On This Day in Rock & Roll History: January 10

A look on the calendar revealed January 10 was a date I had not covered yet as part of my recurring music history feature that has become a bit more regular over the past few months. Not sure yet whether this is going to remain the case. For now, let’s look at some of the events that happened on January 10 throughout rock history.

1958: Jerry Lee Lewis topped the UK Official Singles chart with Great Balls of Fire, one of his best-known songs. Co-written by Otis Blackwell and Jack Hammer, the rock & roll classic had been recorded on October 8, 1957, at Sun Studio in Memphis, Tenn., and released on November 11 that year. The tune also became a big hit in the U.S. where it topped the Billboard country and R&B charts and peaked at no. 2 on the mainstream Billboard Hot 100. The song was also featured in the American rock & roll picture Jamboree from 1957. “The Killer” remains alive at age 86.

1964: The Rolling Stones released their eponymous debut EP in the UK. It came on the heels of their second single I Wanna Be Your Man in November 1963, a cover of a Beatles tune that had yielded the first top 20 hit for the Stones in the UK. The EP featured four other covers of tunes written by Chuck Berry, Berry Gordy and Janie Bradford, Arthur Alexander and songwriting duo Jerry Leiber and Mike Stoller. Here’s the Alexander song You Better Move On, which also became the Stones’ fourth single in January 1964. Unlike I Wanna Be Your Man, You Better Move On did not make the British charts, though it charted in Australia at an underwhelming no. 94. I’ve actually always liked this rendition.

1969: George Harrison quit The Beatles while they were at Twickenham Film Studios, where their rehearsals for the Get Back/Let It Be sessions were being captured on camera. If you watched the Peter Jackson documentary The Beatles: Get Back, you could see that George’s frustration about the tensions within the group had been building up. When they broke for lunch, he had had it and told his bandmates, “I think I’ll be leaving, I’m leaving the band now.” Asked by John Lennon, “When?”, Harrison replied, “Now. Get a replacement.” His last words before walking out were, “See you ’round the clubs.” A few days later, he returned after he had received assurances the concert The Beatles had planned would be canceled and that his other wishes would be respected. Fortunately, things turned out to be different with the famous roof concert, though if you watched the above documentary, you saw it was up in the air until the very last minute.

1977: American blues legend Muddy Waters released Hard Again, the first of his final three studio albums that were produced by electric blues guitar virtuoso Johnny Winter. That’s pretty much all the facts you need to have to know this has got to be great. The album, which was recorded live in-studio in just three days, won the Grammy Award for Best Ethnic or Traditional Folk Recording. Here’s The Blues Had a Baby and They Named It Rock and Roll, Pt. 2, co-written by Waters (credited as McKinley Morganfield, his real name) and Brownie McGhee.

2016: David Bowie passed away from liver cancer in New York at the age of 69. He had received his diagnosis 18 months earlier and decided not to make it public. Just two days earlier, his 26th and final studio album Blackstar had been released. The recording had taken place in secret at a studio in New York. Co-producer Tony Visconti called the album Bowie’s “parting gift” for his fans before his death. While I understand many fans like Blackstar, admittedly, it’s not my cup of tea. I much prefer Bowie’s first decade, in particular his glam rock period. Here’s one of my favorites, Suffragette City, off his fifth studio album The Rise And Fall Of Ziggy Stardust And The Spiders From Mars from June 1972. To quote the instruction on the back cover, “To be played at maximum volume”! 🙂

Sources: Wikipedia; Songfacts Music History Calendar; The Beatles Bible; This Day in Music; YouTube

My Top Singles Turning 50

A final look at 1971, one of the most exciting years in music

As 2021 is drawing to a close, I decided to revisit 1971 one more time. With releases, such as Who’s Next (The Who), Tapestry (Carole King), Led Zeppelin IV (Led Zeppelin), Sticky Fingers (The Rolling Stones) and Meddle (Pink Floyd), it truly was an extraordinary year in music. And let’s not forget At Fillmore East by The Allman Brothers Band, perhaps the ultimate southern and blues-rock record, and certainly a strong contender for best live album ever.

