When the Music Does the Singing

A collection of guitar-driven instrumentals

Frequent visitors of the blog and others who have a good idea about my music taste know I really dig vocals, especially multi-part harmony singing. In fact, when it comes to artists like The Temptations, I could even do without any backing music. That’s why felt like shaking things up a little and putting together this collection of tracks that shockingly don’t have any vocals. Once I started to reflect, it was surprisingly easy to find instrumentals I really like – yes, they do exist and, no, I don’t miss the vocals!

Since I still play guitar occasionally (only to realize how rusty I’ve become!), I decided to focus on primarily guitar-driven tracks. While I’m sure you could point me to jazz instrumentals I also find attractive, the reality is I’m much more familiar with other genres, especially in the rock and blues arena. Most of the tracks in this post came to my mind pretty quickly. The John Mayall and the Blues Breakers and Steve Vai tunes were the only ones I picked from a list Guitar World put together.

The Shadows/Apache

I’ve always thought Hank Marvin had a really cool sound. Here’s Apache, which was written by English composer Jerry Lordan and first recorded by Bert Weedon in 1960, but it was the version by The Shadows released in July of the same year, which became a major hit that topped the UK Singles Chart for five weeks.

John Mayall and the Blues Breakers/Steppin’ Out

Steppin’ Out is a great cover of a Memphis Slim tune from the debut studio album by John Mayall and the Blues Breakers from July 1966. It was titled Blues Breakers with Clapton featuring, you guessed it, Eric Clapton, who had become the band’s lead guitarist following the release of their first live album John Mayall Plays John Mayall that appeared in March 1965.

Pink Floyd/Interstellar Overdrive

My Pink Floyd journey began with their ’70s classics Wish You Were Here and The Dark Side of the Moon. Much of their early phase with Syd Barrett was an acquired taste, especially experimental tunes like Interstellar Overdrive from Floyd’s debut The Piper at the Gates of Dawn released in August 1967. It’s one of only two tracks on the album credited to all members of the band at the time: Barrett, Roger Waters, Richard Wright and Nick Mason.

Deep Purple/Wring That Neck

Wring That Neck is a kick-ass tune from Deep Purple’s sophomore album The Book of Taliesyn that appeared in October 1968. As was quite common for the band, Jon Lord’s mighty Hammond organ pretty much had equal weight to Ritchie Blackmore’s guitar. That’s always something I’ve loved about Deep Purple, as much as I dig guitar-driven rock. Wring That Neck was co-written Blackmore, Lord, bassist Nick Semper and drummer Ian Paice.

Fleetwood Mac/Albatross

Yes, I know, I featured this gem only recently on July 25 when Peter Green sadly passed away at the age of 73. I’m also still planning to do a follow-up on this extraordinary guitarist. But I just couldn’t skip Albatross in this collection, which Green wrote and recorded with Fleetwood Mac in October 1968. The track was released as a non-album single the following month. It’s a perfect example of Green’s style that emphasized feeling over showing off complexity, speed and other guitar skills. With it’s exceptionally beautiful tone, I would rate Albatross as one of the best instrumentals, perhaps even my all-time favorite, together with another track that’s still coming up.

The Allman Brothers Band/Jessica

Jessica first appeared on The Allman Brothers Band’s fourth studio album Brothers and Sisters from August 1973. It also became the record’s second single in December that year. Written by lead guitarist Dickey Betts, the tune was a tribute to jazz guitar virtuoso Django Reinhardt. Betts named the tune after his daughter Jessica Betts who was an infant at the time. When you have such beautiful instrumental harmonies, who needs harmony vocals? Yes, I just wrote that! 🙂

Santana/Europa (Earth’s Cry Heaven’s Smile)

Santana’s Europa (Earth’s Cry Heaven’s Smile) is the other above noted tune, which together with Albatross I would perhaps call my all-time favorite guitar-driven instrumental. In particular, it’s the electric guitar tone that stands out to me in both of these tracks. Co-written by Carlos Santana and his longtime backing musician Tom Coster who provided keyboards, Europa was first recorded for Santana’s seventh studio album Amigos from March 1976. It also appeared separately as a single and was also one of the live tracks on the Moonflower album released in October 1977.

