“Cult” German TV show featured prominent music acts from Alice Cooper to Zeppelin
A YouTube clip from Beat-Club I coincidentally caught on Sunday reminded me that I hadn’t done a post in my series about popular concert halls and music programs since July 2020. So I felt the popular German TV music show, which aired monthly between September 1965 and December 1972, would be a great topic for another installment.
Beat-Club was created by music producer Gerhard Augustin, who according to Wikipedia was Germany’s first professional disc jockey, and film director and writer Mike Leckebusch. Broadcast on one of Germany’s main national public TV channels ARD, the show was hosted by German architect-turned-singer-turned-TV presenter Uschi Nerke. Until early 1969, she was joined by Augustin and afterwards by Dave Dee, of Dave Dee, Dozy, Beaky, Mick & Tich, before Nerke started hosting alone in 1970.
Beat-Club began as a live program with music guests performing in front of a plain brick wall. In 1967, the program was revamped to adapt a “more professional look,” which among others included large cards in the background that displayed the names of the performers. The new format also allowed for inclusion of artists who could not appear live. In these cases, a troupe of young women called the “Go-Go-Girls” was dancing to the featured songs – ouch! On a cooler note, in its later years, Beat-Club incorporated psychedelic visual effects during many performances. These effects became much more pronounced after the program switched to color in late 1969.
German TV personality Wilhelm Wieben opened Beat-Club’s first episode with the following words: “Hello, dear beat friends. The time has finally come. In just a few seconds starts the first show on German television, which exclusively was made for you. Ladies and gentlemen, I ask you who may not enjoy beat music for your understanding. It’s a live program with young people for young people. And now, let’s go!”
I guess Wieben and the master minds behind the program pretty much foresaw what would happen: While Beat-Club’s target audience embraced the show right way, the older generation in Germany was horrified. This probably ensured young people liked it even more. In fact, the show quickly reached “cult” status.
Over its seven-year run, Beat-Club featured an impressive array of music artists and bands. Badfinger, Chuck Berry, Cream, Deep Purple, Jimi Hendrix, Led Zeppelin, The Rolling Stones and The Who were some among many others. Now on to the real fun part: Clips that capture some of the action. The year in parenthesis after each title marks the timing of the show episode. It’s all based on Beat-Club’sYouTubechannel.
Cream/I Feel Free (1967)
The Jimi Hendrix Experience/Purple Haze (1967)
Canned Heat/On the Road Again (1968)
Joe Cocker/With a Little Help From My Friends (1968)
Chicago Transit Authority/I’m a Man (1969)
The Who/Sally Simpson & I’m Free (1969)
Black Sabbath/Paranoid (1970)
Muddy Waters/Honey Bee (1970)
Fleetwood Mac/Dragonfly (1971)
T. Rex/Jeepster (1971)
Ike & Tina Turner/Get Back (1972)
Manassas/Rock & Roll Crazies
Beat-Club eventually was replaced by another music program called Musikladen (music store). While I was too young to watch Beat-Club, I have some nebulous memories of Musikladen, and I’m afraid they aren’t great! Nerke co-moderated the program with main host Manfred Sexauer until September 1978. Subsequently, she hosted her own radio show Beat-Club until January 2013.
Yesterday’s successful landing of NASA’s robotic explorer Perseverance on Mars once again reminds us of humankind’s fascination with distant planets and what’s out there beyond our galaxy. Not surprisingly, many music artists have embraced the theme of space in their songs. The first who always comes to my mind in this context is David Bowie, who repeatedly wrote about the topic in tunes like Space Oddity, Starman, Life on Mars and Ashes to Ashes. There are plenty of additional examples. This playlist features some of these songs, ordered according to their release date.
The Byrds/Mr. Spaceman
While birds cannot fly in space, this didn’t prevent The Byrds from recording this happy-sounding tale about a kid who wakes up from the light of a flying saucer and cheerfully asks the ETs for a space ride. Mr. Spaceman, written by Roger McGuinn, appeared on the band’s third studio album Fifth Dimension from June 1966.
This Syd Barrett tune, an early example of space rock, was the opener of Pink Floyd’s debut studio album The Piper at the Gates of Dawn. Released in August 1967, this early phase Floyd gem also featured another track in the same genre: Interstellar Overdrive. I decided to go with the shorter tune! 🙂
The Rolling Stones/2000 Light Years From Home
2000 Light Years from Home is a song from Their Satanic Majesties Request, a lovely psychedelic album by The Rolling Stones, which appeared only a few months after Floyd’s debut in December 1967. Co-written by Mick Jagger and Keith Richards, the tune also became the B-side to the American single She’s a Rainbow that was released in November of the same year. Charmingly weird! 🙂
Steve Miller Band/Space Cowboy
Listening to Space Cowboy by Steve Miller Band was the tune that inspired this post, not the Mars rover, though I guess the timing worked out nicely. Co-written by Steve Miller and the band’s keyboarder at the time Ben Sidrin, the song was included on their third studio album Brave New World that came out in June 1969. The vibe of the main riff is a bit reminiscent of Peter Gunn, the theme music for the American detective TV show of the same name, composed by Henry Mancini in 1958. In 1979, Emerson, Lake & Palmer popularized that theme on their live album Emerson, Lake and Palmer in Concert.
Deep Purple/Space Truckin’
Time to go for some Space Truckin’ with Deep Purple. This track is the closer of the band’s sixth studio album Machine Head from March 1972, which to me remains their Mount Rushmore to this day. Like all remaining tracks on the record, Space Truckin’ was credited to all members of the band: Ritchie Blackmore (guitar), Ian Gillan (vocals, harmonica), Jon Lord (keyboards), Roger Glover (bass) and Ian Paice (drums, percussion).
Elton John/Rocket Man
One of my all-time favorites by Elton John happens to be related to space as well: Rocket Man, from his fifth studio album Honky Château that came out in May 1972. As usual, Sir Elton composed the music while Bernie Taupin provided the lyrics. Honky Château became John’s first no. 1 record in the U.S. He was literally flying on top of the word – six additional no. 1 albums in America would follow in a row!
I guess 1972 was a year, during which space themes were particularly popular in rock and pop music. In June 1972, only one and three months after Honky Château and Machine Head, respectively, David Bowie released his fifth studio album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. I have to say I tend to like him best during his glam rock period, and Ziggy Stardust is my favorite Bowie album. Like all except for one tune, Starman was written by Bowie.
Even soul great Stevie Wonder got into the “space business.” Saturn, co-written by Michael Sembello and Wonder, became a bonus track to Songs in the Key of Life, his magnum opus from September 1976.
The Police/Walking on the Moon
The year was 1979 when The Police released their sophomore album Reggatta de Blanc in October. Walking on the Moon, written by Sting, is the first track on the B-side. Yes, this was still pre-CDs, not to mention music streaming! I’ve always liked the reggae vibe of this tune.