I wrote about the above and other records in a three-part series back in April, which you can read here, here and here. What I didn’t do at the time was to look at singles that came out in 1971. I’ve put my favorites in a playlist at the end of this post. Following I’m highlighting 10 of them, focusing on songs I didn’t cover in the aforementioned three-part series.

Marvin Gaye/What’s Going On

I’d like to start this review with What’s Going On by Marvin Gaye, released in January 1970. Co-written by him, Al Cleveland and Four Tops co-founding member Renaldo “Obie” Benson, this classic soul gem was inspired by an incident of police brutality Benson had witnessed in May 1969 while The Four Tops were visiting Berkely, Calif. The tune became Gaye’s first big U.S. hit in the ’70s, climbing to no. 2 on the Billboard Hot 100 and topping the Best Selling Soul Singles chart.

Deep Purple/Strange Kind of Woman

In February 1970, Deep Purple released Strange Kind of Woman as a non-album single. The follow-on to Black Night was credited to all members of the band: Ian Gillan, Ritchie Blackmore, Jon Lord, Roger Glover and Ian Paice, their most compelling lineup, in my view. The song reached no. 8 in the UK and Germany, but didn’t chart in the U.S. The track was also included in the U.S. and Canadian editions of Deep Purple’s fifth studio album Fireball from July 1971 in lieu of Demon’s Eye on the UK edition.

Jethro Tull/Hymn 43

Hymn 43 is a great rock song by Jethro Tull. Penned by Ian Anderson, it appeared in late June 1971 as the second single off Aqualung, the group’s fourth studio album that had come out in March of the same year. Hymn 43 followed lead single Locomotive Breath. Incredibly, it only charted in Canada and the U.S., reaching an underwhelming no. 86 and no. 91, respectively.

T. Rex/Get It On

In July 1970, glam rockers T. Rex released one of their signature tunes, Get It On. In the U.S., it was re-titled Bang a Gong (Get It On), since there was a song with the same title by American jazz-rock band Chase. Get It On, written by T. Rex frontman Marc Bolan, was the lead single from the British band’s sophomore album Electric Warrior that appeared in September that year. Get It On became the band’s second no. 1 in the UK and their only U.S. top 10 hit (no. 10) on the Billboard Hot 100.

Santana/Everybody’s Everything

In September 1970, Santana released their third studio album Santana III and lead single Everybody’s Everything. The tune was co-written by Carlos Santana, Milton Brown and Tyrone Moss. The classic Santana rock song became the band’s last top 20 hit (no. 12) in the U.S. until the pop-oriented Winning from 1981.

Sly and the Family Stone/Family Affair

Family Affair is a track off Sly and the Family Stone’s fifth studio album There’s a Riot Goin’ On that came out in November 1971. Released the same month, the psychedelic funk tune was the first single from that album. It became the group’s third and final no. 1 hit in the U.S., topping both the mainstream Billboard Hot 100 and Hot Soul Singles chart.

Badfinger/Day After Day

Day After Day, first released in the U.S. in November 1971 followed by the UK in January 1972, became the biggest hit for British power pop-rock band Badfinger. Written by Pete Ham, the tune, off their third studio album Straight Up from December 1971, climbed to no. 4 in the U.S. on the Billboard Hot 100 and reached no. 10 in the UK. In Canada, it went all the way to no. 2. This gem was produced by George Harrison who also played slide guitar along with Ham.

Elton John/Levon

Levon is one of Elton John’s beautiful early songs that first appeared on his fourth studio album Madman Across the Water from early November 1970. Composed by John with lyrics by Bernie Taupin, the ballad also became the record’s first single in late November. Producer Gus Dudgeon has said Taupin’s lyrics were inspired by Levon Helm, co-founder, drummer and singer of The Band, a favorite group of John and Taupin at the time. Levon reached no. 24 on the Billboard Hot 100 and climbed to no. 6 in Canada.

