboard are the white keys are black, while the traditionally black keys are white (see image on top of the post). The top part covering the electronics with its orange or grey finish stands out as well. The curving and removable chrome stand is another distinct feature. Without a bass section, no bass pedals, no percussion, no sustain and only a single-speed vibrato, the Vox Continental was fairly archaic. Yet because of its sound and the aforementioned design features, the instrument became very popular.
Initially, Vox Continental keyboards were made at two plants in Kent: JMI’s facility in Dartford and the Vox Sound plant in Erith. In 1964, Jennings signed a licensing deal with the Thomas Organ Company in the U.S. JMI and Thomas subsequently also formed EME (Elletronica Musicale Europea), a joint venture with Italian guitar and keyboard manufacturer EKO. With the advent of the Moog and other more elaborate keyboards by the early ’70s, the appeal of Vox Continental organs started to decrease, and production was phased out. While it continued to have a significant following and remains sought-after, it took until September 2017 that Vox revived the Continental with an updated version. Since 1992, the company has been owned by Japanese electronics corporation Korg.
As noted at the outset, the Vox Continental is featured in many songs released during the ’60s and thereafter. This post wouldn’t be complete without some examples.
The House Of The Rising Sun (The Animals)
The version of the traditional by The Animals featuring Alan Price on keys is one of the most compelling showcases of the Vox Continental, in my humble opinion as somebody who isn’t a keyboard player. Sure, the sound isn’t as fat and growling as the Hammond B3; in fact, it’s rather thin by comparison, and yet it still sounds awesome at least to my ears!
Because (The Dave Clark Five)
Written by Dave Clark, Because was recorded for the band’s third U.S. studio album American Tour from August 1964. The song also appeared as a single and became the band’s second most successful hit in the U.S., peaking at no. 3 on the Billboard Hot 100. Here’s a nice clip of an appearance on American music variety TV program Shindig! from 1965. While it is much less dominant than in The House Of The Rising Sun, one can nicely see Mike Smith playing the organ.
I’m A Believer (The Monkees)
I’m A Believer appeared on More Of The Monkees, the band’s second studio album released in January 1967, and as the record’s lead single in November the previous year. Written by Neil Diamond, the song became the band’s most successful hit, topping the charts in many countries, including the U.S., Canada, U.K., Australia and Germany, among others. While Peter Tork had known how to play keyboards, the keyboarder on the studio recording was Stan Free. Initially formed a musical acting quartet for a TV series, all of The Monkees eventually learned how to play their instruments. Here’s a TV clip from 1966, which looks like the guys know how to play for real; if they’re faking, it’s certainly done well!
Light My Fire (The Doors)
Credited to all members of the band, Light My Fire was included on The Doors’ eponymous debut album issued in January 1967. It also became the record’s second single released in April that year. It was the first of their two no. 1 U.S. hits on the Billboard Hot 100. The tune is another great example where the Vox Continental is quite dominant.
In-A-Gadda-Da-Vida (Iron Butterfly)
In-A-Gadda-Da-Vida is the title track of Iron Butterfly’s second studio album from June 1968. It was written by the band’s lead vocalist and keyboarder Doug Ingle. Clocking at more than 17 minutes, the track makes up the record’s entire side B. Iron Butterfly also released a single version, which was shortened to just under three minutes. Here’s a clip of the track in its entire mighty.
Watching The Detectives (Elvis Costello)
After production of Vox Continental keyboards had seized, the combo organs remained popular, as previously noted. One of their champions was Steve Nieve, who among others became known as keyboarder in Elvis Costello’s backing band The Attractions. Here’s a clip of Watching The Detectives from Costello’s debut album My Aim Is True, released in July 1977. Written by Costello, the tune became his first hit, peaking at no. 15 on the U.K. Official Singles Chart.
Don’t Do Me Like That (Tom Petty And The Heartbreakers)
Don’t Do Me Like That, the last song I’d like to highlight in this post, is another post ’60s example featuring a Vox Continental, played by Benmont Tench in this case. It appears on Damn The Torpedoes, the third studio album by Tom Petty And The Heartbreakers from October 1979. In November that year, the song also came out as the record’s lead single. Written by Petty, it became the band’s first top 10 hit in the U.S., reaching no. 10 on the Billboard Hot 100.
