On This Day In Rock & Roll History: May 13

As we start a new week, it’s time for another post of my irregular music history feature, the blog’s longest running series I started back in July 2016. It was my seventh post, and today is the 76th installment – yes, I had to count them all. Since the feature revolves around specific dates, this still leaves me with plenty of additional posts. With that said, let’s take a look at select happenings in the world of music on May 13.

1955: A performance by Elvis Presley in Jacksonville, Fla. led to what became known as the “first Presley riot.” During the show, Elvis told the screaming girls in the audience he’d “see them backstage after the show.” Apparently, some fans took the tease a bit too literal and rushed toward the stage when the spectacle was over. Some also corned Elvis in his dressing room and tore off his clothes, hoping to grab a souvenir. Remarkably, this all happened before he had ever appeared on national TV. Also in attendance was a man who called himself Colonel Tom Parker and would become Presley’s manager after he had witnessed his potential. Here’s an interview of Presley conducted on May 13, 1995 by Mae Boren Axton, which briefly references the “riot.” It was the first time Axton met Presley, and she ended up giving him her song Heartbreak Hotel. It worked out nicely for both of them, becoming Presley’s first no.1 in the U.S. on the national pop charts

1966: The Rolling Stones released their single Paint It Black in the UK. It had first appeared in the U.S. on May 7. Credited to Mick Jagger and Keith Richards, the initial version was a much slower, conventional soul song. When during the recording session Bill Wyman started following around on an organ with a spoof of music played at Jewish weddings, Charlie Watts joined in, improvising the double-time drum pattern, echoing the rhythm heard in some Middle Eastern dances. Another notable feature of Paint It Black is the sitar played by Brian Jones, an instrument The Beatles had introduced to pop the year before on their song Norwegian Wood.

1970: Let It Be, Michael Lindsay-Hogg’s documentary about The Beatles and the making of their studio album of the same name, made its theatrical debut in New York City. The UK premiere followed a week later in London and Liverpool simultaneously. At the time, the film wasn’t particularly well received. In addition to poor technical and conceptual qualities, most of the criticism focused particularly on it as a document highlighting the fractured relationships within the band. Peter Jackson’s documentary TV series The Beatles: Get Back, which premiered in November 2021, helped update the record. It drew largely from unused footage and audio material originally captured for and recycled original footage from Hogg’s documentary. An updated version of that documentary, which was fully restored by Jackson, started streaming on Disney+ on May 8. “Let It Be is the climax of Get Back, while Get Back provides a vital missing context for Let It Be,” Jackson told Rolling Stone.

1978: Hawaiian vocalist, songwriter and actress Yvonne Elliman, who had gained initial prominence as part of the cast of Broadway musical production Jesus Chris Superstar, hit no. 1 in the U.S. on the Billboard Hot 100 with If I Can’t Have You. Co-written by Barry Gibb, Robin Gibb and Maurice Gibb of the Bee Gees, the catchy dance song was part of Saturday Night Fever, the soundtrack from the 1977 film of the same name, starring 23-year-old John Travolta. At that time, the Bee Gees dominated the U.S. pop charts. If I Can’t Have You knocked off Night Fever, another Bee Gees song from soundtrack, from the top spot, which had been at no. 1 for eight weeks.

1985: The Parents Music Resource Center (PMRC) held their first meeting at a church in Washington, D.C. Co-founded by Tipper Gore, wife of Senator and later Vice President Al Gore; Susan Baker, wife of Treasury Secretary James Baker; Pam Howar, wife of Washington realtor Raymond Howar; and Sally Nevius, wife of former Washington City Council Chairman John Nevius, the PMRC’s goal was to increase parental control over the access of children to music deemed to have violent, drug-related or sexual themes. Their influence led to a Senate hearing on September 19, during which John Denver, Frank Zappa and Dee Snider of Twisted Sister testified, opposing any kind of labeling, arguing any such regulation could lead to censorship. Two months later, the Recording Industry Association of America (RIAA), which represents most record companies, agreed to voluntarily place warning stickers on albums deemed offensive to avoid legislation.

Sources: Wikipedia; Songfacts Music History Calendar; Florida History Network; Rolling Stone; YouTube

Chris & Max Pick …songs from 1997

Happy Friday and welcome to the second installment of Chris & Max pick. Essentially, this is picking up a song series fellow blogger Max from PowerPop initially started in June 2023 with the year 1955 and ended last month with 1995. The idea of this continuation is to close the gap between 1995 and 2024.

Last week, we looked at 1996. This time, the year is 1997. I realize this post is coming earlier than anticipated. Given my other recurring features, I’m a bit reluctant to commit to yet another weekly post. That’s why I still believe an every-other-week schedule is more sustainable, but I guess we’ll see how it goes!

Big Head Todd and the Monsters/Resignation Superman

Kicking off the picks for 1997 are Big Head Todd and the Monsters, a Colorado rock band formed in 1986, who I only “discovered” earlier this year. Resignation Superman, penned by the group’s co-founder, main lyricist, singer and guitarist Todd Park Mohr, is from their fifth studio album Beautiful World, which appeared in February 1997.

Radiohead/Paranoid Android

In May 1997, British alternative rock band Radiohead released their third studio album OK Computer. I still find it hard to believe I essentially missed it at the time it came out. Paranoid Android, which like all other tracks on the album was credited to the entire group, became the lead single and one of their biggest hits. Founded in 1985, Radiohead still have their original line-up: Thom Yorke (vocals, guitar, piano, keyboards), Jonny Greenwood (guitar, keyboards, ondes Martenot, orchestral arrangements), Ed O’Brien (guitar, effects, backing vocals), Colin Greenwood (bass) and Philip Selway (drums, percussion).

Sarah McLachlan/Angel

Next up is one of the most stunning pop ballads I know: Angel by Canadian singer-songwriter Sarah McLachlan. The inspiration for the song came from press accounts McLachlan had read about musicians getting into heroin to escape the pressures of the cutthroat music business. The intense ballad was the fourth single off her fourth studio album Surfacing, which came out in July 1997.

Oasis/All Around the World

Moving on to another British group who were pretty popular at the time: Manchester Brit pop rockers Oasis became an instant sensation in the UK when their August 1994 debut album Definitely Maybe topped the charts there. By the time their third album Be Here Now dropped in August 1997, their enormous popularity had spread to many other countries. Here’s the catchy All Around the World, which also became the third single. Like all other tracks on the album, it was written by Noel Gallagher.