The Beach Boys/Surf’s Up

Various music connoisseurs have told me their favorite album by The Beach Boys is Surf’s Up from late August 1971. I can’t say it’s been love at first sight for me, but this record is definitely growing on me. The Beach Boys released the title track as a single in late November that year. Co-written by Brian Wilson and Van Dyke Parks, Surf’s Up originally was supposed to be a track for Smile, an unfinished album that was scrapped in 1967. Brian and Carl Wilson completed the tune. By the time Surf’s Up was released as a single, the last major hit by The Beach Boys Good Vibrations was five years in the past. While the single didn’t chart, the album reached no. 29 on the Billboard 200, their highest-charting record in the U.S. since Wild Honey from 1967.

The Kinks/20th Century Man

The last song I’d like to call out is 20th Century Man by The Kinks. Penned by Ray Davies, the tune in December 1970 became the sole single off the group’s 10th studio album Muswell Hillbillies. The record had appeared in late November that year. 20th Century Man stalled at no. 106 in the UK and reached no. 89 in Australia. It didn’t chart in the U.S. The album didn’t fare much better, though it received positive reviews and remains a favorite among fans.

Check out the playlist below for additional 1971 singles I dig.

Sources: Wikipedia; YouTube

Five Picks From a Pretty Good Playlist

I don’t mean to make any advertising for Apple Music. Other music streaming platforms are probably just as good and some may even be better. It just so happens that 20 years ago, I decided to get iTunes and I’ve stuck with Apple ever since. Nowadays, I mostly use their streaming service Apple Music. Once you’re entrenched in one platform, switching becomes hard, so you’re kind of stuck with it.

In the early years of Apple Music, which I started using pretty much when it was introduced in 2015, I made fun of how they categorized music and what kind of listening suggestions they served up. Over time their algorithms have gotten much better. Nowadays, Apple Music pretty much knows what makes me tick. In a way that’s a bit scary.

Similar to Facebook, the presentation of new content based on previous choices can also work to your advantage. A good illustration is the latest “Favorites Mix” Apple Music generated, based on my listening habits. I pretty much dig each tune on here. Following are five of the 25 tracks. I deliberately picked songs I haven’t featured in a while or at all on the blog.

John Mellencamp/Grandview (feat. Martina McBride)

John Mellencamp has been among my favorite artists since the mid-’80s. While I still dig the straight heartland rock from his earlier years, I mostly prefer the roots-oriented music he plays nowadays. Grandview is a great tune from Mellencamp’s 23rd studio album Sad Clowns & Hillbillies that came out in April 2017. Much of that album includes contributions from country artist Carlene Carter. Grandview, co-written by Mellencamp and Bobby Clark, is an exception, featuring another country artist: Martina McBride. Love that tune!

Bonnie Raitt/Sugar Mama

My dear longtime music friend from Germany initially introduced me to Bonnie Raitt in the late ’80s. If you’re a more frequent visitor of the blog you likely know how much I dig that lady. For the most part, Raitt relies on other writers. Her picks tend to be excellent. Here’s Sugar Mama, co-written by Delbert McClinton and Glen Clark, and first released as Sugar Daddy on McClinton’s 1972 debut album Delbert & Glen. Raitt’s funky rendition of the tune was included on her fifth studio album Home Plate, which appeared in 1975.

Jackson Browne/Our Lady of the Well

My introduction to Jackson Browne was the iconic Running On Empty album from December 1977. I believe my brother-in-law had it on vinyl. My guess is I heard it first in the early ’80s – can’t quite remember! I’ve listened to Browne on and off ever since. Our Lady of the Well, written by him, is from his sophomore album For Everyman that came out in October 1973. Browne’s just a great songwriter!