Sources: Wikipedia, Engineering And Technology History Wiki (ETHW), Combo Organ Heaven, YouTube
Ann Wilson, Jeff Beck and Paul Rodgers brought Stars Align Tour to Holmdel’s PNC Bank Arts Center
As noted in a previous post, seeing Ann Wilson, Jeff Beck and Paul Rodgers as part of their Stars Align Tour at PNC Bank Arts Center in Holmdel, N.J., was a spontaneous decision, based on promising reviews and YouTube clips. Another reason was my previous disappointment that Bad Company wasn’t among the special guests during Lynyrd Skynyrd’s farewell concert there in June. While Sunday night’s event wasn’t the best show I’ve ever seen, I came away a happy camper after three and a half hours of solid rock at a very reasonable cost.
As anticipated, Ann Wilson opened the night; what I didn’t expect was that she started at 7:00 p.m. on the dot, literally as printed on the ticket. I had just taken my seat – good thing I had decided against food and drink, which are completed overpriced to begin with. I can’t recall a rock & roll show I’ve been to that got underway on time!
Except for Heart’s Barracuda, Wilson presented covers, mostly from her upcoming solo album that is set to arrive September 14. Called Immortal, it honors artists who have passed away, such as David Bowie, Tom Petty and Glenn Frey.
Here’s Barracuda, one of Heart’s best known songs credited to Ann Wilson and other members of the band, including her sister and lead guitarist Nancy Wilson, guitarist Roger Fisher and drummer Michael Derosier. The tune was the lead single from Heart’s second studio album Little Queen that appeared in May 1977.
Wilson opened and closed her set with tunes by The Who, The Real Me and Won’t Get Fooled Again, respectively. Below is a clip of the latter. Written by Pete Townshend, the song is the closer of Who’s Next, the band’s fifth studio album from August 1971. It also was released separately as the record’s lead single in June that year.
Next up was Jeff Beck, which came a bit as a surprise to me. Since I think it’s fair to say he’s the heavy weight among the three, I thought he’d close out the night. This was my second time seeing Beck, so I knew that much of his set would be instrumental. While his guitar-playing and sound are mind-blowing, I generally prefer his songs with vocals, especially with Rod Stewart on Beck-Ola. I realize true Beck fans may not be with me here.
Having said the above, the first tune I’d like to highlight here is an instrumental, a smoking hot cover of You Know You Know. Originally, the John McLaughlin tune appeared on The Inner Mounting Flame, the 1971 debut album by jazz-rock fusion band Mahavishnu Orchestra. Part of the reason I chose this track is the cool extended solo by ace bassist Rhonda Smith. When I saw Beck for the first time in July 2016, his backing band also included a killer female bassist: Tal Wilkenfeld. Speaking of Beck’s excellent band, the other members were cellist Vanessa Freebairn-Smith, drummer Vinnie Colaiuta and vocalist Jimmy Hall. Since I missed recording it myself, I’m relying on a clip from another recent gig.
Among the songs featuring Hall on vocals was the Jimi Hendrix tune Little Wing. It was included on the second studio album by The Jimi Hendrix Experience, Axis: Bold As Love, which came out in December 1967. While Hall is a solid vocalist, I felt by comparison he wasn’t as top-notch as the other members of the band.
The second to last song of the regular set was a great cover of Superstition, one of my favorite Stevie Wonder tunes. Wonder included it on his 15th studio album Talking Book from October 1972. It also was released separately as the lead single that appeared a few days prior to the album.
After a two-song encore by Beck, it was on to Paul Rodgers. Of the three artists I’m most familiar with his music, so it’s perhaps not a big surprise that he was the most accessible performer to me. Except for two covers, Rodgers’ set was evenly divided between Bad Company and Free songs. I thought he was in great shape, as was his backing band featuring Pete Bullick (guitar), Ian Rowley (bass), Rich Newman (drums) and Gerard Louis (keyboards).
The first tune I’d like to call out is Feel Like Makin’ Love. Co-written by Rodgers and Bad Company guitarist and co-founder Mick Ralphs, the song appeared on the band’s second studio album Straight Shooter from April 1975. It was also released separately as the record’s second single in November that year.
One the Free tunes Rodgers played was Mr. Big. Credited to all members of the band that in addition to Rodgers included Andy Fraser, Paul Kossoff and Simon Kirke, the song appeared on their third studio album Fire And Water. Among others, Rowley shines with a solo, the second extended bass solo for the night.