Steve Vai/The Attitude Song

When it comes to guitarists and their playing, I’m generally in the less-is-more camp. That’s why I really must further explore Peter Green whose style should be up right up my alley. Sometimes though shredding is okay. I was going to include Eddie Van Halen’s Eruption, but it’s really more an over-the-top guitar solo than an instrumental. So I went with Steve Vai and The Attitude Song, a track from his solo debut album Flex-Able from January 1984. I definitely couldn’t take this kind of music at all times. In fact, as I’m listening to the tune while writing this, it’s actually making me somewhat anxious. While the harmony guitar and bass action sound cool, like most things, I feel it should be enjoyed in moderation! 🙂

Stevie Ray Vaughan/Scuttle Buttin

Scuttle Buttin’ by Stevie Ray Vaughan isn’t exactly restrained guitar playing either. But while like The Attitude Song it’s a shredder, the tune has never made me anxious. I think that’s largely because I really dig Vaughan’s sound. Yes, he’s playing very fast and many notes, yet to me, it comes across as less aggressive than Vai who uses more distortion. Written by Vaughan, Scuttle Buttin’ appeared on his excellent second studio album Couldn’t Stand the Weather released in May 1984.

Jeff Beck/A Day in the Life

The last artist I’d like to feature in this collection is another extraordinary guitarist with an amazing tone: Jeff Beck. His unique technique that relies on using his thumb to pick the guitar strings, the ring finger to control the volume knob and his pinkie to work the vibrato bar of his Fender Stratocaster creates a unique sound no other guitar player I’ve heard has. Here’s Beck’s beautiful rendition of The Beatles tune A Day in the Life. It was included on In My Life, an album of Fab Four covers compiled and produced by George Martin, which appeared in October 1998.

Sources: Wikipedia; Guitar World; YouTube

Best of What’s New

A selection of newly released music that caught my attention

Best of What’s New is hitting a bit of a milestone this week with its 20th installment. When I started 20 weeks ago, I didn’t expect the feature would become a weekly series. The fact it has turned into that tells me there’s more decent new music out there than I had previously realized. I also recognize my favorite decades in music, the ’60s and ’70s, are gone and won’t come back; still, at a time when the charts are dominated by music that feels largely generic and soulless to me, it’s reassuring to see not all new music is created equal.

I’m also happy about this latest installment, which among others features a psychedelic prog rock band from Norway. How many bands do you know from Norway? And how many of them play psychedelic prog rock? Or how about a multi-national pop prog rock (gee, try saying that quickly!) outfit from Belgium, the UK and the U.S.? Also, were you aware that in March The Boomtown Rats released their first new album in 36 years? But wait, there’s more. All you need to do to find out is to read on… 🙂

LeRoux/Lucy Anna

LeRoux, aka, Louisiana’s LeRoux, are a band from Baton Rouge, La., which have been around for some 45 years. From their website: Their 1978 Capitol press release read, “LeRoux takes its name from the Cajun French term for the thick and hearty gravy base that’s used to make a gumbo.”  LeRoux’s eponymous first album was a musical gumbo that blended various instruments and music arrangements into a spicy, mouth-watering southern rock sound. In fact, their Southern anthem ‘New Orleans Ladies’, voted Song of the Century by Gambit Magazine, simmered with the laid-back feel of the “Big Easy,” evoking images of Bourbon Street and the bayou…Over the years, LeRoux enjoyed performing with many of classic rocks’ greatest bands including The Allman Brothers, Wet Willie, Journey, Kansas, Heart, The Doobie Brothers, Charlie Daniels, Foreigner, Marshall Tucker, The Outlaws, ZZ Top and many, many more…LeRoux was inducted into the Louisiana Music Hall of Fame as their 50th inductee. Lucy Anna, co-written by Richard Ferreira and Solomon Paul Marshall, reminds me a bit of Little Feat. The song is from the band’s most recent, eighth studio album One of Those Days, released on July 24 – their first new album in 18 years. I really dig the harmony singing and warm sound. Check it out!