David Bowie/It Ain’t Easy

If I could only pick one David Bowie record, I’d go with The Rise and Fall of Ziggy Stardust and the Spiders from Mars, his fifth studio album released in June 1972. I’ve always loved Bowie’s glam rock period. On Ziggy Stardust, he wrote all except one tune: It Ain’t Easy. That song was penned by American songwriter Ron Davies who first recorded it for his 1970 debut album Silent Song Through The Land. It proved to be a popular cover song. In addition to Bowie, Three Dog Night, Long John Baldry, Dave Edmunds and Shelby Lynne are among the other artists who covered it. I guess the explanation is simple: It’s a great tune!

Genesis/Land of Confusion

Let me preface this final pick by saying I used to like Land of Confusion by Genesis much more when it came out back in 1986 than I do nowadays. Like many other ’80s tunes, to me, it doesn’t hold up that well. Still, I can’t deny a certain weak spot for the ’80s, the decade during which I grew up. Land of Confusion, credited to all three core members of Genesis at the time – Tony Banks, Phil Collins and Mike Rutherford – appeared on the group’s 13th studio album Invisible Touch from June 1986. It also became one of five singles. Perhaps the most memorable aspect of the tune is its remarkable video featuring caricature puppets of political leaders like Ronald Reagan, Margaret Thatcher, Leonid Brezhnev and Helmut Kohl. The video, which got heavy play on MTV, won a Grammy for Best Concept Music Video in 1987. It was also nominated for Video of the Year at the MTV Video Awards that same year but lost to Sledgehammer by former Genesis lead vocalist Peter Gabriel.

Below is a link to the entire playlist. While I supposedly copied the embed code, it doesn’t embed. Oh, well, not sure whether this has anything to do with my computer or my computer skills, which is entirely possible, or whether it’s, dare I say, a bug in Apple Music. I’ve seen fellow bloggers successfully embed Spotify playlists. Perhaps I should have chosen that platform instead – dang it!

https://embed.music.apple.com/us/playlist/favorites-mix/pl.pm-20e9f373919da0805cb3b48850c61e6a

Sources: Wikipedia; Discogs; YouTube

Turkey Day Rock Marathon Is On Again

Earlier this evening, it dawned on me it’s Thanksgiving week, which means New York classic rock radio station Q104.3 once again is doing their annual countdown of the Top 1,043 Classic Rock Songs Of All Time. The countdown is based on submissions from listeners who each can select 10 songs. All picks are then tabulated to create the big list.

The countdown starts tomorrow morning at 9:00 am EST and stretches all the way to sometime this Sunday evening. That’s how long it takes to play all 1,043 songs. The only interruption of the countdown will happen at noon on Thanksgiving when Q104.3 plays Arlo Guthrie’s Alice’s Restaurant, all 18 and a half minutes of it – just wonderful!

While after 20 years in a row (yep, that’s how long they’ve done this!) it’s a forgone conclusion that Led Zeppelin’s Stairway to Heaven once again will be no. 1 and the top 20 will be largely occupied by the same songs from previous years, listening to the countdown is still fun. Think about it, when can you ever hear 1,043 different songs in a row on the radio. Most stations have a much smaller set of songs in rotation.

Below is a screenshot of my selections for this year. Once again, I decided to come up with 1o previously unpicked songs. This time, I included two tunes from 2021: California Dreamin’ (Dirty Honey) and Side Street Shakedown (The Wild Feathers). Both are probably very long shots to make the list, as are I Don’t Understand (The Chesterfield Kings) and Cinderella (The Fuzztones), but that’s okay

Following are clips of my selections:

Dirty Honey/California Dreamin’Dirty Honey, April 2021

The Wild Feathers/Side Street ShakedownAlvarado, October 2021

The Black Crowes/Twice As HardShake Your Money Maker, February 1990

AC/DC/It’s a Long Way to the Top (If You Wanna Rock ‘N’ Roll)High Voltage, April 1976

The Beatles/Helter SkelterThe Beatles, November 1968

David Bowie/Suffragette CityThe Rise and Fall of Ziggy Stardust and the Spiders from Mars, June 1972

Queen/Tie Your Mother DownA Day at the Races, December 1976

The Who/The Real MeQuadrophenia, October 1973

The Chesterfield Kings/I Don’t UnderstandThe Mindbending Sounds Of…The Chesterfield Kings, August 2003

The Fuzztones/CinderellaLysergic Emanations, 1985

I’m sure I’ll be listening to Q104.3’s countdown at different times over the next five days. Though this year, there will be stiff competition from Peter Jackson’s Get Back Beatles three-part docu-series!