The last song of Rodgers’ regular set was another Bad Company classic, Rock & Roll Fantasy. Penned by him, the tune was included on the band’s fifth studio album Desolation Angels, which came out in March 1979. It also became the record’s lead single and the band’s best-selling single in the U.S. About 1:40 minutes into the song, somebody wearing a hat and playing a tambourine walked on stage, who turned out to be Steven Van Zandt. As if to prove it, he briefly took off his hat to reveal his signature bandana.
Rodgers saved Free’s signature tune All Right Now until the very end of the night as his second encore. Co-written by him and Fraser, the song was also included on the Fire And Water album and became Free’s most successful single.
Last night, The Stars Align Tour played Jones Beach Theatre in Wantagh on New York’s Long Island. The remaining four dates are Nashville, Tenn. (Aug 17), Charlotte, N.C. (Aug 19), West Palm Beach, Fla. (Aug 25) and Tampa, Fla. (Aug 26).
Sources: Wikipedia, Setlist.fm, Paul Rodgers website, YouTube
Harmony vocals and warm guitar-driven sound feel like trip back to late ’60s and early ’70s
Until a few weeks ago, I hadn’t heard of Cordovas. Then I saw the Americana rock band from East Nashville, Tenn. in a free summer concert in the park in Woodbridge, N.J. and immediately liked what I heard. Frankly, I’m still a bit in disbelief they played there in the first place but, hey, that’s how they got on my radar screen, so I’m not complaining! Today, they released what I understand is their second studio album, That Santa Fe Channel, and it’s a real beauty.
Listening to Cordovas feels a bit like taking a journey back in time to the late ’60s and early ’70s, a period in music I love. Sometimes, my dear wife tells me I grew up during the wrong decade – she may be right about it!:-) Anyway, Cordovas’ beautiful triple-stacked harmony vocals and guitar-driven sound remind me of bands like Crosby, Stills, Nash & Young, The Band, Grateful Dead, Eagles and Little Feat.
Billboardcalled Cordovas’ music a blend of Southern and California Americana. Rolling Stone, in a June 2017 feature titled 10 New Country Artists You Need To Know, described their sound as “decidedly American” and “caught halfway between Duane Allman’s Telecaster twang, the Dead’s hazy harmonies and the stoned swoon of California’s folk-rock heyday.”
I could never come up with such clever attributes, which is why I probably wouldn’t get far as a music journalist. But while I may be challenged to find the right buzz words, given my former band days as a bassist (admittedly many moons ago!) and close to four decades of listening experience, I feel confident enough to say that This Santa Fe Channel is great music, since I know it when I hear it! Of course, ultimately, it comes down to individual taste.
Led by bassist Joe Firstman, Cordovas have been around for some time. According to Billboard, the first album released under their name appeared in 2011 and essentially was a solo effort by Firstman. Firstman has a long history predating the band, which includes a 2002 solo debut album, War Of Women, and a stint as music director on Last Call with Carson Daly. “For this one [the new album] we had the idea to make it a band and go forward to do it,” he told Billboard. “I saw the weaknesses in that first (solo) process and I recognized that I felt like I was much stronger in the band, with guys that I really trust and are like-minded individuals. I wanted to build something that would last.”
The band’s current line-up, which also includes Toby Weaver (guitar, vocals), Lucca Soria (guitar, vocals), Sevans Henderson (keyboards) and Graham Spillman (drums), has been together for five years. Cordovas are exceptionally tight-knit. Not only are they band mates who tour prolifically, but they also live together in the same compound in East Nashville. “The Cordovas are a 24-hour, 7-days-a-week job,” explains Firstman on the band’s Facebook page. “We’re eating dinner together, hanging out together, and making art. We don’t have rehearsal times, because rehearsal is always. You have to honor the art first, and everything else comes second.” I think it’s fair to say these conditions wouldn’t work for most bands, so kudos to Cordovas for their extraordinary commitment. Time to let some music do the talking, or perhaps I should better say the writing!
Here’s the album’s opener This Town’s A Drag. This tune nicely sets the tone for the record: Great harmony singing and a warm sound blending electric and pedal steel guitar.
Selfish Loner is the longest track on the album, clocking in at just over four and a half minutes. Most tunes are only around three minutes or less. In fact, the nine songs on the album only total about 29 minutes altogether.
Here’s Frozen Rose, one of two tunes Cordovas had released as a single ahead of the album.