The Verve/Bittersweet Symphony

Here’s yet another British group who hit it really big in 1997: The Verve and Bittersweet Symphony, Max’s pick. Their biggest international hit single, written by frontman and lead vocalist Richard Ashcroft, also helped propel September 1997’s Urban Hymns to become their best-selling album. But all that success was bittersweet. After a lawsuit found The Verve illegally had taken a sample from a 1965 version of The Rolling Stones’ The Last Time by The Andrew Oldham Orchestra, all royalties were relinquished, and Mick Jagger and Keith Richards were added to the songwriting credits. In 2019, following the death of Allen Klein, the Stones’ manager at the time of the litigation, Jagger and Richards ceded the rights to Ashcroft.

Bob Dylan/Not Dark Yet

Wrapping up this post is a great song by Bob Dylan from Time Out of Mind. Many fans and critics regard the maestro’s 30th studio album, released in September 1997, as an artistic comeback. It also marked Dylan’s first with original material in seven years since September 1990’s Under the Red Sky. Here’s Not Dark Yet, a gem as far as I’m concerned!

Sources: Wikipedia; Acclaimed Music; YouTube; Spotify

On This Day In Rock & Roll History: April 23

Time for another installment for my long running irregular music history feature. I still find it interesting to tackle this by taking a look at select events that happened on a specific date throughout the decades.

1964: Additional footage was captured for the Can’t Buy Me Love sequence for The Beatles’ first movie A Hard Day’s Night. The Beatles Bible notes, Filming took place on Thornbury Playing Fields in Isleworth, south London. A fake helipad was constructed, and The Beatles were filmed running around and acting up. The film was released in July of the same year.

1971: The Rolling Stones released Sticky Fingers, which most fans regard as one of their best albums. It marked their first studio album without Brian Jones who had passed away in July 1969 and the second full-length recording after their live album Get Yer Ya-Ya’s Out!, which featured guitarist Mick Taylor. Sticky Fingers, which was the band’s first to top the UK and the U.S. albums charts, became one of their best-selling, including more than 3 million sold units in the U.S. alone. Here’s the first single Brown Sugar, written primarily by Mick Jagger and, as usual, credited to him and Keith Richards.

1976: New York punk rock band Ramones released their eponymous debut album. While it became their best-selling album and eventually was certified Gold in the U.S. in April 2014 (500,000 certified sold units), it only reached no. 111 on the Billboard 200. Its two singles Blitzkrieg Bop and I Wanna Be Your Boyfriend missed the charts altogether. None of that changed the fact that the album is now regarded as their most accoladed and iconic release. Here’s the second single, which was written by drummer Thomas Erdelyi, known as Tommy Ramone.

1977: Soul and disco vocalist Thelma Houston hit no. in the U.S. on the Billboard Hot 100 with her rendition of Don’t Leave Me This Way. Co-written by Kenneth Gamble, Leon Huff and Cary Gilbert, the song was first released in 1975 by Harold Melvin & the Blue Notes featuring Teddy Pendergrass. Houston’s cover also enjoyed significant chart success in other countries and became her biggest hit.

1983: British band Dexys Midnight Runners reached no. 1 in the U.S. on the Billboard Hot 100 with the upbeat song Come On Eileen. The single, off their sophomore album Too-Rye-Ay, became their sole chart-topper in the U.S. Their biggest hit also topped the charts in Australia, New Zealand, Belgium, Ireland and Switzerland. The group who continues to exist and fronted by Kevin Rowland is now known as Dexys. Come On Eileen was co-written by Rowland (bass, guitar, piano, vocals); Jim Paterson (trombone) who continues to be part of the current line-up; and Billy Adams (banjo, guitar, backing vocals).

Sources: Wikipedia; AllMusic; Songfacts History Calendar; Recording Industry Association of America website; YouTube

The Wizards of Vision and Sound

Welcome to the second installment of my new recurring feature on prominent music producers and sound engineers. The inaugural post about George Martin is here. Of course, I had to kick off the series in early January with a personality closely associated with The Beatles. A second close to my favorite band of all time are The Rolling Stones, which brings me to my pick for this post: Jimmy Miller.

I suspect this “everyday man-sounding” name may be less familiar than George Martin. But it’s also safe to assume that most folks have heard of Stones gems like Beggars Banquet, Sticky Fingers and Exile On Main St. Or how about The Second Album (The Spencer Davis Group), Mr. Fantasy (Traffic) and Overkill (Motörhead) to name a few other albums that were produced or co-produced by Miller?

Jimmy Miller (center) with Keith Richards (left) and Mick Jagger

The American record producer and musician, who was born James Miller on March 23, 1942, started getting into music as an 8-year-old, picking up the drums and beginning to write music. I suspect his surroundings played a role. His dad Bill Miller served as entertainment director for several large Las Vegas casinos from the ’50s to the ’70s, booking top acts like Frank Sinatra, Dean Martin and, yes, Elvis Presley.

Miller’s intro to the music business happened under record executive Stanley Borden who introduced him to Jamaican-British record producer and Island Records founder Chris Blackwell. Blackwell brought Miller to the UK where his first job was to remix Gimme Some Lovin’, a single by The Spencer Davis Group, who Blackwell had signed to Island in 1964. Miller’s remix not only broke the band in the U.S. with their first top 10 hit but also started his relationship with Steve Winwood.

Miller’s production of albums by Traffic and Blind Faith was followed by the first two Spooky Tooth records, as well as the March 1970 Delaney & Bonnie live album On Tour with Eric Clapton, which he co-produced with Delaney Bramlett. And let’s not forget the Stones who first came into the picture in the spring of 1968 with the aforementioned Beggars Banquet, the first of five Stones albums Miller produced in a row.

In the late 70s, Miller collaborated with Motörhead and produced their albums Overkill (March 1979) and Bomber (October 1979). He continued to work as a producer in the ’80s and early ’90s until his untimely death from liver failure in October 1994 at age 52. Let’s take a closer look at some of Miller’s work.

The Spencer Davis Group/Gimme Some Lovin’ (1966)

Gimme Some Lovin’, written by Winwood and released in October 1966, became the U.S. breakthrough single for The Spencer Davis Group, climbing to no. 7 on the Billboard Hot 100. Songfacts notes Gimme Some Lovin’ was written with the goal to make it appealing for the U.S. market. Miller added percussion and a female chorus.