Sources: Wikipedia; Q104.3 website; YouTube

Clips & Pix: Rod Stewart/Born to Boogie

Rod Stewart can still rock if he wants to. Usually, I don’t wanna talk about it when a music artist I once considered truly great goes off the ranch, singing stuff like Da Ya Think I’m Sexy? I wish he was only joking. Well, he wasn’t. But that doesn’t change the fact the British artist who has been around in music for some 60 years has one of the most distinct voices. And if he puts it to good use, the outcomes can be compelling to this day.

Born to Boogie (A Tribute to Marc Bolan), co-written by Stewart and his band’s guitarist Emerson Swinford, is a nice homage to the British glam rocker. It’s a track from Stewart’s new album The Tears of Hercules that came out on November 12. Based on what I’ve heard, his 32nd studio release is a mixed bag, but there are at least a couple of fairly decent tunes on there. And let’s be honest here: Stewart’s raspy smoky pipes remain pretty darn cool!

…He stood five-foot-four
But was a giant of his generation

Just an eastern kid who became a rock ‘n’ roll sensation
A dandy of a superstar
Who led a sexual revolution

Now when he played guitar he was a rock god, babyface assassin
He wore a black bowler hat and a jacket made of cherry red satin
He was a hero of mine
That’s why I wrote a song about him…

An announcement on Stewart’s website notes The Tears of Hercules is his fourth new album of original songs since 2013. He co-wrote nine of the 12 tracks. The album also includes covers of Some Kind of Wonderful, a 1967 tune by American R&B outfit Soul Brothers Six, and Johnny Cash’s These Are My People, a tune the man in black recorded for his 1972 concept album America: A 200-Year Salute in Story and Song.

“I’ve never said this before about any previous efforts, but I believe this is by far my best album in many a year,” Stewart confidently notes. Well, I seem to recall he has made similar statements about some of his previous albums in the past.

Sources: Wikipedia; Rod Stewart website; YouTube

Best of What’s New

A selection of newly released music that caught my attention

A busy week that hardly left any opportunity to read and comment on posts from fellow bloggers, not to mention post anything myself, is coming to an end. At least, I managed to carve out some time to write my weekly feature about newly released music. All of the picks in this installment fall into the rock realm. Each tune appeared on albums that were released yesterday (April 23), in some cases delayed due to COVID-19. What else is new?

Dirty Honey/California Dreamin’

Kicking off this Best of What’s New are Dirty Honey, a great rock band from Los Angeles that was founded in 2017. Apple Music characterizes them as a hard rock combo in the grand, riffy tradition of stadium titans like Aerosmith and Led Zeppelin, [which] rose out of Los Angeles’ club scene in 2019 with their self-titled debut EP. Singer Marc Labelle, guitarist John Notto, bassist Justin Smolian, and drummer Corey Coverstone cut their teeth developing a classic hard rock sound deeply indebted to the aforementioned rock giants as well as second wave purveyors like the Black Crowes. Their 2018 debut single “Fire Away” earned some national exposure and was followed in 2019 by their eponymous EP, which was produced by rock veteran Nick Didia (Pearl Jam, Rage Against the Machine). Here’s a nice tune from the band’s first full-length album titled Dirty Honey just like their previous 2019 EP: California Dreamin’, which is pretty representative of the other tracks on the album. All songs are credited to the entire group. As somebody who enjoys classic rock, it’s easy for me to dig this music.