The last tune I’d like to highlight is Standin’ On The Porch, which in addition to country rock throws in some blues. I also dig the tune’s groove.
That Santa Fe Channel was produced by Kenneth Pattengale, a singer and guitarist in American indie folk duo The Milk Carton Kids. The album appears on ATO Records, an independent New York-based label founded in 2000 by Dave Matthews and manager Coran Capshaw. Among others, their roster includes Alabama Shakes.
Cordovas are currently where they appear to be most of the time – on the road. Their present U.S. schedule posted on their website goes until early October. Upcoming gigs include Chicago (Aug 16), Washington, D.C. (Aug 23), Fort Worth (Aug 30) and Cleveland (Sep 5). Earlier this year, the band toured in Europe.
Sources: Billboard, Rolling Stones, Cordovas Facebook page and website, ATO Records website, YouTube
Even though their sound is pretty commercial pop, which to many music aficionados are bad words, I’ve always liked Toto for their great sound and outstanding musicianship. Here’s the thing: Yes, there are plenty of examples of terrible commercial pop music – just look at what’s currently dominating the charts. But just because something is selling well doesn’t mean it’s bad. Like it or not, a widely beloved and my all-time favorite band The Beatles made commercial pop music, at least during their earlier years. Or take Michael Jackson’sThriller album: It probably doesn’t get more commercial than that, yet it’s one of the best records ever released, at least in my humble opinion. And there are countless other examples.
Toto was founded in Los Angeles in 1976 by David Paich (keyboards, vocals) and Jeff Porcaro (drums, percussion), who had known each other from high school and done studio session work together. They recruited four additional members: Jeff’s brother Steve Porcaro (keyboards), Steve Lukather (guitar, lead and backing vocals), David Hungate (bass) and Bobby Kimball (lead and backing vocals). Like Paich and Jeff Porcaro, each of the additional members had worked with other artists. In fact, according to the official Toto website, the band’s members have performed on a total of 5,000 records that together sold half a billion copies. Obviously, this includes both projects that predated Toto and side engagements after the band’s formation – still, these are astonishing numbers!
Paich co-wrote half of the songs for Boz Scaggs’ seventh studio album Silk Degrees from March 1976. Steve Porcaro, Hungate and Lukather also worked with Scaggs. Following the formation of Toto, Lukather became one of the most sought after session guitarists. Perhaps his most famous engagement in this context is his guitar work on Michael Jackson’s Beat It from the Thriller album. Jeff Porcaro, who at the time was a 20-year-old drummer, played on all except one Steely Dan tunes on their fourth studio record Katy Lied from March 1975 – anyone who could live up to the perfectionism of Donald Fagen and Walter Becker must have been top notch! Last but not least, Kimball before joining Toto had been a vocalist in various New Orleans bands and S.S. Fools, an unsuccessful short-lived venture with three former members of Three Dog Night.
After signing with Columbia Records, Toto began work on their eponymous debut album. Paich wrote all except two tracks for the record that appeared in October 1978. Though music critics weren’t impressed with Toto initially, the band soon got a significant following. The record reached the top 10 on the albums charts in various countries, including Australia (no. 2), Sweden (no. 5), Germany (no. 8), Canada and the U.S. ( both no. 9) – not shabby for a debut! Toto have since released 12 additional studio albums, six live records and numerous compilations. Between June 2008 and February 2010, the band was on hiatus. Last June, they announced their latest greatest hits collection 40 Trips Around The Sun and a 2018 tour to celebrate their 40th anniversary. Let’s get to some music!
The first time I recall hearing the name Toto was in connection with the song Hold The Line. Written by Paich, it was the lead single and most successful tune from their first album and remains one of my favorite Toto songs. In particular, I dig the keyboard part and the guitar riff.
Next up: The title track of Toto’s excellent sophomore album Hydra. Credited to all members of the band, it’s a pretty complex tune with all kinds of breaks and changes in tempo that nicely showcase top notch musicianship. You simply don’t play this stuff without plenty of experience!
Toto IV from April 1982 became the band’s most successful album, topping the charts in Australia, Canada and the Netherlands, and reaching the top 10 in many other countries, including the U.S. and U.K. (both no. 4) and Japan (no. 3). It also generated what became the band’s only no. 1 on the U.S. Billboard Hot 100: Africa. Toto IV turned out to be Kimball’s last record with the band at the time. He was told to leave two years later after drug use had taken a toll on his voice. However, he would be back for Mindfields, the band’s 10th studio album from 1999, and stay on for the two albums thereafter. Toto IV’s lead single Rosanna, written by Paich, is yet another example of musical complexity the band seems to pull off effortlessly.