Nick D’Virgilio/In My Bones

Nick D’Virgilio is a session multi-instrumentalist, who according to Wikipedia is best known as the (studio) drummer of American progressive rock group Spock’s Beard, and is a member of Big Big Train, an English prog rock band – admittedly I had not heard of both outfits before, but my exposure to prog rock has been limited. Moreover, D’Virgilio has recorded and toured with artists, such as Genesis, Peter Gabriel and Sheryl Crow. And, you probably guessed it, he also has recorded some solo work. This included an album and an EP that both came out in 2011, and Invisible, his most recent album released on June 26. Here’s In My Bones, written by D’Virgilio. Part of the reason I decided to highlight this tune is the great organ and saxophone work.

Shaman Elephant/Ease of Mind

According to their Facebook page, Shaman Elephant are a Norwegian psychedelic progressive rock band. Ease of Mind is a tune from Wide Awake but Still Asleep, which a review by the blog The Progressive Aspect notes is their sophomore album. Their debut Crystals appeared in 2016. The review also lists Shaman Elephant’s members: Eirik Sejersted Vognstølen (vocals, guitar), Jard Hole (drums), Ole-Andreas Sæbø Jensen (bass) and Jonas Særsten (keyboards). I will say Ease of Mind falls outside my core wheelhouse, but there’s something about it I find intriguing. What drew me in initially is the acoustic guitar intro. Plus, other than synth pop band a-ha, I can’t think of any other group from Norway I know, so I’m happy to feature one here.

Fish on Friday/Mad at the World

On their Facebook page, Fish on Friday (FoF) describe themselves as “a multi-national (Belgium-UK-USA) Progressive Poprock oriented project signed to UK label Esoteric recordings-Cherry Red.” Their website lists their members as Nick Beggs (bass, Chapman stick, backing vocals), Frank Van Bogaert (vocals, keyboards, guitars), Marty Townsend (guitars) and Marcus Weymaere (drums and percussion). Mad at the World is a track from Black Rain, which the website’s “bio” section indicates is the band’s fifth album. Unfortunately, there’s no actual bio there, but a news statement about FoF’s second album points out the band was founded in 2009 “when Belgian Producer and musician Frank van Bogaert and keyboard player William Beckers established FISH ON FRIDAY as a studio-based Progressive Rock project.” The band released their debut album Shoot the Moon in 2010. Apparently, it received stylistic comparisons with the Alan Parsons Project. Having listened to some of the tunes from Black Rain, which appeared on May 15, if anything, I seemed to pick up some traces of David Gilmour/post-Roger Waters Pink Floyd, though not on Mad of the World. That tune may be a little bit closer to some of the previous music by the Alan Parsons Project. It doesn’t really matter – I like it and that’s good enough for me! Based on credits listed on Discogs, the tune was written van Bogaert, who also produced the album.

The Boomtown Rats/There’s No Tomorrow Like Today

How funny is that! I just finished publishing a mini-series to commemorate Live Aid and the next thing I come across is The Boomtown Rats released Citizens of Boomtown in March 2020, their first new album since 1984’s In the Long Grass! As I admitted in my Live Aid posts, other than Bob Geldof’s association with the band and I Don’t Like Mondays (and I should also add Banana Republic), I pretty much know nothing about this Irish band – rats! They initially formed in Dublin in 1975 and released six studio albums between 1977 and their first breakup in 1986. The band reunited in 2013 with a different line-up. But other than a few live records and two compilations, they did not come out with anything new – until March this year. Released on June 12, There’s No Tomorrow Like Today is the B-side to the album’s first single Trash Glam Baby; interestingly, it didn’t make the record. The tune is credited to Geldof, as well as the band’s other members Pete Briquette (bass), Simon Crowe (drums) and Garry Roberts (guitar). It’s a quite catchy pop rocker!

This post was updated on August 1, 2020 to correct information on There’s No Tomorrow Like Today, the above mentioned song by The Boomtown Rats. Bob Geldof-authorized fan site Bob Geldof Fans reached out to note that while the tune should have been on the album as my post had initially indicated, it was not. Instead, it became the b-side to the first single Trash Glam Baby.