The Rolling Stones/You Can’t Always Get What You Want (1969)

Not only did Jimmy Miller produce for The Rolling Stones, but in some cases he also contributed as a musician. One example is You Can’t Always Get What You Want, which features Miller on drums. Songfacts explains the line, I was standing in line with Mr. Jimmy/And man, did he look pretty ill, may be a reference to Miller, adding it might refer to Jimmy Hutmaker, a local character who wandered the business district in Excelsior, Minnesota. Songfacts also notes Charlie Watts did not play on this track for the simple reason he was technically unable to figure out the beat for this unusual groove and rhythm. Credited to Mick Jagger and Keith Richards, the closer of the Let It Bleed album also appeared separately as a B-side to non-album single Honky Tonk Women.

Blind Faith/Can’t Find My Way Home (1969)

Can’t Find My Way Home is a gem written by Steve Winwood, off the sole self-titled studio album by Blind Faith. In addition to Winwood (vocals, keyboards, guitar), the short-lived English super-group featured Eric Clapton (guitar), Ric Grech (bass) and Ginger Baker (drums). In contrast to Cream and Clapton’s electric guitar god status – something he wanted to get away from – he played acoustic guitar on this track.

Delaney & Bonnie/Where’s a Will There’s a Way (1970)

Where There’s A Will There’s A Way as a great soulful song co-written by Bonnie Bramlett, Delaney Bramlett and Bobby Whitlock. It appears on the aforementioned Delaney & Bonnie live album On Tour with Eric Clapton, which came out in March 1970 and was co-produced by Miller and Bramlett. Miller also produced Whitlock’s second solo album Raw Velvet released in November 1972.

Motörhead/Stay Clean (1979)

Overkill, Motörhead’s sophomore release from March 1979, was the first of two consecutive albums produced by Miller. One track, Tear Ya Down, lists Neil Richmond as producer. Stay Clean was credited to the group’s three members Ian Fraser Kilmister (Lemmy), Eddie Clarke (“Fast” Eddie Clarke) and Phil Taylor (Phil “Philthy Animal” Taylor). Bomber, the second album produced by Miller, came out only seven months after Overkill.

Primal Scream/Movin’ On Up

The final song I’d like to call out is Movin’ On Up, one of two tracks produced by Miller for Screamadelica, the third studio album by Scottish rock band Primal Scream, which appeared in September 1991. It was co-written by the group’s lead vocalist Bobby Gillespie and guitarists Andrew Innes and Robert Young – great song! The album credits also list Miller for mixing.

Last but not least, here’s a Spotify playlist of the above and additional tracks produced or co-produced by Jimmy Miller.

Sources: Wikipedia; YouTube; Spotify

The Sunday Six

It’s Sunday again, and I’d like to invite you to accompany me on another fun music time travel trip. As always, the itinerary features six stops taking us to music with different flavors from six different decades. Come on and let’s get out of here together!

John Coltrane/Blue Train

Our little excursion today starts in January 1958 with jazz saxophone great John Coltrane, who rightfully has been called one of the most influential artists in the history of jazz. He’s credited to have helped pioneer modal jazz and been on the forefront of free jazz. During his 22-year career, Coltrane has played with the likes of Miles Davis, Thelonious Monk, Charlie Parker, Red Garland and Paul Chambers, among many others, as you’d expect from a player of Coltrane’s caliber! This brings me to Blue Train, the title cut of his January 1958 studio album. Coltrane (tenor saxophone) was in fine company with Lee Morgan (trumpet), Curtis Fuller (trombone), Kenny Drew (piano), Paul Chambers (bass) and Philly Joe Jones (drums).

Jesse Colin Young/Ridgetop

Next let’s head to September 1973 to visit a true ’70s gem by Jesse Colin Young. The singer-songwriter first gained prominence as a co-founder of American folk rock group The Youngbloods. Among others, Young sang lead on their sole top 40 hit Get Together, a rendition of a song penned by Chet Powers, of psychedelic rock band Quicksilver Messenger Service. After the break-up of The Youngbloods in 1972 Young resumed his solo career he had first started in the early ’60s. Ridgetop, written by him, is a fantastic yacht rockish track from his fourth solo album Song For Juli. I love the horn work on this song, giving it a cool jazz vibe.

Big Head Todd and The Monsters/Bittersweet

Time to head to the ’90s with a neat track by Big Head Todd and The Monsters, which is right up my alley and hopefully yours as well. This Colorado rock band was formed in 1986. After two albums in 1989 and 1990, they hit it big in February 1993 with Sister Sweetly, which went Platinum in the U.S. and remained on the Billboard 200 for more than a year, though curiously, it only peaked at no. 117. Off that album, here’s the lead single Bittersweet. Like all other songs on Sister Sweetly, it was solely penned by the band’s vocalist, guitarist and keyboarder Todd Park Mohr. Big Head Todd and The Monsters are active to this day and are currently touring, with Mohr remaining part of the current line-up. They also have a great new single out with a cool John Hiatt vibe.

Willie Nile/This Is Our Time

Are you still with me? Coz this is our time, this is our place, this is our journey to jump to June 2013 and the eighth studio album by New York rock & roll singer-songwriter Willie Nile, American Ride. Nile’s recording career started in 1980 with his eponymous debut album. After his 1981 sophomore release Golden Brown, he was dealing with legal problems that bogged him down for the next few years, but eventually, he was able to resume his career. In addition to his solo work, Nile has performed and recorded with the likes of Ringo Starr, Tori Amos, Elvis Costello and Lucinda Williams. From the aforementioned American Ride, let’s listen to This Is Our Time, written by Nile. Yeah, baby, that’s rock & roll!

Anita Baker/Sweet Love

After some blistering rock & roll, let’s take a breather with smooth and soulful vocalist Anita Baker. Sweet Love, a song I’ve always dug, is from Baker’s March 1986 breakout album Rapture, her sophomore release. The album’s first single not only became a top 10 hit on the U.S. pop chart, but also won a Grammy for Best R&B Song at the 1987 Annual Grammy Awards. Sweet Love was co-written by Baker, Louis A. Johnson and Gary Bias. Rapture ended up selling more than 8 million copies worldwide and going 5X Platinum in the U.S. alone (5 million certified sold copies), making it Baker’s biggest commercial success. Man, that’s what I call a great captivating voice!