Since I suppose no Toto playlist would be complete without it, here’s Africa, which was co-written by Paich and Jeff Porcaro. Paich is sharing lead vocals with Kimball. Former Poco and Eagles bassist Timothy B. Schmit is among the guest musicians on the track, providing backing vocals and acoustic rhythm guitar.
In 1986, Toto released their sixth studio album Fahrenheit, the first with Joseph Williams as lead vocalist. It was also the last to feature three Porcaros: Jeff, Steve and their brother Mike Porcaro, who had replaced Hungate on bass shortly after Toto IV had come out. After Fahrenheit’s release, Steve left to focus on songwriting and music composing. While he continued to work with the band in a supporting capacity, it wouldn’t be until Toto XIV that he would be listed again as a core member. Here’s I’ll Be Over You, co-written by Lukather and American songwriter Randy Goodrum. Sung by Lukather, it’s perhaps Toto’s nicest ballad. The tune also features Michael McDonald on backing vocals. It became Toto’s highest charting single in the U.S. since Kimball’s departure, climbing to no. 11 on the Billboard Hot 100.
Toto’s seventh study record, ingeniously titled The Seventh One, came out in March 1988. It’s one of my favorite Toto albums and the last to feature Williams until their most recent studio record Toto XIV from 2015. Similar to Kimball, Williams was let go after his voice had been impacted by drug use. One almost wonders whether Toto makes their lead vocalists take drugs, fire them thereafter, and eventually ask them to come back! Here’s a nice rocker, Stay Away, featuring Linda Ronstadt on backing vocals and David Lindley on lap steel guitar.
By September 1992 when Kingdom Of Desire appeared, Toto had become a four-piece band, with Lukather performing all lead vocals. Their eighth studio album was also the last with Jeff Porcaro who passed away shortly after its release. Here’s the opener Gypsy Train, which like the majority of the record’s tracks is credited to the entire band. I hear a bit of an Aerosmith vibe in this one.
Tambu, released in May 1995 in Europe and in the U.S. the following month, is Toto’s ninth studio album and the first without Jeff Porcaro, who had been replaced by English drummer Simon Phillips. Similar to the band’s other members, Phillips had done plenty of session work. He also had been the drummer of The Who during their 1989 reunion tour in the U.S. Here’s The Turning Point, a groovy tune that’s credited to all members of the band plus Stan Lynch, the original drummer for Tom Petty and the Heartbreakers.
Toto’s 10th studio record Mindfields appeared in Europe and the U.S. in March and November of 1999, respectively. Kimball’s return as a vocalist made Toto a five-piece band again. Here’s the title track, which is credited to all members of the band and features Kimball on lead vocals.
Since I’d like to keep playlists to no more than 10 songs while ideally spanning an artist’s recording career, I’m jumping to Toto’s most recent studio album, the previously noted Toto XIV. Released in March 2015, as mentioned above, the record once again featured Williams on lead vocals and Steve Porcaro as a core member. It also marked the return of original bassist Hungate; Mike Porcaro had been inactive since 2007 due to Lou Gehrig’s Disease and sadly succumbed to complications just days before the album came out. Keith Carlock had replaced Phillips on drums, who had decided to leave Toto in January 2014 and focus on his solo career. Here’s the haunting Burn, a Paich/Williams co-write that also became the album’s third single.
Toto’s current official core members include Williams, Paich, Porcaro and Lukather. Three weeks ago, the band announced that Paich won’t be part of the North American leg of their 40th anniversary tour and instead will focus on his health that took a hit during his recent appearances with Toto in Europe. In the statement Paich said: “To say this was a difficult decision would be a complete understatement. I hope you will all be understanding of my need to be home. I look forward to joining the boys again on stage ASAP.” In the meantime, Dominique Xavier Talpin, who among others played with Prince, will sit in on keyboards.
The band’s North American tour kicked off in Vancouver on July 30. Tonight the band is playing in Costa Mesa, Calif. before it’s on to Henderson, NV on Friday. The current schedule lists 32 additional North American dates all the way until mid-November at what mostly look like small and mid-size venues. One, State Theatre of New Jersey in New Brunswick, is right in my neck of the woods. I got two tickets today – if only more top notch bands would be as reasonable when it comes to ticket prices!