R.E.M./Man on the Moon
Let’s wrap up this collection of space-themed songs with Man on the Moon by R.E.M. The tune, a tribute to American comedian and performer Andy Kaufman, was credited to the entire band: Michael Stipe (lead vocals), Peter Buck (guitar, mandolin, bass), Mike Mills (bass, keyboards, accordion, backing vocals) and Bill Berry (drums, percussion, keyboards, melodica, bass, backing vocals). It was recorded for R.E.M.’s eighth studio album Automatic for the People from October 1992. The album became their second major international success after Out of Time that had been released in March 1991.
Elton John and his lyricist Bernie Taupin primarily are known for great pop songs they wrote, especially during John’s most productive period during the first half of the ’70s. Your Song, Rocket Man, Daniel and Goodbye Yellow Brick Road are some that come to mind. Occasionally, they also came up with more rock-oriented tunes. I thought it would be fun to put together a playlist focused on the latter.
Rock and Roll Madonna
Rock and Roll Madonna was released as a non-album single in Britain in June 1970. It didn’t chart. Even though the beginning and the end sound like a live recording, the audience noise was added, a technique John would use again some four years later for Bennie and the Jets, one of his various chart toppers in the U.S. and Canada during the 70s. Rock and Roll Madonna featured Deep Purple bassist Roger Glover.
Crocodile Rock first appeared in October 1972 as the lead single for John’s sixth studio album Don’t Shoot Me I’m Only the Piano Player from January 1973. The tune, which has a late ’50s and early ’60s flair, became John’s first no. 1 single in the U.S. In 1974, a lawsuit alleged John and Taupin had illegally copied the falsetto of Speedy Gonzalez, a song that been popularized by Pat Boone in 1962. The case was settled out of court.
Saturday Night’s Alright for Fighting
Saturday Night’s Alright for Fighting perhaps is my favorite rocker by Elton John. It appeared on the excellent Goodbye Yellow Brick Road, his seventh studio album from October 1973. It also was released separately in June that year as the lead single. The tune prominently features Scottish rock guitarist Davey Johnstone, a longtime collaborator who had become a full-time member of John’s band for his fifth studio album Honky Château released in May 1972.
The Bitch Is Back
Another nice rocker is The Bitch Is Back – sounds like it could be the title of Stones song. The tune was recorded for John’s eighth studio album Caribou from June 1974. It also became the record’s second single in August of the same year. Dusty Springfield sang backing vocals.
Pinball Wizard (Tommy soundtrack, March 1975)
Obviously, Pinball Wizard isn’t a John-Taupin song, but I just couldn’t leave it out. I almost like this excellent cover better than the original by The Who. When I heard John’s version for the first time, I thought this is how Pete Townshend should have written this rock gem instead of what feels like arbitrarily fading out the song at less than 3 minutes. John’s cover is part of the soundtrack for the 1975 film version of Tommy, in which he also starred, along with numerous other music artists like Eric Clapton, Tina Turner and the members of The Who.
(Gotta Get A) Meal Ticket
Two months after the film version of Tommy had been released, John’s ninth studio album Captain Fantastic and the Dirt Brown Cowboy appeared in May 1975. It features (Gotta Get A) Meal Ticket, another great rock tune.
Grow Some Funk of Your Own
The ’70s were a very productive period for John, especially the first half, during which he released nine albums. Rock of the Westies was John’s second studio record in 1975, which appeared in October that year, only five months after Captain Fantastic and the Dirt Brown Cowboy. Here’s Grow Some Funk of Your Own, for which Davey Johnstone received a co-writing credit. The song was also released separately in January 1976 and became the album’s second single.
I’m Still Standing
I’d like to wrap up this playlist with the only track that’s not from the ’70s: I’m Still Standing, from Too Low for Zero, John’s 17th studio album that appeared in May 1983. Coming on the heels of four less successful records, especially compared to his releases during the first half of the ’70s, Too Low for Zero marked a comeback. It ended up being John’s best-selling album of the ’80s. I did like it at the time and still do. Here’s I’m Still Standing.
While bands like Deep Purple and Led Zeppelin typically remain my first choice when I’m in the mood for more heavy-oriented rock, I’ve also come to appreciate Aerosmith over the decades. Like Zeppelin, “the Bad Boys from Boston” were an acquired taste. The song that started my Aerosmith journey was the power ballad Dream On, which I first heard on the radio in Germany sometime during the second half of the ’70s. I think it’s fair to say the tune has been burned a bit by overexposure, but I still dig it.
Before getting to some music by Aerosmith, here’s a bit of background on the band that was formed in Boston in 1970. This means they’ve been around for 50 years, which is remarkable; though not without drama, as you’d probably expect. Steven Tyler (lead vocals), who was in a band called Chain Reaction, and Joe Perry (guitar, vocals), Tom Hamilton (bass) and Joey Kramer (drums), who all were members of Jam Band, aka Joe Perry’s Jam Band, first met in 1970 when their respective bands performed at the same venue.
Tyler immediately was turned on by Jam Band’s sound and proposed to combine the two bands, insisting he’d front the combined group as their lead singer. The other guys agreed, and the members of the new band moved together to a place in Boston where they stared rehearsing and writing songs. Apparently, it was Kramer who came up with the name Aerosmith, after he had listened to Harry Nilssen album Aerial Ballet and recalled writing the word “areosmith” all over his notebooks when he was in school.
Prior to playing their first gig as Aerosmith in Mendon, Mass. in November 1970, the band hired Ray Tabano, a childhood friend of Tyler, as rhythm guitarist. The following year, Tabano was replaced by Brad Whitford, completing the line-up that went on to sign a deal with Columbia Records in mid-1972 and that remains in place to this day. Soon thereafter, Aerosmith went into the studio to record their eponymous debut album that appeared in January 1973 – the first of 15 studio records to date. That’s no exactly an extensive catalogue, considering the band has been around for five decades. But, as hinted above, there has been good deal of drama throughout their history.
Even though it’s perhaps a bit lame to select the obvious tune, I’d like to kick off this playlist with Dream On, written by Tyler, which also became Aerosmith’s first single. It peaked at No. 59 on the Billboard Hot 100 and made it to No. 87 on the Canadian Singles Chart. While the album wasn’t a success initially, in addition to Dream On, it included tracks like Mama Kin and Walkin’ the Dog that became staples during Aerosmith’s live shows and on rock radio. Eventually, Aerosmith was certified 2x Platinum.
Following extensive touring, Aerosmith released their sophomore album Get Your Wings in March 1974. It was the first produced by Jack Douglas and the beginning of a long and successful studio collaboration that resulted in four additional albums. While contemporary reviews were mostly favorable, at first, the album didn’t do very well either. But similar to the debut, Get Your Wings eventually became a commercial success, securing 3x Platinum status. Here’s the band’s excellent cover of Train Kept A-Rollin’, a tune co-written by Tiny Bradshaw and Lois Mann, aka Syd Nathan, and first recorded by Bradshaw in 1951. In addition to Aerosmith, many other artists, such as Johnny Burnette, The Yardbirds and Led Zeppelin, have covered the song.