The Rolling Stones/Under My Thumb

So, what’s missing as we once again reach our final destination? Of course, a ’60s tune – simply a decade I cannot miss. Let’s make it count with one of my longtime favorite songs by the greatest rock & roll band in the world, who just keep on going like the Energy Bunny after more than 60 years! Of course, I’m talking about The Rolling Stones. Under My Thumb, co-written by Mick Jagger and Keith Richards, appeared as a single in April 1966, coinciding with the release of the UK edition of the Aftermath studio album. The song, which features marimba played by the one and only Brian Jones, was also included on the record’s U.S. edition, which came out in July of the same year. Take it way, boys!

Last but not least, here’s a Spotify playlist of the above goodies. Hope you had as much fun as I did being your conductor. See you ya!

Sources: Wikipedia; YouTube; Spotify

Brothers in Perfect Vocal Harmony

“Any musician with a set of ears was influenced by The Everly Brothers” – Graham Nash

This post was inspired by a documentary, The Everly Brothers: Harmonies From Heaven, which I coincidentally caught on PBS on New Year’s Eve. From the PBS description: Explore the story of Phil and Don Everly, two of the most important and influential early rock ’n’ roll stars of the 1950s and ’60s. Featuring new interview footage with surviving brother Don and archival interviews with Phil, the film delves into their relationship with Felice and Boudleaux Bryant, the songwriting team who wrote many of their early hits. It also includes commentary from Art Garfunkel, Graham Nash, Waddy Wachtel, Keith Richards and other music artists. Here’s a link to the trailer.

I started listening to The Everly Brothers in my early teens back in Germany, after my brother-in-law had given me a compilation as a present. I still own that copy and was able to find it in my current mess of vinyl albums (see photo below). At the time, Elvis Presley still was my favorite rock & rock artist. As such, initially, I was mostly drawn to songs like Wake Up Little Susie, Rip It Up and Keep a Knockin’. I immediately loved the Everlys’ great harmony vocals. I think calling them “harmonies from heaven” is no exaggeration!

Isaac Donald “Don” Everly and his younger brother Phillip “Phil” Everly grew up in a musical family and began singing with their parents Ike Everly and Margaret Everly in the 1940s when they were still children. In the mid-’40s, Ike who was a coalmine worker had a show on Shenandoah, Iowa radio stations KMA and KFNF. First, he performed there with his wife, then with their sons who were billed as “Little Donnie and Baby Boy Phil”, who at the time were about 8 and 6 years, respectively. Together, they were known as “The Everly Family”.

In 1953, the family relocated to Tennessee, first to Knoxville, then to Madison. Following high school graduation in 1955, Don moved to Nashville, together with Phil who finished high school there in 1957. The brothers decided they wanted to continue focusing on making music together. Eventually, they came to the attention of family friend Chet Atkins, manager of RCA Studios in Nashville. Atkins helped the brothers get a deal with Columbia Records, but after their first single Keep a-Lovin’ Me flopped, the label dropped them.

Phil Everly (left) and Don Everly

Atkins subsequently introduced Phil and Don to Wesley Rose who told them he could get a record deal if they would sign with his music publishing firm Acuff-Rose. The brothers obliged and Rose introduced them to Archie Bleyer, founder of Cadence Records. Phil and Don got signed and recorded their first single for the label, Bye Bye Love, penned by husband-and-wife country and pop songwriting duo Felice Bryant and Diadorius Boudleaux Bryant.

Released in March 1957, Bye Bye Love became the first of many major hits for The Everly Brothers. In addition to topping the county charts in the U.S., it climbed to no. 2 and no. 5 on the pop and R&B charts, respectively, indicating the duo’s appeal across different music genres. By 1973, tension had built up between the brothers, and they decided to split to pursue solo careers. While Don found some chart success, Phil did not, even though he recorded more frequently.

The Everly Brothers during their 1983 reunion concert at Royal Albert Hall in London

In September 1983, Phil and Don reunited as The Everly Brothers at the Royal Albert Hall in London. The concert was recorded and released as The Everly Brothers Reunion Concert later that year. While the live album reached a respectable no. 47 in the UK, it stalled at no. 162 in the U.S. on the Billboard 200. The Everly Brothers subsequently released three additional studio albums in the ’80s. They continued to tour on and off until 2003-2004 when they were guests on Simon & Garfunkel’s Old Friends reunion tour.

Phil Everly passed away from COPD on January 3, 2014 at the age of 75. Don Everly died at his home in Nashville on August 2021. He was 84. Let’s take a closer look at some of The Everly Brothers’ music and those “harmonies from heaven.” I’m going to highlight six of their songs, followed by a larger career-spanning Spotify playlist.

Bye Bye Love (March 1957)

Notably, this classic had been rejected by 30 other artists before it was given to The Everly Brothers. “I wrote ‘Bye Bye Love’ while traveling home one night,” noted Boudleaux Bryant. “Felice was driving down the highway and I got the first verse and chorus right down there. I always make sure I have a pen and paper in the car for these occasions.” He went on, “We really believed in the song and were disappointed when so many people turned it down. They said it was unsuitable, some even asked if we has anything better!”

Wake Up Little Susie (September 1957)

Wake Up Little Susie, another song by Felice and Boudleaux Bryant, became the first no. 1 for the Everlys on the U.S. pop chart. It also topped the country and R&B charts, as well as the charts in Canada. In addition to outstanding harmony vocals, the song has a really cool rhythm, which Don Everly said was inspired by Bo Diddley’s signature beat. “And I guess it rubbed off on me,” Keith Richards said in the above documentary. “Don’s acoustic guitar – rockin’, man!”

All I Have to Do Is Dream (April 1958)

Written by Boudleaux Bryant alone for a change, All I Have to Do Is Dream became another major hit for The Everly Brothers, toping the pop, country and R&B charts in the U.S. Once again, it reached no. 1 in Canada and became the duo’s first song to top the charts in the UK as well. “I remember hearing ‘All I Have To Do Is Dream’ on an acetate with Boudleaux’s version on it, and I said, at the time, they could have put Boudleaux’s out and it would have been a hit,” Don Everly stated. “It’s just a great, great song. It’s beautiful.” Indeed! BTW, these neat tremolo-style guitar chords were played by Chet Atkins.