Sources: Wikipedia, Toto official website, YouTube
The other day, Apple Music served up the eponymous debut album from 10cc as a suggestion, based on my listening habits. It’s actually a bit strange since I don’t recall having listened to similar music recently, as it’s generally not part of my core wheelhouse, at least nowadays. However, the British art pop rockers were on my radar screen for sometime during my teenage years in Germany when you couldn’t listen to the radio there without encountering I’m Not In Love and Dreadlock Holiday.
So I decided to listen to the above album and kind of liked it, even though I’d call tracks like Donna and Rubber Bullets “goof rock.” But they are brilliantly executed and undoubtedly catchy. I think Apple Music’s description perfectly captures this: “Above all else, 10cc valued fun. This band loved motion and color and humor. Even within the complexity of its arrangements and the elasticity of its vocals, the group radiates a giddiness rarely seen in rock music, especially during the cement-footed ’70s.”
After listening to 10cc’s debut album, I started sampling some of their other studio records, as well as a live album/DVD titled Clever Clogs. While doing this, I rediscovered a good number of their tunes and, voila, this triggered the idea to put together a playlist. But first some background on the band, which came into being in Stockport, England in 1972, when four musicians who had written and recorded songs together for a few years started to perform under that name: Graham Gouldman (bass, vocals guitar), Eric Stewart (guitar, keyboards, vocals), Kevin Godley (drums, vocals) and Lol Creme (guitar, keyboards, vocals).
By the time they became 10cc, the four artists had experienced some initial success. Gouldman had established himself as a hit songwriter with tunes like For Your Love, Bus Stop and No Milk Today he had penned for The Yardbirds, The Hollies and Herman’s Hermits, respectively. Godly and Creme had recorded some songs together and secured a contract with Marmalade Records. Stewart had scored two hits as a member of Wayne Fontana And The Mindbenders (later known simply as The Mindbenders) with The Game Of Love and A Groovy Kind Of Love.
In July 1968, Stewart became a partner in a recording studio in Stockport, which in October that year was moved to a bigger space and renamed Strawberry Studios. Gouldman, Godley and Creme also wound up at the studio, and by 1969, the four founding members of 10cc were working there together frequently. They wrote, performed (as session musicians) and produced a serious of singles, which were released under different names through a production partnership Gouldman had established with American bubblegum pop writers and producers Jerry Kasenetz and Jeff Katz of Super K Productions.
After the production partnership had ended, Gouldman worked as a staff songwriter for Super K Productions in New York, while Stewart, Godley and Creme continued outside production work at Strawberry Studios. Following Gouldman’s return to Stockport, they co-produced and played on the Neil Sedaka studio album Solitaire. The record’s success prompted the four musicians to start recording their own material as a band. An initial tune, Waterfall, was rejected by Apple Records, the label that had been founded by The Beatles in 1968. Success came with Donna, which the band presented to producer Jonathan King, who signed them to his label UK Records in July 1972. It was also King who came up with the name 10cc.
Donna was released in September 1972 and climbed all the way to no. 2 on the UK Official Singles Chart. While the follow-up single Johnny Don’t Do It indeed didn’t do it, that is match the success of Donna, the band’s third single Rubber Bullets became their first no. 1 hit in the U.K. and also performed well internationally. 10cc’s eponymous debut album appeared in July 1973. The band has since released 10 additional studio albums, three live records and multiple compilations. Starting with Godley’s and Creme’s departure in 1976, 10cc has had different line-ups and was disbanded from 1983 to 1991 and 1995 to 1999. In 1999, Gouldman revived the band with a new line-up that he continues to lead to the present day. It doesn’t include any of the other three co-founding members. Time to get to the playlist!
I’d like to kick things off with the above mentioned Rubber Bullets from 10cc’s eponymous debut album. Co-written by Godley, Creme and Gouldman, the tune is a satirical take of a prison riot one could picture in an old movie. The music is reminiscent of The Beach Boys. Songfacts quotes an excerpt from an interview Godley gave to Uncut: “We were big movie buffs in those days, me and Lol, so it was one of those kind of films… you know, with a prison riot, and there’s always a padre there, and a tough cop with a megaphone. It was caricaturing those movies.” The song created some controversy at the time, since the British Army was using rubber bullets to quell riots in Northern Ireland. As a result, some radio stations refused to play it.