Toys in the Attic, Aerosmith’s third studio album from April 1975, catapulted them to international stardom. It reached No. 11 on the Billboard 200 and remains the band’s most commercially successful album in the U.S. to date, with more than 8 million copies sold. It was ranked at No. 229 on Rolling Stone’s 2012 version of 500 Greatest Albums of All Time, though it no longer made the cut for the list’s latest revision published in September this year. Here’s Sweet Emotion, co-written by Tyler and Hamilton, one of their best known tunes that also became their second charting single in the U.S., reaching No. 36 on the Billboard Hot 100.
Aerosmith followed up Toys in the Attic with Rocks in May 1976, an instantly successful seller that also became their highest charting album of the ’70s in the U.S., reaching No. 3 on the Billboard Hot 100. It also made Rolling Stone’s 2012 list of 500 Greatest Albums of All Time (No. 176). Unlike Toys, it’s still included in the most recent revision, ranking at No. 366. By the time they recorded Rocks, Aerosmith were well into living the rock & roll lifestyle and heavy drug indulgence, but apparently this wasn’t hampering them yet. Here’s the hard hitting opener Back in the Saddle, co-written by Tyler and Perry.
In the late ’70s, the band’s drug use started to take its toll and tensions among the members rose. After a fight between Tyler and Perry following a gig in Cleveland in July 1979, Perry left and formed The Joe Perry Project shortly thereafter. Whitford and long-time writing partner Richie Supa took on some of Perry’s guitar parts on Aerosmith’s next album Night in the Ruts. Eventually, the band hired Jimmy Crespo as their new lead guitarist. In 1981, during the recording sessions for Rock in a Hard Place, Aerosmith’s seventh studio album, Whitford departed and was replaced by Rick Dufay. In 1984, Perry and Whitford were back in the fold. Following a reunion tour, Aerosmith recorded their next studio album Done With Mirrors. Here’s the opener Let the Music Do the Talking, a Perry tune he originally had recorded as the title track for the Joe Perry Project’s debut.
While Aerosmith were back with their original line-up, the band members’ drug addiction continued to pose challenges. In 1986, Tyler successfully completed drug rehab. The rest of the band also completed such efforts over the next few years. In August 1987, Aerosmith released Permanent Vacation, their ninth studio album, a comeback that became their best seller in over a decade with more than 5 million copies. It marked their first effort that brought in songwriters from outside the band. Here’s Dude (Look Like a Lady), co-written by Tyler, Perry and Desmond Child, their first charting single in the ’80s, climbing to No. 14 on the Billboard Hot 100.
One of my favorite Aerosmith tunes, Janie’s Got a Gun, appeared on the follow-on Pump from September 1989. It became the band’s highest-charting ’80s album in the U.S., reaching No. 3 on the Billboard 200. Co-written by Tyler and Hamilton, the Janie’s Got a Gun climbed to No. 4 on the Billboard Hot 100, making it their second most successful U.S. single of the decade. Here’s the official video.
The 1990s saw Aerosmith’s highest-charting U.S. albums with Get a Grip (April 1993) and Nine Lives (March 1997) topping the Billboard 200. Get a Grip also became the band’s best-selling studio album worldwide, with sales exceeding 20 million copies. Like on Permanent Vacation and Pump, the record featured numerous external song collaborators. Seven of the album’s tracks were released as singles, of which three made the U.S. charts: Cryin (No. 12), Amazing (No. 24) and Crazy (No. 17). The tune I’d like to highlight is Line Up, a co-write by Tyler, Perry and Lenny Kravitz who also provided backing vocals.
Let’s do two additional songs from the current century. Here’s the title track of Aerosmith’s 13th studio album Just Push Play, which came out in March 2001. The tune was co-written by Tyler, Mark Hudson and Steve Dudas. Though I feel like it got decent radio play, the song failed to chart on the Billboard Hot 100. It did climb to No. 10 on Billboard’s U.S. Rock Chart, which I find interesting since to me it’s more of a cross-over pop-rock song.
In November 2012, Aerosmith released their 15th and most recent studio album to date, Music from Another Dimension! While it climbed to No. 5 on the Billboard 200, I do seem to recall reading press accounts at the time, with Joe Perry saying this may be the band’s last album – possibly a sign of frustration over the long process it apparently took to make the record. Here’s lead single Legendary Child co-written by Tyler, Perry and Jim Vallence, which appeared in May 2012. Originally, the song had been written and recorded in 1991 during the sessions for the Get a Grip album but had never been released. Here’s the official video. The narrative in the beginning nicely sums up Aerosmith’s eventful history.
Between 2014 and 2018, Tyler and Perry largely focused on side projects. For much of last year, Aerosmith did a concert residency called Aerosmith: Deuces are Wild, mostly in Las Vegas. A European tour that had been planned for the summer of 2020 and a 50th anniversary show at Boston’s Fenway Park in September have all officially been rescheduled until next year.
The band’s current outlook does appear to be somewhat uncertain. Following some drama and lawsuits at the beginning of the year over the band’s refusal to allow drummer Joey Kramer to rejoin the line-up after his recovery from a shoulder injury, Brad Whitford during an interview on the Steve Gorman Rocks radio show in August 2020 expressed doubts over Aerosmith’s future. According to Wikipedia, citing ongoing dysfunction within the group, Whitford said, “I don’t really know what they want to do. And, I don’t really care because, um, truthfully, I’m not interested any more.”
It seems to me drama has been a near-constant during much of Aerosmith’s long history, and there’s a reason why Steven Tyler and Joe Perry have become known as the “Toxic Twins.” But while the band’s best days may be over, I think it’s safe to assume they still have a ton of fans out there who would love to see them once concert tours can resume. I could well see Aerosmith mirror Deep Purple and embark on a “never-ending” farewell tour.
My recent “desert island” collection of 10 studio albums included Deep Purple’sMachine Head, which after more than 40 years of listening remains the ultimate hard rock album to me. In that post, I also noted that these days heavy rock no longer is my primary music choice. But occasionally, I still enjoy it, which triggered the idea to put together this playlist. I guess just like with many other things, when it comes to music, it’s all about moderation, except of course for The Beatles, The Rolling Stones, The Who, Neil Young, live concerts, music equipment… 🙂
As more frequent visitors of the blog know, I find doing rankings nearly impossible. But since I suppose there needs to be some system to the madness, the following list is in chronological order from oldest to most recent. And, yes, I suppose in some cases you could question whether a pick is really hard, heavy or metal rock, or is it just rock? The boundaries can be pretty fluid. Plus, to some extent, it’s also a bit subjective. At the end of the day, it’s all about music I dig when the occasion is right. With all these caveats out of the way, let’s get to it.