Sources: Wikipedia; LeRoux website; Shaman Elephant Facebook page; The Progressive Aspect; Fish on Friday Facebook page; Discogs; YouTube

In Appreciation of German Radio and TV Personality Frank Laufenberg

Moderator, journalist and author is a distinguished rock and pop expert who has influenced my music journey

This post was inspired by fellow blogger msjadeli who writes the Tao Talk blog. Msjadeli is a true music lover who frequently likes to discuss the subject. She also writes about it. Just yesterday, she published this post about “the Friday Song”, played on 97 WLAV FM, a Grand Rapids, Mich. radio station that became part of her music journey. This led to a discussion about radio DJs and how they can impact us. It reminded me of my radio days while growing up back in Germany in the ’70s and ’80s and one host, a pop and rock connoisseur who introduced me to lots of music from the ’50s and ’60s: Frank Laufenberg.

In previous posts, I acknowledged several people who had a major influence on my music journey, sometimes unknowingly: my six-year-older sister and her vinyl collection that, among others, included timeless gems like Carole King’s Tapestry, Pink Floyd’s Wish You Were Here and Crosby, Stills, Nash & Young’s DĂ©jĂ  Vu, all albums I love to this day; my grandfather, a music professor and piano teacher who was thrilled when I told my parents I wanted to learn the guitar, and payed for most of my instruments; and my guitar and bass teacher who really got me into The Beatles and, of course, taught me how to play both instruments. Yesterday’s discussion made me realize the one person that’s missing is Laufenberg. Acknowledging him is overdue.

Frank Laufenberg in his home studio

Frank Laufenberg was born on January 2, 1945 in the East German small town of Lebus. He grew up in Cologne where he started his professional career at record label EMI Electrola, working in A&R from 1967 to 1970. In 1970, while accompanying an artist to an interview at SWF3, he met Walther Krause, who created and oversaw a then-new radio show called Pop-Shop and offered Laufenberg a trial period as moderator. It would turn out to be a career-changing encounter.

The artist (I don’t remember who it was) did the interview,” recalls Laufenberg in this short online background section on the website of Internet radio station PopStop, one of his current professional homes. “Afterwards, I went to the boss of Pop-Shop, to Walther Krause, to politely thank him, and he asked me how I thought the interview went. ‘If I had recorded it with the artist, it would have been better for him, for me and the listeners’, I replied. And Krause went: ‘If you feel you could do better than the current moderator, why don’t you give a try for a week?’ Evidently, Laufenberg didn’t lack confidence!

Frank Laufenberg’s Rock and Pop Almanach

A week turned into many years, and Laufenberg became a key moderator at SWF3, a popular mainstream radio station on regional TV and radio network SĂĽdwestfunk. In addition to Pop-Shop, one of the other shows Laufenberg moderated at SWF3 was Oldies on Sunday nights. To the best of my recollection, the program aired from 9:00 pm to 11:00 pm. That’s the show through which Laufenberg introduced me to a lot of ’50s and ’60s music, really helping me establish a deeper appreciation for music from these decades. I’ll get back to that later.

In the ’80s, Laufenberg also moderated various television shows for regional networks Westdeutscher Rundfunk (WDR), Bayerischer Rundfunk (BR) and SĂĽdwestfunk. On the latter, this included an excellent live music program called Ohne Filter (literal translation: without filter). In September 1990, Laufenberg started moderating programs on privately owned channel Sat1. Idiotically, this led SWF3 to terminate him with the stupid explanation Laufenberg could not work for public broadcast while also moderating programs for a private channel. Subsequently, he worked at various other private and public channels.

Some of my old music cassettes with music taped from SWF3 Oldies show

In 2013, Laufenberg founded the above mentioned internet radio station PopStop, where he is a moderator to this day. Since April 2018, he also hosts two shows on SR 3 Saarlandwelle, a radio channel on regional broadcast network Saarländischer Rundfunk. In addition to having worked as a radio and TV moderator, Laufenberg has published various music-related books, perhaps most notably Frank Laufenbergs Rock- und Pop Lexikon, which also has been published in English as Rock und Pop Diary.

Now it’s time for some music. Let’s start with the above noted SWF3 Oldies show. Obviously, I don’t have YouTube clips from actual program episodes. But, as you can see in the above photo, I still have music cassettes with songs I taped from the program. So I guess the closest I can offer is YouTube clips of some of the songs that are on these tapes. Unfortunately, when I started taping music on MCs, I didn’t note dates. This tells me these MCs must be from the late ’70s/early ’80s. Here’s a tune from the earliest SWF3 Oldies MC I could find: I’m Into Something Good, co-written by Gerry Goffin and Carole King, and popularized by Herman’s Hermits in 1964 – a tune I’ve always dug.