Cathy’s Clown (April 1960)

While Felice and Boudleaux Bryant wrote many hits for the Everlys, the duo also had original songs. One of the most beautiful examples I know is Cathy’s Clown, which Don Everly wrote. Initially, both brothers had been credited until 1980, seven years after Don and Phil had split and I guess still weren’t on great terms. The song, which has been inspired by one of Don’s ex-girlfriends, became the last no. 1 for The Everly Brothers in the U.S., topping both the pop and the R&B charts. Cathy’s Clown was their first single on Warner Bros. after Cadence Records no longer could afford resigning them. They were still on top of the world.

Crying In the Rain (January 1962)

By the time Crying in the Rain came out, The Everly Brothers had not had a big hit in nearly a year. It already foreshadowed their declining popularity. The ballad was penned by Brill Building songwriters Howard Greenfield and Carole King, who worked for Don Kirshner’s Aldon Music at the time. Kirshner had been eager to produce a hit for The Everly Brothers. He didn’t need to cry in the rain. The song, one of the few King didn’t write with her usual lyricist Gerry Goffin, became the second-to-last top 10 hit for the Everlys on the U.S. pop chart (no. 6) and also reached that same spot in the UK.

On the Wings of a Nightingale (August 1984)

For my final pick, I’m jumping 22 years forward to what became the last charting single for the Everlys, reaching no. 50 and no. 41 on the U.S. and U.K. pop charts, respectively. Following their reunion concert in London the previous year, Phil and Don recorded EB 84, their first studio album of original material in 11 years. On the Wings of a Nightingale, which Paul McCartney specifically had written for them, became the lead single. After Phil Everly’s death in 2014, Macca wrote the following on his website, as reported by the Los Angeles Times: “Phil Everly was one of my great heroes. With his brother Don, they were one of the major influences on the Beatles. When John and I first started to write songs, I was Phil and he was Don.”

Altogether, The Everly Brothers scored 35 Billboard Top 100 singles, of which 26 reached the top 40. They hold the record for the most Top 100 singles by any duo, second only to Hall & Oates for the most Top 40 singles by a duo. In the UK, the Everlys had 30 chart singles between 1957 and 1984. In 1986, they were inducted into the Rock & Roll Hall of Fame by Neil Young, who said every musical group he had ever belonged to had tried, and failed, to copy the Everly Brothers’ harmonies. Here’s the above-mentioned Spotify playlist.

Sources: Wikipedia; Songfacts; Los Angeles Times; YouTube; Spotify

New Music Musings

Just in time before seeing off the year, I’d like to take a final look at new music. This post highlights my six favorite albums of 2023 I reviewed.

Highway 61 – Driving South

After 30 Years and an incredible background story including the global pandemic, a near-fatal cancer episode and the death of a music mentor, Los Angeles blues rock four-piece Highway 61 released their debut album Driving South on March 24. While after their formation in the early ’90s the band managed to establish themselves on the Southern California club circuit, the record deal they sought remained elusive, and they broke up in 1993. Fast forward to the summer of 2022 when they reconvened for the first time in decades at an L.A. studio to finally record their first album. Highway 61 blend flavors of The Rolling Stones and Tom Petty with dashes of The Black Crowes and Stevie Ray Vaughan. For a little taste, here’s the kickass opener Walk On Water (full album review). Thanks again to Gregg Bell of Wanted Management, who brought Highway 61 on my radar screen!

Ian Hunter – Defiance Part 1

Ian Hunter may be an octogenarian, but he sure as heck can show all the young dudes how to rock. After his departure as lead vocalist from British glam rockers Mott the Hoople in 1974, Hunter launched a solo career and has released his own albums at a fairly steady pace. He frequently collaborated with Mick Ronson until the untimely death of David Bowie’s former sideman in 1993 at the age of 46. His 15th and latest album Defiance Part 1, recorded during COVID lockdown and released on April 21, features the late Jeff Beck, Slash, Billy Gibbons, Todd Rundgren and Ringo Starr, among others, who all added contributions at their home studios. The album also includes Hunter’s longtime collaborator Andy York, one of John Mellencamp’s guitarist, who also served as co-producer. Here’s This Is What I’m Here For, written by Hunter and featuring the late Taylor Hawkins (formerly of Foo Fighters) on drums, Waddy Wachtel (guitar) and Def Leppard’s Joe Elliott (backing vocals) (full album review).

Lucinda Williams – Stories From a Rock n Roll Heart

Lucinda Williams may be among the ultimate rock & roll survivors. Only two and a half years ago, things looked pretty bleak for the singer-songwriter, who turned 70 in January. After her East Nashville home had been damaged by a tornado in March 2020, she suffered a debilitating stroke in November of the same year. Not only did the stroke limit Williams’ physical mobility, but it also took away her ability to play guitar, the instrument she had relied on to write her songs. None of this stopped Williams. After intense rehab, she returned to the stage. Still unable to play guitar, she adjusted her way to write music, collaborated with her husband and co-producer Tom Overby and others, and recorded the incredible album Stories From a Rock n Roll Heart, which dropped on June 30. I don’t mean to romanticize hardship, but I find Williams’ strength truly inspiring. Here’s the de facto title track Rock n Roll Heart, co-written by Williams, Overby and Travis Stephens, guitarist and Williams’ road manager. The song features Bruce Springsteen and Patti Scialfa on backing vocals (full album review). Only select songs of the album are available on streaming services.

Cordovas – The Rose of Aces

East Nashville, Tenn.-based Americana and country rock band Cordovas have become one of my favorite contemporary groups since the summer of 2018 when I coincidentally caught them at a free open air summer concert in New Jersey. Their three-part harmony vocals and warm sound remind me of other groups like The Band, Grateful Dead, Eagles and Little Feat. Cordovas were formed in 2011 by songwriter and multi-instrumentalist Joe Firstman  after he had put out a series of solo projects and served as bandleader on NBC’s former late-night TV show Last Call with Carson Daly from 2005 to 2009. On August 11, they released their fourth studio album The Rose of Aces, another gem. Here’s Love Is All It Takes, a song written by Firstman with a neat Allman Brothers Band vibe (full album review).