Steppenwolf – Born to be Wild
This classic from Steppenwolf’s eponymous debut album from January 1968 sometimes has been called the first heavy metal song – in part because of the second line of the second verse, “heavy metal thunder.”Born to be Wild was written by Canadian rock musician and songwriter Dennis Edmonton, aka Mars Bonfire. The tune also appeared separately as a single in June 1968 and became Steppenwolf’s biggest hit next to Magic Carpet Ride. It will forever be associated with the 1969 biker cult picture Easy Rider. Every time I hear that opening line Get your motor runnin’, I feel like climbing on my chopper and heading down Route 18 to the Jersey shore. Then reality sets in. I don’t own a bike, not to mention the minor detail I don’t really know how to ride one. But when I get the urge to look for adventure, there’s always my sexy family crossover SUV! 🙂
Led Zeppelin – Whole Lotta Love
While Led Zeppelin IV is my favorite Zep album, Whole Lotta Love possibly is my favorite tune among their crunchy rockers. Credited to all four members, the track first appeared on Led Zeppelin’s sophomore album that came out in October 1969, ingeniously titled Led Zeppelin II. The following month, Whole Lotta Love was also released as a single and became their best chart-performing song, reaching no. 1 in Australia and Germany, and peaking at no. 4 in the U.S. Notably, it didn’t chart in their home country. From today’s perspective, the fact that Whole Lotta Love became such a big hit looks unreal. You need cooling/Baby I’m not fooling/I’m gonna send ya/Back to schooling//A-way down inside/A-honey you need it/I’m gonna give you my love/I’m gonna give you my love//Want to whole lotta love/Want to whole lotta love/Want to whole lotta love/Want to whole lotta love…
Deep Purple – Speed King
Obviously, it was only a matter of time until I would feature a Deep Purple tune in this post. But while Machine Head was their Mount Rushmore, there’s more to the British hard rockers than this 1972 gem. One great example is the opener to the band’s fourth studio album Deep Purple in Rock released in June 1970: Speed King. Credited to the entire band, the song’s lyrics are made up of titles of classic rock & roll tunes by Chuck Berry and Little Richard, which I always thought was a cool idea. Good golly, said little Miss Molly/When she was rockin’ in the house of blue light/Tutti Frutti was oh so rooty/Rockin’ to the east and west/Lucille was oh so real/When she didn’t do her daddies will/Come on baby, drive me crazy, do it, do it.. This is one kick-ass rocker!
Black Sabbath – Paranoid
While I can’t claim to be a Black Sabbath fan, there’s just no way you can leave out these English rockers from any heavy rock collection. It would be like doing a post about the British Invasion and excluding The Beatles. And, to be clear, I’m not just featuring Sabbath because I felt I had to. I’ve always loved Paranoid, the title track of their second studio album that came out in September 1970. Credited to the entire band, Paranoid first appeared as a single in August of the same year. It became their biggest hit, topping the charts in Germany, and reaching no. 2, 3 and 4 in Switzerland, Austria and the UK, respectively. Apparently, audiences were less receptive in America, where the tune stalled at no. 61 on the Billboard Hot 100. Here’s a cool official clip, even though it’s all playback. Check out Tony Iommi’s cool Gibson SG. One day when I grow up I’m gonna get an ax like this – it even plays rhythm and solo at the same time! 🙂
Uriah Heep – Bird of Prey
Yep, Uriah Heep with their crazy high vocals can border a bit on the weird, but these guys were rockin’, especially in their early days. I seem to remember when I bought the album Salisbury as a young teenager, my six-year older sister who accompanied me to the record store was a bit embarrassed about my choice. Come on, sis’, while with Carole King’sTapestry, CSNY’sDéjà Vu and Pink Floyd’sWish You Were Here, to name a few, you undoubtedly introduced me to some of the best recorded music ever, your taste also varied – let’s just leave it at that! 🙂 Credited to the band members Ken Hensley, Mick Box, Paul Newton and Keith Baker, Bird of Prey is the furious opener of Heep’s sophomore album from February 1971. That tune rumbles just like the tank on the album cover – “geil,” as was fashionable to say in Germany back in the day!
Rainbow – Long Live Rock ‘n’ Roll
I don’t care how you feel about Rainbow, and my thoughts about them are mixed these days, Long Live Rock ‘n’ Roll just is an epic rocker. Co-written by former Deep Purple guitarist and Rainbow founder Ritchie Blackmore and the band’s powerhouse lead vocalist Ronnie James Dio, Long Live Rock ‘n’ Roll was the title track of Rainbow’s third studio album released in April 1978. It also became the record’s lead single in March of the same year. To me, this is Rainbow’s best song. Apparently, audiences felt differently, at least the time, and far preferred some of their later songs, on which Blackmore adopted a more commercial sound along the lines of Foreigner.
Gary Moore – Victims of the Future
Before Gary Moore fully embraced electric blues during his solo career, the Irish guitarist released heavy rock album Victims of the Future in December 1983. The big hit off that record was the power ballad Empty Rooms, which was played to death on the radio in Germany. I don’t even recall hearing the title track, which was co-written by Moore, Neil Carter (keyboards), Neil Murray (bass) and Ian Paice (drums) – and, yep, that’s the Ian Paice from Deep Purple. The song wasn’t released as a single; clocking in at more than six minutes, it wouldn’t have been radio-friendly to begin with. Admittedly, this is a pretty aggressive tune I can only tolerate occasionally, but when I’m in the mood for some heavy action, I still enjoy it. According to Wikipedia, Moore later dismissed the record as “just one of my feeble attempts at heavy rock”. It’s certainly quite different from his electric blues music he released starting in the early ’90s all the way until his premature death at age 58 in February 2011.
Guns N’ Roses – Sweet Child o’ Mine
My sentiments about Guns N’ Roses in general are similar to the previous pick. Sometimes, their music is simply too aggressive, so again, I need to be in the right mood. When I am, I actually enjoy a good number of their tunes. On these occasions, Sweet Child o’ Mine is one of my favorites. It’s a track off their debut album Appetite for Destruction from July 1987. Credited to the entire band, the tune also became the album’s third single in August of the same year. It was one of the songs that fueled the record’s massive international chart success, turning it into Guns N’ Roses’ biggest album. The guitar work on this song is just killer!
Scorpions – Raised on Rock
I suppose writing a post about heavy rock without acknowledging German veterans Scorpions would border on treason. The band from the city of Hannover first entered my radar screen with Love at First Sting, their hugely successful ninth studio album they released in March 1984, 12 years into their recording career. I seem to recall reading somewhere there were times before then when Scorpions were more famous elsewhere than in their home country. With hits, such as Rock You Like a Hurricane, Big City Nights and Still Loving You, Love at First Sting definitely changed that. Scorpions continue to rock and roll to this day. In April, they released a new tune, Sign of Hope, a classic Scorpions-style ballad, inspired by COVID-19. According to a statement on their website, they have been working on songs for a new album. The tune I decided to feature here appeared 26 years after Love at First Sting. Raised on Rock is the opener to the band’s 17th studio album Sting in the Tail from March 2010, which together with the supporting tour was positioned as their farewell. Then, they decided they simply couldn’t stop.