Art d’Ecco/Desire

Art d’Ecco is a Canadian singer-songwriter from Victoria, B.C., who thanks to his fondness for makeup and platform shoes looks like a throwback to the ’70s glam rock era. But as Apple Music notes, while it has a retro vibe, his music blurs the boundaries of genres rather than capturing one specific style. D’Ecco’s web bio is primarily focused on his new album In Standard Definition and doesn’t provide much background on him. It notes a predecessor from 2018 titled Trespasser. Discogs also lists 2016 album Day Fevers. Here’s an excerpt from D’Ecco’s bio about his newest release, a concept album revolving around the role of entertainment in (some) people’s lives: Joining forces with producer/ engineer Colin Stewart (Black Mountain, New Pornographers, Destroyer) in ocean-side studio The Hive, In Standard Definition  sees d’Ecco packing his heftiest punch yet. Through Stewart’s vintage set up, a decoupage of authentic sounds was recorded to 2-inch tape on a 50-year-old console. Embellished with slick ‘70s drums production, it echoes with the textural ambition of Brian Eno’s Here Come The Warm Jets or Toni Visconti on Bowie’s Scary Monsters. Here’s the opener Desires, which like all other tunes of the album was written by d’Ecco. It’s not exactly in my core wheelhouse- still, it has something!

KALEO/Alter Ego

How many rock bands from Iceland you know? I had not been aware of any until I came across KALEO and their new album Surface Sounds. The band was formed in 2012 in Mosfellsbær, a small town in south-west Iceland, seven miles east of the country’s capital Reykjavík. JJ Julius Son (lead vocals, rhythm guitar, piano), Daniel Kristjansson (bass) and David Antonsson (drums), who had been close friends since elementary school, began playing music together when they were 17. Lead guitarist Rubin Pollock joined soon thereafter. Þorleifur Gaukur Davíðsson (harmonica, bongos, keyboards) rounds out the current line-up. In late 2012, KALEO signed with Iceland’s main record label Sena and recorded their eponymous studio album, which came out the following year. In early 2015, the band got a deal with Atlantic Records and relocated to Austin, Texas. Their sophomore album A/B, which appeared in June 2016, marked KALEO’s international breakthrough. It climbed to no. 16 on the Billboard 200, peaked at no. 2 in Canada, reached no. 29 in Australia, and charted within the top 30 in various European countries. Alter Ego, written by JJ Julius Son, is a tune from the aforementioned Surface Sounds, the band’s third album. Initially, it had been scheduled for June 2020, but the release was pushed back because of you know what. Alter Ego was first released as a single on March 20, 2020.

Dinosaur Jr./I Ain’t

Let’s wrap up things with some more rock. Dinosaur Jr. were founded in Amherst, Mass. in 1984. Initially a four-piece called Mogo, the band dissolved after their first gig and reformed as a trio shortly thereafter, consisting of J Mascis (guitar, vocals), Lou Barlow (bass) and Patrick Murphy (“Murph“) (drums) and calling themselves Dinosaur. They released their eponymous debut album in July 1985 on Homestead Records, the label by Mascis’ college friend Gerard Cosloy. Due to legal reasons, the band tweaked their name to Dinosaur Jr. in late 1987 shortly after their sophomore album You’re Living All Over Me had come out. By the time the band’s sixth studio album Without a Sound was released in August 1994, Mascis was the only remaining original member. The band, which essentially had become his project, released one additional album, Hand it Over (March 1997), before Mascis dissolved it and launched a solo career. In 2005, Mascis reunited with Barlow and Murphy to revive Dinosaur Jr. They have since released five additional albums including their latest Sweep It Into Space, another record that initially had been scheduled to appear last year. Here’s the opener I Ain’t, a melodic rocker written by Mascis.

Sources: Wikipedia; Apple Music; Art d’Ecco website; Discogs; YouTube

The Venues: Beat-Club

“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.

Uschi Nerke kommt – blacksheep Festival
Uschi Nerke

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!”

Beat Club (TV) - March 27, 1969 / Bremen | Led Zeppelin Official Website
Led Zeppelin at Beat-Club, March 1969

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’s YouTube channel.

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.