I’m fairly certain the first time I heard Chuck Berry’s Memphis, Tennessee was on Laufenberg’s SWF3 Oldies. The classic was released as a single in 1959.

Here’s another track that has become one of my all-time favorite ’60s tune with a killer guitar riff: Oh, Pretty Woman by Roy Orbison, the rocker with an opera voice. Co-written by him and Bill Dees, the song first appeared as a single in 1964. It was also included on the compilation album Orbisongs (clever title!) from November 1965.

Here’s one more tune I taped from the show: The Rolling Stones’ version of Under the Boardwalk. The song was co-written by Kenny Young and Arthur Resnick and first recorded by The Drifters in 1964. The Stones included their rendition, the first version of the song I heard, on their sophomore studio album 12 X 5, which appeared in October 1964.

The last clip I’d like to feature is from the above noted Ohne Filter TV show Laufenberg moderated: Excellent English guitarist Chris Rea and his tune Josephine, which received lots of radio play on (radio station) SWF3 when it came out. The song is from Rea’s seventh studio album Shamrock Diaries, which was released in December 1984. The footage is from a 1986 episode of Ohne Filter Extra I watched at the time.

The last word shall belong to Frank Laufenberg. Here’s a translation of what he says on the PopStop website about the internet radio station: PopStop – das Musikradio’ wants to bring back variety to radio, variety that’s not only missing to me. We can’t reinvent radio – but we can bring back the good aspects it had. Content that predated the days of “Radio GaGa.” As Queen correctly warned in 1984: ‘Radio – don’t become some background noise’. That’s what it unfortunately has become. But Queen also sing: ‘Radio what’s new? Radio, someone still loves you’. ‘PopStop’ will appeal to exactly these lovers of radio and those who are interested in music. We’re always happy about new listeners and would appreciate if you could recommend us.

Yours Frank Laufenberg

Sources: Wikipedia; PopStop website; YouTube

The Venues: Royal Albert Hall

The first reference to the Royal Albert Hall I recall was in A Day in the Life, the magnificent final track of my favorite Beatles album Sgt. Pepper’s Lonely Hearts Club Band. Though at the time I didn’t realize the line Now they know how many holes it takes to fill the Albert Hall referred to the famous U.K. performance venue in London’s South Kensington district. The Royal Albert Hall, which had received a copy of the album prior to its release, did and was less than pleased.

According to this item in the concert hall’s archive, the Hall’s then-chief executive Ernest O’Follipar wrote a letter to Brian Epstein, maintaining the “wrong-headed assumption that there are four thousand holes in our auditorium” threatened to destroy the venue’s business overnight. Not only were the lyrics not changed, but John Lennon wrote back to the Hall, refusing to apologize. The venue retaliated with banning the song from ever being performed there.

Excerpt of letter from Royal Albert Hall CEO Ernest O’Follipar to Beatles manager Brian Epstein

The history of the Hall, which initially was supposed to be named Central Hall of Arts and Sciences, began long before The Beatles. In fact, it dates back to the 1900s and Queen Victoria. It was her majesty who in memory of her husband Prince Albert decided to change the name to the Royal Albert Hall of Arts and Sciences when the building’s foundation stone was laid in 1867. I suppose this makes her a pretty nice girl, though she actually did have a lot to say!

It was also Queen Victoria who opened the Hall in 1871. The building was designed by Captain Francis Fowke and Major-General Henry Y. D. Scott, who were civil engineers of the Royal Engineers. The facility, which today can seat close to 5,300 people, was built by Lucas Brothers, a leading British building construction firm at the time. The design was strongly influenced by ancient amphitheatres, as well as the ideas of German architect Gottfried Semper and his work at the South Kensington Museum.

The Royal Albert Hall has seen performances by world-leading artists from many genres. Since 1941, it has been the main venue for the so-called Proms, an eight-week summer season of daily orchestral classical music concerts. The venue hosts more than 390 shows in its main auditorium each year, including classical concerts, ballet, opera, film screenings with live orchestral accompaniment, sports, awards ceremonies, school and community events, charity performances and banquets and, of course, rock and pop concerts.