The Wall Street Shuffle, one of the best known 10cc songs, appeared on the band’s sophomore album Sheet Music, which was released in May 1974. Featuring one of the most catchy rock guitar riffs of the ’70s, the tune was co-written by Stewart and Gouldman and became the best-performing of the album’s three singles. The lyrics were inspired by the hefty fall of the British pound against other currencies at the time.
In May 1975, 10cc released I’m Not In Love, the second single from their third studio album The Original Soundtrack, which had come out in March that year. Co-written by Stewart and Gouldman, the ballad became the band’s second no. 1 single in the U.K. and their breakthrough hit worldwide. Among others, it also topped the charts in Canada and Ireland and peaked at no. 2 on the U.S. Billboard Hot 100. One of the song’s distinct features are the lush backing harmonies, which according to Songfacts encompass some 256 dubs of the band’s vocals. Largely fueled by the tune, the album was a major commercial success for 10cc.
Arts For Arts Sake was the lead single from 10cc’s fourth studio record How Dare You!, released in November 1975, two months prior to the album – the last featuring the band’s original line-up. The song was written by Stewart and Gouldman. According to Songfacts, the title referred to the values of the music business and was inspired by Gouldman’s father who used to say, “Boys, art for art’s sake. Money for God’s sake, okay!”
Following the release of How Dare You!, Godley and Creme left 10cc to form the duo Godley & Creme. Stewart and Gouldman decided to keep the band going and brought in Paul Burgess (drums, percussion). They recorded 10cc’s fifth studio album Deceptive Bends and released The Things We Do For Love as its lead single in December 1976. Co-written by Stewart and Gouldman, the catchy tune became another hit, reaching no. 1 in Canada, No. 2 in Ireland, No. 5 in the U.S. and no. 6 in the U.K.
By the time of their sixth studio album Bloody Tourists from September 1978, 10cc had become a six-piece band. The new members included Rick Fenn (guitar, backing vocals, saxophone, keyboards), Stuart Tosh (drums, percussion, backing vocals) and Duncan Mackay (keyboards, violin, percussion, backing vocals). The album’s lead single was Dreadlock Holiday, another Stewart-Gouldman co-write that appeared in July that year. It became the band’s last major hit, topping the charts in the U.K. and several other countries and pushing the album to no. 3 on the U.K. albums chart. According to Songfacts, the lyrics are inspired by actual events that happened to Stewart and Justin Hayward of The Moody Blues during a vacation in Barbados.
One-Two-Five is from 10cc’s seventh studio album Look Hear?, released in March 1980, and became the record’s lead single. It was co-written by Stewart and Gouldman. The album was significantly less successful than its predecessors, reaching no. 35 in the U.K. and no. 180 in the U.S.
In November 1981, 10cc released their eighth studio album Ten Out Of 10 in the U.K. The U.S. version, which only shared four tracks with the U.K. edition and included six different songs, appeared in 1982. The album didn’t chart in any of the countries. Here’s Don’t Ask, which was penned by Gouldman and the opener of both versions.
…Meanwhile from May 1992 was the band’s 10th studio album and the first following its recess that had started in 1983. It brought together the four co-founding members one last time. It also featured many guest musicians, who among others included David Paich and Jeff Porcaro of Toto, Dr. John and Paul McCartney. Here is Don’t Break The Promises, a Stewart-Gouldman-McCartney co-write. Stewart had a previous working relationship with McCartney and had appeared on the ex-Beatle’s solo albums Tug Of War (1982), Pipes Of Peace (1983) and Press To Play (1986), as well as the soundtrack Give My Regards To Broad Street (1984).
The last song I’d like to call out is from 10cc’s most recent studio album to date, Mirror Mirror, which appeared in June 1995 and was their first not to be released on a major label. Like predecessor …Meanwhile, it failed to chart and led to Stewart’s departure from 10cc and their second disbanding. Here’s Yvonne’s The One, another co-write by Stewart and McCartney, which appeared on the record’s European version. There are also U.S. and Japanese editions.
In 1999, Gouldman put together the current line-up of 10cc, which in addition to him features Fenn (guitar, vocals), Burgess (drums), Mike Stevens (keyboards, vocals) and Iain Hornal (guitar, vocals). As recently as this April, 10cc was touring. Currently, Gouldman is taking a break from the band. Last December, he announced he had accepted an invitation by Ringo Starr to join his All Starr Band for a summer 2018 European tour. Ringo and his All Star Band including Gouldman will also perform 20 dates in the U.S. in September.