The Rolling Stones/Hackney Diamonds

Hackney Diamonds is no Sticky Fingers or Exile On Main St., but the first new Rolling Stones album with original music in 18 years still marks a late-stage career highlight. Released on October 20, Hackney Diamonds sounds remarkably fresh and dynamic for a band that has existed for 61 years! The first Stones album since the 2021 death of longtime drummer Charlie Watts features Elton John, Lady Gaga, Stevie Wonder, Bill Wyman, Paul McCartney and even Watts, among others. One of the most effective contributions are Lady Gaga’s backing vocals on Sweet Sounds of Heaven, a great soulful ballad credited to Mick Jagger and Keith Richards. It also includes Wonder on keyboards and piano, but you don’t notice unless you carefully listen to Jagger telling Wonder, ‘Play me something, Steve’, at around the 5:30-minute mark or check the credits – a relatively small wrinkle on what I think is the Stones’ best studio album since 1989’s Steel Wheels (full album review).

Raze Regal & White Denim Inc. – Raze Regal & White Denim Inc.

The collaboration between Raze Regal, who AllMusic calls an eclectic, psych, jazz, and rock-influenced guitarist, and James Petralli, vocalist of Austin, Texas indie rock band White Denim who he co-founded in 2006, is one of my most intriguing new music discoveries this year. The album’s sophisticated sound blending jazz, rock, soul and pop at times reminds me of Steely Dan and some of Gino Vannelli’s work I’ve heard. Here’s the cool opener Ashley Goudeau, named after a local Austin morning news anchor, a song about a parasocial relationship with a TV personality (full album review).

Sources: Wikipedia; AllMusic; YouTube; Spotify

The Sunday Six

Happy Sunday! I’d like to invite you to join me on my latest music time travel excursion. Since many folks like to call it the most wonderful time of the year, I decided to give today’s trip a Christmas theme. Other than that, everything will stay the same, i.e., six tracks from six different decades in different flavors!

In my original home country Germany, people who celebrate Christmas traditionally start the festivities today, December 24, in the early evening, followed by two days that are part of the Christmas holiday. Here in the U.S., the holiday is observed on December 25 – not everything is bigger in America after all! 🙂

Regardless of whether you celebrate Christmas, I hope to see you on board of the magical music time machine. As always, our itinerary is pretty eclectic. It’s gonna be fun, even if you don’t celebrate Christmas. All aboard, fasten your seatbelts and off we go!

Louis Armstrong/Christmas In New Orleans

Our trip starts in 1955 with an iconic jazz artist who I trust doesn’t need much of an introduction: Louis Armstrong. Over a 50-year-plus career between 1919 and 1971, Satchmo touched various genres from Dixieland to swing to pop. The man with the distinct gravelly voice also helped popularize scat singing, a vocal improvisational style using wordless vocables, nonsense syllables or no words at all, and was an inventive trumpet and cornet player. Christmas In New Orleans, which Armstrong released as a single in 1955, was written by Joe Van Winkle and Richard Sherman. Listening to Satchmo just makes me happy!

AC/DC/Mistress For Christmas

How about a hard rock Christmas song? I told you this was going to be an eclectic experience! Let’s head to Australia and September 1990, which saw the release of AC/DC’s 12th studio album The Razors Edge. Other than that it was co-written by the band’s Angus Young and Malcolm Young, I couldn’t find any specific information about Mistress For Christmas. Perhaps the song is deemed too naughty. If that’s the case, perhaps looking at it with a sense of humor would help! In the UK, Mistress For Christmas also became the B-side of the single Moneytalks. It’s classic AC/DC, and I love it!

James Brown/Santa Claus Go Straight to the Ghetto

Time to pay a visit to the ’60s with a groovy and soulful Christmas song by James Brown. Santa Claus Go Straight to the Ghetto was penned by Alfred Ellis, Charles Bobbit and Hank Ballard. It appeared on Brown’s second Christmas album A Soulful Christmas, released in November 1968. Christmas was special to Brown. In addition to recording various Christmas albums, he started the James Brown Toy Giveaway in the early ’90s where he dressed up as Santa and handed out presents to needy children during Christmas gatherings. The annual toy giveaways continue to be conducted to this day by the James Brown Family Foundation.

Cher/Run Rudolph Run

Our next stop takes us all the way back to the present. Undoubtedly, you’ve heard Run Rudolph Run, a staple during the Christmas holiday season. Initially recorded and released by Chuck Berry in 1958, and credited to him, Marvin Brodie and Johnny Marks, the classic Berry rock & roll-style song has been covered by numerous other artists over the decades, such as Lynyrd Skynyrd, Foo Fighters, Sheryl Crow, Bryan Adams and Keith Richards. The latest is Cher who included it on her first-ever Christmas album, Christmas, released on October 20 this year. At 77, Cher surely still knows how to rock!

Run-DMC/Christmas in Hollis

Did anyone say there’s no such thing as a Christmas song that raps? In case that myth ever existed, American hip hop and rap group Run-DMC busted it in 1987 with Christmas in Hollis. Co-written by their three members Joseph Simmons, Darryl McDaniels and Jason Mizell, and co-produced by them and Rick Rubin, the track first appeared on A Very Special Christmas, an October 1987 compilation to benefit the Special Olympics. In November of the same year, it also came out as a single. Unlike Walk This Way, Run-DMC’s hugely successful 1986 collaboration with Aerosmith, Christmas in Hollis missed the charts.

Greg Lake/I Believe in Father Christmas

And once again, we’re reaching our sixth and final destination. This will take us to November 1975 and I Believe in Father Christmas, a single by Greg Lake. The English bassist, guitarist, singer and songwriter, who passed away in December 2016 at the age of 69, first gained prominence as a co-founding member of progressive rock bands King Crimson and Emerson, Lake & Palmer. Composed by Lake with lyrics by English poet and songwriter Peter Sinfield, I Believe in Father Christmas also borrows some music from Russian composer Sergei Prokofiev’s 1934 Lieutenant Kijé Suite. While Lake called the song a protest of the commercialization of Christmas, Sinfield said the lyrics are about a loss of innocence and childhood belief. Check out this beautiful sound!

Last but not least, here’s a Spotify playlist of the above goodies. Hope there’s something for you here. To anyone celebrating it today, Merry Christmas!

Sources: Wikipedia; YouTube; Spotify

Happy Belated Birthday, Keef

“We age not by holding on to youth, but by letting ourselves grow and embracing whatever youthful parts remain.”
Keith Richards (as recounted by American Songwriter)

This Monday, December 18, Keith Richards turned 80. While I certainly don’t feel an obligation to cover birthdays of each music artist I dig, leaving out this one somehow felt wrong. After all, The Rolling Stones have been among my top favorite bands for 40-plus years, and the Stones simply wouldn’t have been the Stones without their riff master who was instrumental in popularizing open G guitar and other tunings!