AC/DC – Play Ball
Let’s wrap up things with a great late-career rocker by AC/DC. Play Ball is from their 16th studio album Rock or Bust, which is the band’s most recent to date from November 2014. There have been reports about a new album for some time, largely fueled by Twisted Sister’sDee Snider, who apparently is close to AC/DC. According to this NMEstory from late July, the album is already in the can, but it’s release has been delayed due to COVID-19. It sounds like thanks to some technology wizardry, it will feature the classic lineup including Malcolm Young and be the band’s final album. For now, let’s focus on actually released AC/DC music. Co-written by Malcolm Young prior to his forced retirement due to dementia and his younger brother Angus Young, Play Ball was the lead single from Rock or Bust, which appeared in October 2014, preceding the album by one month – a classic AC/DC rocker!
Jeez, after listening to ten heavy rock tunes, my ears are exhausted. Yesterday, the long-awaited reissue of The Rolling Stones’Goat Heads Soup came out. I think I’m just about ready for Angie. A-Angie, A-Angie/When will this hard rock disappear/Angie, Angie/where will it lead from here…
Inspired by Hans Postcard’s fun 2020 album draft, where 10 participants pick albums in 10 rounds for a total of 100, I decided to put together my list of 10 albums I would take on a desert island. Essentially, I already came up with such a collection in May 2018, but some things have changed in the meantime and this list features five new picks, including three different artists.
While each of the albums are longtime favorites, I still can’t exclude the possibility that my picks might be different in a month or two. Since I couldn’t figure out how to rank my selections, I ingeniously decided to put them in chronological order. Conveniently, this means kicking things off with my favorite band of all time.
The Beatles/Sgt. Pepper’s Lonely Hearts Club Band (May 1967)
While I dig all albums by the Fab Four, on most days, Sgt. Pepper’s Lonely Hearts Club Band is my favorite. The innovative use of recording technology, the cover art and the combination of different music styles like vaudeville, circus, music hall, avant-garde and traditional Indian music with pop and rock make Sgt. Pepper a true masterpiece. The first album after The Beatles had stopped touring was influenced by The Beach Boys’Pet Sounds, which Brian Wilson had created in response to Revolver, as well as Freak Out! by the Mothers of Invention. Had it not been because of silly pressure from EMI to issue Strawberry Fields Forever and Penny Lane as a single, Sgt. Pepper hands-down would have been the strongest Beatles album. Still, with tunes like the title track, Lucy in the Sky With Diamonds, Within You Without You and the magnificent A Day in the Life, there’s lots of great music.
Carole King/Tapestry (February 1971)
Carole King’sTapestry perhaps is the ultimate singer-songwriter album. Her sophomore release from 1971 featured 10 new tunes and two reinterpretations of songs King had written together with her former husband and lyricist Jerry Goffin in the ’60s. Like many of their other songs, Will You Still Love Me Tomorrow? and (You Make Me Feel Like) A Natural Woman became hits, in these cases by The Shirelles and Aretha Franklin, respectively. There’s really no weak tune on Tapestry and I could have selected any. It’s Too Late has always been one of my favorites.
The Rolling Stones/Sticky Fingers (April 1971)
I know many fans of The Rolling Stones consider Exile on Main St. or Some Girls as their best albums. While I can’t claim to know all of their records in detail, my favorite is Sticky Fingers. This was the second full-length record with Mick Taylor who had replaced Brian Jones in June 1969. Between Brown Sugar, Wild Horses, Can’t You Hear Me Knocking, Bitch, Sister Morphine and Dead Flowers, there are so many classics on this album. I just think the Stones never sounded better. And interestingly, it’s the country-influenced Dead Flowers that has become one of my favorite Stones tunes. I just love the guitar work!
Marvin Gaye/What’s Going On (May 1971)
I think Marvin Gaye had one of the most beautiful soulful voices I know. This artist was a smooth operator, even when he sang about serious issues like on this album. …(Oh, crime is increasin’) Oh, woo/Trigger happy policin’/panic is spreadin’/God knows where we’re headin’/Oh baby/Make me wanna holler/They don’t understand/Make me wanna holler/They don’t understand…It’s remarkable these lyrics were written almost 50 years, yet they sound frighteningly relevant in America in the year 2020.
Neil Young/Harvest (February 1972)
I dig a good number of Neil Young songs and feel his first compilation Decade is one of the best greatest hits collections I can think of. When it comes to his albums, my favorites are Harvest from 1972 and Harvest Moon from 1992. While I think the title track of the latter is among Young’s best tunes, I have a slight preference for Harvest from an overall album perspective. Featuring David Crosby, Graham Nash, Stephen Stills, James Taylor and Linda Ronstadt as guests, it became Young’s most successful record and the best-selling album in the U.S. in 1972 – in part thanks to Heart of Gold, which remains Young’s only no. 1 song on the U.S. Billboard Hot 100 to this day. There are many other gems on the record, including The Needle and the Damage Done.
Deep Purple/Machine Head (March 1972)
I don’t listen to hard rock a lot these days, but when I do, Deep Purple remain my favorite choice, especially their sixth studio album Machine Head from March 1972. I’ve always thought one of the cool things about this band are the equal roles the guitar and the keyboards play as solo instruments. Jon Lord was a true master of the Hammond organ who skillfully blended blues, hard rock and jazz with elements of classical music. Lazy is one of the tracks on which Lord shines in particular.
Pink Floyd/The Dark Side of the Moon (March 1973)
First, I was going to pick Meddle, Pink Floyd’s sixth studio album from October 1971. With the great Echoes, it foreshadowed the band’s classic mid-’70s sound on The Dark Side of the Moon and Wish You Were Here. All three albums are among my favorite Floyd records. Eventually, I settled on The Dark Side of the Moon. It’s a perfect album for headphones, and I’ve listened to it countless times at night in bed. The sound is just phenomenal. One of the standout tracks is The Great Gig In the Sky and the amazing vocal performance by British singer Clare Torry.
Bruce Springsteen/Born to Run (August 1975)
Bruce Springsteen entered my radar screen in 1984 with the Born in the U.S.A. album. While I’m still fond of that record, I subsequently explored and came to appreciate his earlier work. To me, Born to Run turned out to be Springsteen’s Mount Rushmore. After two albums that were critically acclaimed but not successful from a commercial perspective, he really needed a hit. Born to Run would turn out to be exactly that and catapult Springsteen to fame beyond the U.S. Apart from the title song, my favorite tracks on the album include Thunder Road, Backstreets, Jungleland and the beautiful soul-oriented Tenth Avenue Freeze-Out.