Sources: Wikipedia, Apple Music, Songfacts, Graham Gouldman website, Ringo Starr website, YouTube
1957: The music program American Bandstand debuted on U.S. national television. It was hosted by Dick Clark who had joined the show the previous year when it still had been known as Bandstand and aired on Philadelphia TV station WFIL-TV (now local ABC affiliate WPVI-TV). The program, which ran until 1989, featured many artists who lip-synced their latest hits. While as such it was chart-oriented, it coincided with time periods when great music was part of the mainstream. So it’s perhaps not a surprise to see which artists appeared on the show. According to Wikipedia, American Bandstand helped introduce famous artists to Americans, such as Prince, Michael Jackson and Aerosmith. Some of the other acts who were on the program included The Animals, The Beach Boys, Chuck Berry, The Doors, Marvin Gaye, B.B. King, Van Morrison, R.E.M., Steely Dan, Stevie Wonder and even Pink Floyd. Here’s a clip of a 1966 appearance of Roy Orbison performing Oh, Pretty Woman, featuring one of the coolest ’60s guitar riffs that still sounds awesome to this day.
1966:The Beatles released their seventh studio album in the U.K., Revolver, which many fans consider the band’s best record. While it’s undoubtedly a great album, if I had to choose, I would go with the follow-on release Sgt. Pepper’s Lonely Hearts Club Band. Revolver, apart from gems like Taxman, Eleanor Rigby and Got To Get You Into My Life, stands out for the introduction of various new recording techniques, including tape loops, backwards recordings, varispeeding and, most significantly, Artificial Double Tracking (ADT). George Martin’s string arrangement on Eleanor Rigby broke conventions by blending classical and pop music. George Harrison, who took on a bigger role in the album’s songwriting, introduced another Indian instrument to pop music after the sitar on predecessor Rubber Soul: the tambura. Here’s a clip of Eleanor Rigby.
1978:The Rolling Stones hit no. 1 on the U.S. Billboard Hot 100 with Miss You, their eighth and last no. 1 single in the U.S. Credited to Mick Jagger and Keith Richards, the song was written by Jagger while jamming with Billy Preston during rehearsals in 1977. It became the lead single for Some Girls, the band’s 14th and 16th British and American studio album, respectively. Apparently, there is some disagreement between Jagger and Ronnie Wood who maintain the track wasn’t supposed to be a disco song, while according to Richards, “Miss You’ was a damn good disco record; it was calculated to be one.” To me it’s obvious that Richards hates the tune. In my humble opinion, there’s no question the Stones have released much better songs.
1984:Bruce Springsteen & The E Street Band played the first of 10 gigs at Brendan Byrne Arena, now called Meadowlands Arena, in East Rutherford, N.J. during the Born In The U.S.A. Tour, Springsteen’s longest and most successful tour to date. The show included two sets and an encore, with a total of 28 tracks. As is typical for The Boss, he went far beyond the album that the tour supported and dug deep into his catalog. He also played a number of covers. Here’s a cool clip of a 21-minute medley captured during the same tour two weeks earlier in Toronto, Canada. The medley includes Devil With The Blue Dress, Good Golly Miss Molly, CC Rider, Jenny Jenny, I Hear A Train, Twist And Shout and Do You Love Me. The band is absolutely killing it – rock & roll simply doesn’t get better than this! The crazy thing is that Springsteen pretty performed with the same intensity 32 years later when I saw him last in August 2016 at MetLife Stadium, right across the highway from Meadowlands.
1992:Jeff Porcaro, best known as co-founder and drummer of Toto, passed away at the young age of 38 years. The circumstances of his death remain ambiguous. According to the band history on the official Toto website, Porcaro died from a heart attack that resulted from a severe allergic reaction to chemicals in pesticide he had sprayed in his garden earlier that day. But the Los Angeles Times reported the heart attack stemmed from atherosclerosis triggered by years of cocaine use. One thing is clear: Porcaro was an excellent, sought after session drummer, who apart from Toto worked with Steely Dan, Eric Clapton, Paul McCartney and Boz Scaggs, among others. Here’s a clip of Rosanna from Toto IV, which I think features some of Porcaro’s finest drum work.
Sources: Wikipedia; This Day In Music.com; Billboard Hot 100 chart history; setlist.fm; Toto website; YouTube