Richards got into the guitar during his childhood, a noteworthy anecdote. One day, a guitar on a shelf caught the little boy’s interest, but it was too high to reach. It belonged to his maternal grandfather, Augustus Theodore “Gus” Dupree, who played in a jazz big band. Richards wanted to grab the guitar, so Dupree told him that if he could somehow reach it, he could have it. Richards proved to be resourceful, took a chair and stapled books and cushions on top of each other until he finally got high enough to grab the instrument.

Not only did Dupree keep his promise, but he also taught Richards the rudiments of Malagueña, his first guitar tune! Richards turned out to be an eager student, practicing the song all the time. When his grandpa noticed the boy’s enthusiasm, he allowed him to keep the guitar for good. While Richards’ father Herbert William Richards, a factory worker, disparaged his son’s musical enthusiasm, little Keef couldn’t be stopped.

Fast forward to October 1961, when 17-year-old Richards ran into his former classmate and childhood friend Mick Jagger on a Dartford Railway Station platform. When he noticed Jagger was carrying records by Chuck Berry and Muddy Waters, it became evident they dug the same music. A musical partnership started shortly thereafter, which less than two years later culminated in the formation of the world’s greatest rock & roll band.

This shall suffice for general background, given there are countless biographical write-ups on Richards and the Stones. Instead, I’d like to focus on music, specifically six songs in which Richards played a significant role, either as lead vocalist and/or writer, drawing from both the Stones and his solo career. These songs will also be featured in a Spotify playlist at the end of this post, along with 14 others.

Jumpin’ Jack Flash (non-album single, May 1968)

Credited to Jagger and Richards, though Bill Wyman claimed he wrote part of it, Jumpin’ Jack Flash not only is among my all-time favorite Stones songs but also features one of Keef’s best riffs. “When you get a riff like ‘Flash,’ you get a great feeling of elation, a wicked glee,” Richards told Rolling Stone, as captured by Songfacts. “I can hear the whole band take off behind me every time I play ‘Flash’ – there’s this extra sort of turbo overdrive. You jump on the riff and it plays you. Levitation is probably the closest analogy to what I feel.”

You Got the Silver (Let It Bleed, November 1969)

While with Something Happened to Me Yesterday Keef had official lead vocal parts as early as on the Stones’ January 1967 album Between the Buttons, the band’s first song to solely feature him in this role was You Got the Silver. Credited to Jagger and Richards, the song from the Let It Bleed album was written by Richards about his then-girlfriend, Anita Pallenberg, who used to go out with Brian Jones – a situation that further estranged Jones from the band. He still played autoharp on the recording, one of his final song contributions before the Stones parted ways with him.

Before They Make Me Run (Some Girls, June 1978)

Before They Make Me Run, off the Some Girls album, is another Stones song that solely features Richards on lead vocals. He also did most of the work on the track, which was recorded while he was out of jail on bail after he had gotten arrested in Toronto for drug trafficking in 1977. He ended up with probation. “That song, which I sang on that record, was a cry from the heart,” explained Richards in his book Life (2010), as documented by Songfacts. “But it burned up the personnel like no other. I was in the studio, without leaving, for five days… I had an engineer called Dave Jordan and I had another engineer, and one of them would flop under the desk and have a few hours’ kip and I’d put the other one in and keep going. We all had black eyes by the time it was finished.”

Start Me Up (Tattoo You, August 1981)

This brings me to the final Stones track highlighted in this post. Opening with one of Keef’s trademark riffs, Start Me Up was initially recorded with a reggae beat in 1977 during the sessions for Some Girls. But the Stones didn’t like the result and shelved the track – until it reemerged for Tattoo You. “The story here is the miracle that we ever found that track,” Richards explained, according to Songfacts. “I was convinced – and I think Mick was – that it was definitely a reggae song. And we did it in 38 takes – ‘Start me up. Yeah, man, cool. You know, you know, Jah Rastafari.’ And it didn’t make it. And somewhere in the middle of a break, just to break the tension, Charlie and I hit the rock and roll version. And right after that we went straight back to reggae. And we forgot totally about this one little burst in the middle, until about five years later when somebody sifted all the way through these reggae takes. After doing about 70 takes of ‘Start Me Up’ he found that one in the middle.”

Take It So Hard (Talk Is Cheap, October 1988)

Let’s next turn to Keef’s first solo album Talk Is Cheap. By the mid-’80s, his relationship with Jagger was on the rocks. When the Stones frontman was more interested in pursuing his solo career than touring behind the group’s March 1986 album Dirty Work, Richards teamed up with Steve Jordan (who has been the Stones’ touring drummer since Charlie Watts’ death in 2021) to write songs. Richards also gathered an impressive backing band whose core members in addition to Jordan (drums) included Waddy Wachtel (guitar), Ivan Neville (piano, keyboards, backing vocals) and Charley Drayton (bass). They became known as The X-Pensive Winos. Here’s Take It So Hard, which also appeared as a single.

Crosseyed Heart (Crosseyed Heart, September 2015)

My final pick is Crosseyed Heart, an homage to one of Richards’ key influences, and the title track of his third and most recent solo album. Like Talk Is Cheap, it featured the X-Pensive Winos. “The ‘Crosseyed Heart’ one came because I wanted to start it off where basically all the music that I know and I’ve played came from,” Richards told Uncut, according to Songfacts. “One of the wellsprings was Robert Johnson, and I’ve always wanted to do something in his style, so ‘Crosseyed Heart’ came from that.”

Richards’ 80th birthday coincided with his 40th wedding anniversary. On December 18, 1983, he married then-27-year-old American model and actress Patti Hansen. They have two daughters, Theodora Dupree, born 1985 and named after Keef’s grandpa; and Alexandra Nicole, born 1986.

“About myself I have no great illusions. I know what I am. I know what I’m good at. I know what I ain’t. I’m always hoping to surprise myself. But I do have a love of music and I do love to communicate it, and that’s the best I can do, really. And I can raise a good family, too.”
Keith Richards (as recounted by American Songwriter)

Last but not least, here’s the aforementioned Spotify playlist.

Sources: Wikipedia; American Songwriter; Songfacts; YouTube; Spotify

Only Rock & Roll, But I Like It

After re-publishing my most recent December contribution to Turntable Talk yesterday, it occurred to me I never posted my submission for November’s installment of the great monthly participatory feature hosted by fellow blogger Dave from A Sound Day. The culprit was a temporary hiatus from blogging due to a family vacation in Europe, combined with bad memory – after my return, I simply forgot!