Stevie Wonder/Songs in the Key of Life (September 1976)
Stevie Wonder has been one of my favorite artists for 40 years. I dig many of his songs starting from when he was known as Little Stevie Wonder. But it’s his classic period in the ’70s I like the most, especially the albums Talking Book (October 1972), Innervisions (August 1973) and Songs in the Key of Life (September 1976). The latter became the best-selling and most critically acclaimed album of Wonder’s long career. Here’s his beautiful tribute to jazz legend Duke Ellington who had passed away in May 1974.
Steely Dan/Aja (September 1977)
I’m wrapping up this list with Steely Dan. Walter Becker and Donald Fagen made many great records, but it’s this gem from September 1977 that’s my favorite: Aja. As usual, Becker and Fagen assembled top-notch session musicians to record the album. There were also prominent guests, including Michael McDonald and Timothy B. Schmit. All of the tracks on this album are great. Deacon Blues is my favorite Steely Dan song, but since I previously featured it more than once, I’m going with the closer Josie.
Frequent visitors of the blog and others who have a good idea about my music taste know I really dig vocals, especially multi-part harmony singing. In fact, when it comes to artists like The Temptations, I could even do without any backing music. That’s why felt like shaking things up a little and putting together this collection of tracks that shockingly don’t have any vocals. Once I started to reflect, it was surprisingly easy to find instrumentals I really like – yes, they do exist and, no, I don’t miss the vocals!
Since I still play guitar occasionally (only to realize how rusty I’ve become!), I decided to focus on primarily guitar-driven tracks. While I’m sure you could point me to jazz instrumentals I also find attractive, the reality is I’m much more familiar with other genres, especially in the rock and blues arena. Most of the tracks in this post came to my mind pretty quickly. The John Mayall and the Blues Breakers and Steve Vai tunes were the only ones I picked from a listGuitar World put together.
I’ve always thought Hank Marvin had a really cool sound. Here’s Apache, which was written by English composer Jerry Lordan and first recorded by Bert Weedon in 1960, but it was the version by The Shadows released in July of the same year, which became a major hit that topped the UK Singles Chart for five weeks.
John Mayall and the Blues Breakers/Steppin’ Out
Steppin’ Out is a great cover of a Memphis Slim tune from the debut studio album by John Mayall and the Blues Breakers from July 1966. It was titled Blues Breakers with Clapton featuring, you guessed it, Eric Clapton, who had become the band’s lead guitarist following the release of their first live album John Mayall Plays John Mayall that appeared in March 1965.
Pink Floyd/Interstellar Overdrive
My Pink Floyd journey began with their ’70s classics Wish You Were Here and The Dark Side of the Moon. Much of their early phase with Syd Barrett was an acquired taste, especially experimental tunes like Interstellar Overdrive from Floyd’s debut The Piper at the Gates of Dawn released in August 1967. It’s one of only two tracks on the album credited to all members of the band at the time: Barrett, Roger Waters, Richard Wright and Nick Mason.
Deep Purple/Wring That Neck
Wring That Neck is a kick-ass tune from Deep Purple’s sophomore album The Book of Taliesyn that appeared in October 1968. As was quite common for the band, Jon Lord’s mighty Hammond organ pretty much had equal weight to Ritchie Blackmore’s guitar. That’s always something I’ve loved about Deep Purple, as much as I dig guitar-driven rock. Wring That Neck was co-written Blackmore, Lord, bassist Nick Semper and drummer Ian Paice.
Yes, I know, I featured this gem only recently on July 25 when Peter Green sadly passed away at the age of 73. I’m also still planning to do a follow-up on this extraordinary guitarist. But I just couldn’t skip Albatross in this collection, which Green wrote and recorded with Fleetwood Mac in October 1968. The track was released as a non-album single the following month. It’s a perfect example of Green’s style that emphasized feeling over showing off complexity, speed and other guitar skills. With it’s exceptionally beautiful tone, I would rate Albatross as one of the best instrumentals, perhaps even my all-time favorite, together with another track that’s still coming up.
The Allman Brothers Band/Jessica
Jessica first appeared on The Allman Brothers Band’s fourth studio album Brothers and Sisters from August 1973. It also became the record’s second single in December that year. Written by lead guitarist Dickey Betts, the tune was a tribute to jazz guitar virtuoso Django Reinhardt. Betts named the tune after his daughter Jessica Betts who was an infant at the time. When you have such beautiful instrumental harmonies, who needs harmony vocals? Yes, I just wrote that! 🙂
Santana/Europa (Earth’s Cry Heaven’s Smile)
Santana’sEuropa (Earth’s Cry Heaven’s Smile) is the other above noted tune, which together with Albatross I would perhaps call my all-time favorite guitar-driven instrumental. In particular, it’s the electric guitar tone that stands out to me in both of these tracks. Co-written by Carlos Santana and his longtime backing musician Tom Coster who provided keyboards, Europa was first recorded for Santana’s seventh studio album Amigos from March 1976. It also appeared separately as a single and was also one of the live tracks on the Moonflower album released in October 1977.
Steve Vai/The Attitude Song
When it comes to guitarists and their playing, I’m generally in the less-is-more camp. That’s why I really must further explore Peter Green whose style should be up right up my alley. Sometimes though shredding is okay. I was going to include Eddie Van Halen’sEruption, but it’s really more an over-the-top guitar solo than an instrumental. So I went with Steve Vai and The Attitude Song, a track from his solo debut album Flex-Able from January 1984. I definitely couldn’t take this kind of music at all times. In fact, as I’m listening to the tune while writing this, it’s actually making me somewhat anxious. While the harmony guitar and bass action sound cool, like most things, I feel it should be enjoyed in moderation! 🙂
Stevie Ray Vaughan/Scuttle Buttin
Scuttle Buttin’ by Stevie Ray Vaughan isn’t exactly restrained guitar playing either. But while like The Attitude Song it’s a shredder, the tune has never made me anxious. I think that’s largely because I really dig Vaughan’s sound. Yes, he’s playing very fast and many notes, yet to me, it comes across as less aggressive than Vai who uses more distortion. Written by Vaughan, Scuttle Buttin’ appeared on his excellent second studio album Couldn’t Stand the Weather released in May 1984.
Jeff Beck/A Day in the Life
The last artist I’d like to feature in this collection is another extraordinary guitarist with an amazing tone: Jeff Beck. His unique technique that relies on using his thumb to pick the guitar strings, the ring finger to control the volume knob and his pinkie to work the vibrato bar of his Fender Stratocaster creates a unique sound no other guitar player I’ve heard has. Here’s Beck’s beautiful rendition of The Beatles tune A Day in the Life. It was included on In My Life, an album of Fab Four covers compiled and produced by George Martin, which appeared in October 1998.