Sources: Wikipedia; YouTube

The Sunday Six

Celebrating music with six random songs at a time

Can you believe it’s Sunday morning again? After having done home office for about a year now and also spent most of my other time at my house, I’ve pretty much lost sense of time. On the upside, Sunday morning also means it’s time for another Sunday Six. This new installment, which btw is the sixth of the weekly recurring feature, includes jazz-oriented instrumental music, soul, blues, funky R&B, straight rock and glam rock – in other words, a good deal of variety, and that’s the way uh huh I like it!

Mike Caputo/Space and Time

Let’s kick things off with a beautiful journey through space and time. Not only does this newly produced saxophone-driven instrumental by Mike Caputo feel timely in light of NASA’s recent landing of the Mars rover, but it also represents the kind of smooth music I like to feature to start Sunday Six installments. If you’re a more frequent visitor of the blog, Mike’s name may ring a bell. The New Jersey singer-songwriter, who has been active for more than 50 years, is best known for his incredible renditions of Steely Dan’s music, faithfully capturing the voice of Donald Fagen. His current project Good Stuff also features music of Gino VannelliStevie Wonder and Sting, who have all been major influences. Like many artists have done during the pandemic when they cannot perform, Mike went back into his archives and unearthed Space and Time, which he originally had written as part of a movie soundtrack a few years ago. BTW, that amazing saxophone part is played by Phil Armeno, a member of Good Stuff, who used to be a touring backing musician for Chuck BerryBo Diddley and The Duprees in the ’70s. Check out that smooth sax tone! Vocals? Who needs vocals? 🙂

The Impressions/People Get Ready

Before Curtis Mayfield, one of my favorite artists, launched his solo career with his amazing 1970 album Curtis, he had been with doo-wop, gospel, soul and R&B group The Impressions for 14 years. When he joined the group at the age of 14, they were still called The Roosters. People Get Ready, written by Mayfield, was the title track of the group’s fourth studio album that came out in February 1965, about seven years after they had changed their name to The Impressions. People Get Ready gave the group a no. 3 hit on the Billboard Hot R&B Songs (now called Hot R&B/Hip-Hop Songs). On the mainstream Hot 100, the tune climbed to no. 14. Many other artists like Bob Marley, Al Green, Aretha Franklin and The Staple Singers have covered it. Perhaps the best known rendition is by Jeff Beck, featuring Rod Stewart on Beck’s 1985 studio album Flash. But on this one, I always like to go back to the original and the warm, beautiful and soulful vocals by The Impressions – to me, singing doesn’t get much better!

Peter Green/A Fool No More

I think it’s safe to assume Peter Green doesn’t need much of an introduction. The English blues rock singer-songwriter and guitarist is best known as the first leader of Fleetwood Mac, initially called Peter Green’s Fleetwood Mac featuring Jeremy Spencer, the band he formed following his departure from John Mayall and the Bluesbreakers with former Bluesbreakers members Mick Fleetwood (drums) and Jeremy Spencer (guitar), as well as Bob Brunning (bass) who was subsequently replaced by Green’s first choice John McVie. What’s perhaps less widely known outside of fan circles is Peter Green’s solo career he launched after leaving Fleetwood Mac in May 1970 due to drug addiction and mental health issues. Unfortunately, these demons would stay with him for a long time and impact his career, especially during the ’70s. A Fool No More, written by Green, is a track from his excellent second solo album In the Skies. The record was released in May 1979 after eight years of professional obscurity due to treatment for schizophrenia in psychiatric hospitals in the mid-’70s. Yikes- it’s pretty scary what havoc LSD can cause! Considering that, it’s even more remarkable how amazing Green sounds. Check it out!

Stevie Wonder/I Wish

Let’s speed things up with the groovy I Wish, a tune by Stevie Wonder from his 18th studio album Songs in the Key of Life released in September 1976. Frankly, I could have selected any other track from what’s widely considered Wonder’s magnum opus. It’s the climax of his so called classic period, a series of five ’70s albums spanning Music of My Mind (1972) to Songs in the Key of Life. I Wish, which like most other tracks on this double-LP were solely written by Wonder, also became the lead single in December 1976 – and his fourth no. 1 ’70s hit in the U.S. on the Billboard Hot 100. The song also topped the charts in Canada, and was a top 10 in Belgium, Ireland, The Netherlands and the UK. Take it away, Stevie!