Before finally getting to it, I’d like to acknowledge yesterday’s 80th birthday of Keith Richards, which feels especially appropriate, given this is a post about The Rolling Stones! Richards joined the club of octogenarians after Mick Jagger did this past July. Who would have thought in the early ’70s when the Stones arguably hit their high The Glimmer Twins would still be rocking in their ’80s! ‘On with the show,’ as I’ve heard Keith say during Stones gigs.

# # #

I can’t believe Turntable Talk is hitting 20 – congrats on this milestone, Dave, and keeping this such a fun feature by continuing to come up with great topics. This time you asked, Do we still care about the Rolling Stones? I guess you won’t be surprised about my spontaneous answer: hell, yes!

Unlike The Beatles who have been my favorite band since my early teenage years back in Germany, my love for The Rolling Stones started a few years later and developed more gradually. If asked today whether to pick The Beatles or the Stones, I would still go with The Fab Four, though the Stones would be a close second. I also feel it’s difficult to directly compare the two groups since their styles ended up being very different.

How do you assess the relevance of a music artist objectively? The first thing I thought was their sales of music. I found this website, ChartMasters, which calculates total equivalent album sales (EAS) across all music formats. Using their methodology, The Rolling Stones have 244.55 million EAS. This puts them at no. 6, ahead of Pink Floyd (238.57 million) and behind Madonna (248.35 million) – certainly not a spot that would suggest irrelevance! The Beatles top the list with 423.9 million EAS – of course, they do!😊

Since the aforementioned sales volumes are cumulative, I figured they favor acts who started selling music a long time ago compared to those who are newer. Next, I thought that looking at top grossing concert tours should provide a more level playing field. Last year, The Rolling Stones came in at no. 6 on Billboard’s Top Tours 2022, grossing $179.35 million, behind Coldplay ($208 million) and ahead of Red Hot Chili Peppers ($177 million). Again, an impressive showing!

A third gauge I came up with to capture current relevance is followers on Spotify, something ChartMasters tracks as well. The top 3 are Ed Sheeran (114.9 million), Ariana Grande (94.26 million) and Arijit Singh (93.2 million). By comparison, the Stones and The Beatles have 13.4 million and 26.31 million followers, respectively. I think this outcome is a good illustration that assessing relevance very much depends on how you measure it.

The other day, I learned about Perplexity AI, an AI-powered search engine and chatbot. Putting my decidedly mixed feelings about AI aside, I was curious to see what kind of answer I would get to the question, Are The Rolling Stones still relevant? Here’s what I got (with references, which I removed):

The Rolling Stones are still relevant today, despite having been around for over 60 years. Here are some reasons why:

• Live shows: The Rolling Stones remain one of the most electrifying live acts in music, and their tours continue to draw large crowds and sell out stadiums.
• Timeless music: The songs recorded by the Rolling Stones in the 60s continue to cast a lasting influence on popular culture, and their music is still enjoyed by both old and new generations of fans.
• Adaptability: The Rolling Stones have managed to adapt and anticipate new musical trends while remaining true to their rock ‘n roll and blues roots. They have also continued to release new music, with their last album “Blue & Lonesome” being a return to their blues days.
• Cultural legacy: The Rolling Stones are one of the most important bands in the history of music, and their impact on popular culture cannot be overstated. They have influenced countless musicians and continue to be studied and analyzed by scholars.

Overall, the Rolling Stones are still relevant today due to their continued success in live performances, their timeless music, their adaptability, and their cultural legacy.

This doesn’t look like a bad answer, especially if you consider it only took a couple seconds to obtain it. Obviously, Perplexity AI missed Hackney Diamonds, the new album by the Stones – one illustration AI-generated content isn’t entirely up to date. Not yet!

After all the above attempts to address the topic as objectively as possible, I came to the brilliant conclusion that all of the above matters relatively little. None of it changes the fact that The Rolling Stones remain relevant to me. Why? Because I love their music – it’s really as simple as that at the end of the day!

I’d like to leave you with five Stones songs I dig:

The Last Time (single, February 1965)

I always loved the guitar riff. While credited to Mick Jagger and Keith Richards, the song is adapted from a traditional gospel song The Staples Singers released in 1954 as It May Be the Last Time. The Last Time became the Stones’ third no. 1 on the UK Singles Chart.

She’s a Rainbow (single Nov 1967)

While it’s perhaps uncharacteristic for the Stones, I’ve liked She’s a Rainbow from the first time I heard it many moons ago. That great piano part was played by Nicky Hopkins. John Paul Jones, then still a session musician who would later join Led Zeppelin, provided the string arrangement. This was the second upfront single from Their Satanic Majesties Request, a studio album the Stones released in December 1967.

Jumpin’ Jack Flash (single, May 1968)

This non-album single is another terrific riff-based song. The Stones recorded it during the Beggars Banquet sessions. While it certainly didn’t lack great songs, I’m still somewhat puzzled Jumpin’ Jack Flash didn’t make the album. I once read Richards still the kicks playing the song during live shows – can’t blame him!

Dead Flowers (Sticky Fingers, April 1971)

One of my all-time favorite songs by The Rolling Stones, off my favorite album Sticky Fingers. This song came together during a time when Richards’ friendship with Gram Parsons influenced his writing. I love the guitar lines he traded with Mick Taylor throughout the track. The solo in place of a third verse was performed by Taylor – perhaps the ultimate bar band song!

It’s Only Rock ‘n’ Roll (But I Like It) (It’s Only Rock ‘n Roll, October 1974)

The title track from the Stones’ 74 studio album kind of sums up why I love the Stones: It’s only rock & roll, but I like it. Then-future Stones guitarist Ronnie Wood collaborated with Jagger on the song, though it’s only credited to Jagger and Richards, as usual. David Bowie sang backing vocals to Jagger’s lead. Also notable, bass and drums were provided by Willie Weeks and Kenny Jones, respectively, instead of Bill Wyman and Charlie Watts.

If you haven’t checked out Hackney Diamonds, I can highly recommend it. This latest album by the Stones provides my evidence the greatest rock & roll band in the world remains very relevant, at least in my completely unbiased opinion!😊

Sources: Wikipedia; ChartMasters; Billboard; Perplexity AI; YouTube