I can’t believe it’s been six weeks since my last installment in this recurring music history feature. And even though to me it feels like I’ve covered so many dates already, the reality is I have more than 300 left to go. So without further ado, let’s take a look at May 26!
1964: Lenny Kravitz was born in New York City as Leonard Albert Kravitz. He was the only child of actress Roxie Roker and Sy Kravitz, a news producer at NBC Television. Both of his parents have passed away. Kravitz was drawn to music since he was tiny. At age 3, he began using pots and pans as drums, and two years later, he apparently knew he wanted to become a professional musician. After his family had moved to Los Angeles in 1974, Kravitz started listening to rock music like The Rolling Stones, Led Zeppelin and Creedence Clearwater Revival. When he set out to get a record deal, initially, he was given a hard time, with record labels either telling him he wasn’t “black enough” or “white enough.” Fortunately, Kravitz was able to overcome this BS, and in September 1989 his debut studio album Let Love Rule appeared. He has since released 10 additional studio records, in addition to a greatest hits compilation, as well as various box sets and EPs. My introduction to Kravitz was his sophomore album Mama Said from April 1991. Here’s a great rocker from that record he co-wrote with Slash: Always On the Run.
1967: The Beatles released their eighth studio album Sgt. Pepper’s Lonely Hearts Club Band. If I could only choose one of their records, a nearly impossible task, this would be it most days. On other occasions, I might go with Abbey Road or Revolver. You can read more about Sgt. Pepper and why I dig that album here. Following is the record’s grande final A Day in the Life, a tune that was mostly written by John Lennon. Paul McCartney’s main contribution is the middle section.
1969: Janis Joplin made the cover of Newsweek. The headline declared Janis Joplin: Rebirth of Blues. Seventeen months later, on October 4, 1970, Joplin was found dead in her room at the Landmark Motor Hotel in Los Angeles after she had not appeared for a recording session at Sunset Sound Recorders studios. An autopsy by L.A. coroner Thomas Noguchi determined she had passed away from a heroin overdose, possibly compounded by alcohol. Joplin, undoubtedly one of the most compelling female blues vocalists, was only 27 years old.
1972: English rock band Mott the Hoople, which despite their cult status in England were on the verge of disintegration due to lack of commercial viability, recorded All the Young Dudes, a song that had been given to them by one of their fans: David Bowie, who also produced the single, played guitar, sang backing vocals and clapped. All of that happened in the middle of the night at Olympic Studios in London, where Bowie had managed to get them some time. The tune was released on July 28, 1972 and climbed all the way to no. 3 on the UK Singles Chart. In the U.S., All the Young Dudes became a top 40 hit, reaching no. 37 on the Billboard Hot 100. It ended up saving the band and extending their life until 1976.
1973: Deep Purple release Smoke on the Water as the third and final single from their sixth studio album Machine Head, another gem of a record, in my opinion. The tune, which must be a living nightmare of many folks working at guitar stores, was credited to all members of the band at the time: Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord and Ian Paice. The song was inspired by a fire at the casino in Montreux, Switzerland on December 4, 1971, where Deep Purple were about to get underway with recording sessions for the Machine Head album. But some stupid with a flare gun/Burned the place to the ground – the night before after a Frank Zappa concert. Perhaps he had not liked Zappa’s performance! Whatever the case may have been, the tragic fire, which claimed all of Zappa’s equipment, led to one of the most iconic rock songs of the ’70s.
Sources: Wikipedia; Songfacts Music History Calendar; This Day in Music; YouTube
Lately, I’m finding myself coming across lots of new music I like. Ironically, it’s largely due to my streaming music provider. I used to complain they do a rather mediocre job of serving up music I’m supposed to dig, based on my listening habits. While some of their suggestions still look a bit odd to me, I have to give credit where credit is due: Finally, it appears their algorithms have improved, and lately, they’ve been proposing some pretty good stuff.
Hoping this is going to continue, I’m introducing a new feature to the blog ingeniously titled Best of What’s New. The idea is to highlight new songs rather than new albums. I’m already doing the latter and have no intention to change that. While I don’t see myself starting to write about electronic dance music or Neue Deutsche Haerte a la Rammstein, I’m hoping to keep these posts a bit eclectic. I realize the characterization “best” is pretty subjective. If a song speaks to me, it’s fair game. With this disclaimer out of the way, let’s get to the inaugural post.
Clarke Thorndycaft/Jumpin’ Jack Flash
‘Really,’ you might wonder, ‘a cover?’ I didn’t say these posts will only include original music! Behind Clarke Thorndycraft are guitarist Mick Clarke and singer and harmonica player Bill Thorndycraft, who both were among the founding members of Killing Floor, a British blues-rock band that initially was active between 1968 and 1972 and has been revived in 2002. More than just a cover, the tune is an homage to The Rolling Stones, which becomes obvious when they call out each member of “the world’s greatest rock & roll band” at the end of the tune. Co-written by Mick Jagger, Keith Richards and an uncredited Bill Wyman, the song was first released as a single in May 1968.
I betcha didn’t see a modern jazz type instrumental coming, did ya? Well, while for the most part, I anticipate not to veer off too far from my core wheelhouse, I have no problem doing so, if I like it. And I find this tune beautiful and very soothing. According to Naxos Direct, Ingmar is a jazz pianist, composer and freelance musician from Uppsala, Sweden. He also is the chairman of the Uppsala Jazz Club and organizer of the Live Jazz Bar at Uplands Nation and the Jazz Corner at UKK. Coolio, Julio! Ellegatan is from Ingmar’s new album Karlavagnen, which came out yesterday. Let’s hear it!
Deep Purple/Throw My Bones
Wait, what, haven’t these guys been on a farewell tour for the past couple of years? And now new music? Well, Deep Purple ingeniously called it “The Long Goodbye Tour.” I suppose the emphasis is on long. Just released yesterday, Throw My Bones is the lead single from the band’s upcoming new studio album Whoosh! set for release on June 12. According to a statement on Deep Purple’s website, the tune “is an invitation to take a step back and see the bigger picture, a call for action and an invitation to observe the planet and the current situation on earth” – have they turned into philosophers now? The song is co-credited to the band’s current members Don Airey (keyboards), Ian Gillan (lead vocals), Roger Glover (bass), Steve Morse (guitar) and producer Bob Ezrin. While it’s not exactly Machine Head caliber, Deep Purple remain my favorite hard rock band, and I will always have a weak spot for them. Check out Steve Morse’s guitar solo on that tune – obviously, he’s a hell of a guitarist!