John Mellencamp/Melting Pot

Here’s what you might call an out-of-left-field pick from John Mellencamp, one of my long-time favorite artists. Melting Pot is a great rocker from his 11th studio album Whenever We Wanted that appeared in October 1991. It marked a bit of a departure from Mellencamp’s two previous albums Big Daddy (1989) and The Lonesome Jubilee (1987), on which he had begun incorporating elements of roots music. Instead, Whenever We Wanted is more reminiscent of the straight rock Mellencamp had delivered on earlier albums like American Fool (1982), Uh-Huh (1983) and Scarecrow (1985). Like all other tunes except for one on the album, Melting Pot was written by Mellencamp. While Whenever We Wanted didn’t do as well on the charts as the aforementioned other albums, it still placed within the top 20 in the U.S., reaching no. 17 on the Billboard 200. The album performed best in Australia where it peaked at no. 3.

David Bowie/Suffragette City

Time to wrap up this installment of The Sunday Six. Let’s go with another great rocker: Suffragette City by David Bowie. If you’ve read my blog, you probably know I really dig Bowie’s glam rock period. As such, it’s perhaps not surprising that his fifth studio album The Rise and Fall of Ziggy Stardust and the Spiders from Mars is my favorite. It was released in June 1972. Suffragette City also became the B-side of lead single Starman that appeared ahead of the album in February that year. Eventually and deservedly, Suffragette City eventually ended up on the A-side of a 1976 single that was backed by Stay to promote the fantastic compilation Changesonebowie. This is one kickass rock & roll song. Bowie said it best, or I should say sang it best: Ohhh, wham bam thank you ma’am!

Sources: Wikipedia; YouTube

Space, the Final Frontier

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.

Pink Floyd/Astrodomine

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!

David Bowie/Starman

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.

Stevie Wonder/Saturn

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.

Sources: Wikipedia; YouTube

Clips & Pix: T. Rex/Get It On

Whether you like glam rock or T. Rex for that matter or not, Get It On just is a great rock tune – simple with only three chords, yet brilliant. Really one of my favorite ’70s rock tunes!

T. Rex were officially inducted into the Rock and Roll Hall of Fame by Ringo Starr last night. Under normal circumstances, this would have been a live event in February, but due to COVID-19, it was postponed and became a virtual TV show on HBO, which honored each inductee with a mini-documentary.

Written by T. Rex frontman Marc Bolan and released in July 1971, Get it On became the band’s second no. 2 hit in the UK and their most successful U.S. single peaking at no. 10 on the Billboard Hot 100. In fact, Bolan penned the tune during a U.S. tour specifically for the U.S. where it was retitled Bang a Gong (Get It On), hoping it would raise the band’s profile there. But glam rock never became as popular in America as it did in the UK.

According to Songfacts, Bolan worked out the track’s rhythm with T. Rex drummer Bill Legend. When the band got to L.A. as part of their tour, Get it On was recorded at Wally Heider Studios. While the rhythm, chorus and the line “you’re dirty and sweet” were in place, Bolan had to come up with the remaining lyrics on the spot. The last line, “Meanwhile, I’m still thinking…” is taken from Chuck Berry’s Little Queenie, a tune Bolan had in mind when writing Get It On.

In addition to Bolan and Legend, the recording featured then-future Yes member Rick Wakeman (piano, Hammond), former King Crimson member Ian McDonald (saxophone), T. Rex bassist Steve Currie, as well as Howard Kaylan and Mark Volman (backing vocals) of The Turtles. Get It On was also included on the band’s sixth studio album Electric Warrior released in September 1971, the first under the (shortened) T. Rex name and their most successful record.

Sources: Wikipedia; Songfacts; YouTube