Durand Jones & The Indications/Young Americans
From their website: Durand Jones & the Indications aren’t looking backwards. Helmed by foil vocalists in Durand Jones and drummer Aaron Frazer, the Indications conjure the dynamism of Jackie Wilson, Curtis Mayfield, AND the Impressions. This young band of twenty-somethings are students of soul, including guitarist Blake Rhein, who moonlights doing research for The Numero Group. Even with that background, and an aesthetic steeped in the golden, strings-infused dreaminess of early ‘70s soul, the Indications are planted firmly in the present, with the urgency of this moment in time. The website lists two albums: The eponymous debut from 2016 and the sophomore American Love Call, which came out last year. Their cover of Young Americans was released as a single on January 28. Written by David Bowie, Young Americans is the title track of Bowie’s ninth studio album from March 1975. While it’s not very different from the original, I think Durand Jones and the band give it a nice soul vibe.
Ready for one more? How ’bout some more contemporary jazz? Ever heard of Pat Metheny? Yep, the American jazz guitarist and composer who has been around like forever – to be more precise since 1974, according to Wikipedia. His debut album Bright Size Life dates back to early 1976. This tune, Love May Take a While, is off Metheny’s latest album From This Place. Released on February 21, it appears to be his 10th studio record. I don’t wanna pretend that all of a sudden, I’ve turned into a jazz connoisseur. The truth is I rarely listen to jazz and know next to nothing about it. But it ain’t rocket science, baby: I simply dig the smooth and relaxing sound of this tune. The tone of Metheny’s guitar is just beautiful. Hope you enjoy it as much as I do!
Source: Wikipedia; Clarke Thorndycraft Facebook page; Naxos Direct; Deep Purple website; Durand Jones & The Indications website; YouTube
Since my recent post about Something in the Air by Thunderclap Newman, the above creatively borrowed and somewhat adjusted phrase had been stuck in my head, just like the catchy song. The first part of the statement is true, the second half is perhaps debatable. But while this British rock band only had one real hit, there’s no doubt in my mind Thunderclap Newman was more than just a one-hit-wonder.
As a fan of The Who, I’m intrigued by Pete Townshend’s role in the band’s history – in fact, without Townshend, there would have been no Thunderclap Newman. He brought the band’s core members together in late 1968/early 1969: Songwriter and multi-instrumentalist Speedy Keen (born John David Percy Keen), Dixieland jazz pianist Thunderclap Newman (born Andrew Lawrence Newman) and lead guitarist Jimmy McCulloch (born James McCulloch). They are pictured in that order from left to right in the above photo.
Interestingly, prior to the band’s formation, Keen had been The Who’s chauffeur and shared an apartment with Townshend. He also had written Armenia In the Sky, the opener to The Who’s third studio album The Who Sell Out from December 1967. Apparently, Townshend was impressed with the songwriting talents of Keen who had played in different bands since 1964, so he decided to introduce him to Newman and McCulloch. Townshend was also instrumental in getting the band a contract with Track Records, an independent label established by The Who’s managers Kit Lambert and Chris Stamp.
The first song Thunderclap Newman recorded was their big hit Something in the Air written by Keen. The sessions took place at Townshend’s home studio. He also produced the single and played bass on the recording under the pseudonym Bijou Drains. Released in May 1969, Something in the Air topped the UK Singles Chart only three weeks after its appearance, replacing The Beatles’Ballad of John and Yoko. The tune’s original title was Revolution, but it was changed because The Beatles already had a song with that title, which had come out in 1968.
Following the success of Something in the Air, an initially reluctant Thunderclap Newman agreed to go on the road. They brought in Jim Pitman-Avery (bass) and Jack McCulloch (drums), Jimmy’s older brother, to support Deep Purple on a 26-date tour of England and Scotland from July to August 1969. After the tour, Pitman-Avery and Jack McCulloch exited and formed country-rock band Wild Country, leaving Thunderclap Newman with their three core members. Keen, Newman and McCulloch went back into the studio and recorded Hollywood Dream, their only studio album.
Like Something in the Air, Townshend played a key role, producing Hollywood Dream and again playing bass under the name of Bijou Drains. And while the final track Something in the Air undoubtedly is the hit, there are other gems on this album. Let’s kick things off with the nice opener Hollywood #1, which like most of the other tracks was written by Keen.
Here’s Open the Door Homer, a great cover of a Bob Dylan song. If I see it correctly, Dylan did not release the tune until 1975 when he included it on The Basement Tapes, a collection of tracks he had recorded in 1967, mostly with backing by The Band. In particular, I dig Keen’s singing on this tune.
Next up: Accidents, another original tune written by Keen. There’s a lot going on in this more than nine-minute track, including some great piano and guitar work. In fact, as much as I dig Something in the Air, Accidents is the album’s tue standout to me. A shorter version was released separately and peaked at no. 46 on the UK Singles Chart in June 1970, becoming Thunderclap Newman’s only other single to make the charts.
The last song I’d like to call out is the title track. To readers who know my affection for vocals, it may come as a bit of a surprise that I chose to highlight an instrumental. Well, it’s not that I don’t like instrumentals – after all, I’m a big fan of Pink Floyd’s ’70s albums that are filled with instrumental parts. But after a while, I simply feel the need to hear some vocals! In part, I also chose Hollywood Dream since it was co-written by the McCulloch brothers, making it the only original that wasn’t penned by Keen. BTW, Jimmy McCulloch was only 15 years when he recorded this tune with the band.
In early 1971, Thunderclap Newman brought in Australian musicians Roger Felice (drums) and Ronnie Peel (bass) to create a new touring lineup. This was followed by another tour with Deep Purple through England and Scotland between January and April 1971. And then it was suddenly all over for the band. Why? Referencing a 1972 interview Newman gave to the New Musical Express (now known as NME), Wikipedia hints to personal friction between Newman and Keen. It’s unfortunate when egos clash, but certainly not unheard of, especially in music!
Keen went on to record two solo albums, Previous Convictions (1973) and Y’ Know Wot I Mean? (1975), and also played as a session musician with Rod Stewart, The Mission and Kenny G. Sadly, he passed away from heart failure at the age of 62 on March 12, 2002.
Newman also recorded a solo album, Rainbow, which appeared in 1971. Other than that he was “was musically dormant and worked as an electrician, until he put together a new version of Thunderclap Newman in 2010,” according to an obituary in The Guardian. In addition to Newman, the band’s new line-up featured Tony Stubbings (bass), Nick Johnson (lead guitar), Mark Brzezicki (drums) and Pete Townshend’s nephew Josh Townshend (rhythm guitar and vocals). Shortly thereafter, the band released Beyond Hollywood, an album of studio and live tracks of old Thunderclap Newman songs. In 2011, they toured the UK with Big Country. The last two gigs listed on the band’s official website are from 2012. Newman died on March 29, 2016 at the age of 73.
Jimmy McCulloch formed his own group in October 1971 and also played guitar in various other bands, most importantly Paul McCartney’s Wings, which he joined in August 1974. After exiting Wings in September 1977, McCullogh joined the reformed Small Faces. Another own band and a few additional stints followed. On September 27, 1979, McCulloch was found dead, apparently having died from a heart attack attributed to morphine and alcohol poisoning. He was only 26 years old.