This July 2019 story in London daily newspaper Evening Standard, among others, lists the following concerts as part of the “10 iconic musical moments in the venue’s history”: The Great Pop Prom (September 15, 1963), which featured The Beatles and The Rolling Stones on the same bill with other groups – only one of a handful of times the two bands performed together in the same show; Bob Dylan (May 26 and 27, 1966); Jimi Hendrix (February 18 and 24, 1969); Pink Floyd (June 26, 1969); The Who and Friends (November 27, 2000); and David Gilmour and David Bowie (May 29, 2006). Obviously, this list isn’t complete!

Let’s get to some music. As oftentimes is the case, it’s tough to find historical concert footage from the ’60s and ’70s, especially when it’s tied to a specific venue. One great clip I came across is this Led Zeppelin performance of Whole Lotta Love from a 1970 gig. Credited to all four members of the band plus Willie Dixon (following a 1985 lawsuit!), the tune was first recorded for the band’s second studio album ingeniously titled Led Zeppelin II, released in October 1969.

Since 2000, Roger Daltrey has been a patron for the Teenage Cancer Trust and raised funds for the group through concerts. The first such show was a big event at the Royal Albert Hall on November 27, 2000. In addition to The Who, it featured Noel Gallagher, Bryan Adams, Paul Weller, Eddie Vedder, Nigel Kennedy and Kelly Jones. The choice of venue was somewhat remarkable, given The Who in 1972 became one of the first bands to be impacted by the Hall’s then instituted ban on rock and pop. Here’s the Pete Townshend penned Bargain, which first appeared on The Who’s fifth studio album Who’s Next that came out in August 1971.

In early May 2005, Cream conducted four amazing reunion shows at the Hall, which were captured and subsequently published in different formats. Here’s White Room, co-written by Jack Bruce with lyrics by poet Pete Brown, and originally recorded for Cream’s third album Wheels of Fire from August 1968. Gosh, they just sounded as great as ever!

The last clip is from the above mentioned show by David Gilmour from May 29, 2006, during which he invited David Bowie on stage. As the Evening Standard noted, not only was it Bowie’s first and only appearance at the Hall, but it also was his last ever public performance. Gilmour and Bowie did Arnold Layne and Comfortably Numb together. Here’s their epic performance of the latter, which was co-written by Gilmour and Roger Waters for Pink Floyd’s eleventh studio album The Wall from November 1979. Interestingly, just like The Who, Pink Floyd was barred from performing at the Hall following their June 1969 gig there. It was the first nail in the coffin for rock and pop concerts at the venue that led to a complete, yet short-lived ban in 1972 because of “hysterical behaviour of a large audience often encouraged by unthinking performers.”

Sources: Wikipedia; Royal Albert Hall website; Evening Standard; YouTube

Best of What’s New

A selection of newly released music that caught my attention

This week’s installment of my recurring new music feature presents another combination of younger and older artists. I’ve kept it to four tunes. There’s some folk, jazz, space rock and indie pop. Let’s get to it!

David Gilmour/Yes, I Have Ghosts

At first, I was a bit lukewarm about David Gilmour’s new single, which appeared on July 3. I really dig him as a guitarist and think his solo in Pink Floyd’s Comfortably Numb is one of the most epic rock guitar solos I know. To be clear, Yes, I Have Ghosts is no Comfortably Numb; but the more often I listen to it, the more I like this tune. The lyrics were written by Gilmour’s wife and long time collaborator, English novelist, lyricist and journalist Polly Samson. Gilmour composed the music, which to me is pretty obvious, based on the chord changes. The track was inspired by Samson’s the new novel A Theatre for Dreamers. Interestingly, the song features Gilmour’s 18-year-old daughter Romany on harmony vocals and harp. While that had not been his initial plan and he ended up working with her because of the COVID-19 lockdown, I think the two of them really sound great together. This largely explains why I dig Yes, I Have Ghosts. There is also beautiful violin work by John McCusker. As reported by Rolling Stone, Gilmour’s single is his first new song in five years. Perhaps the beginning of another solo album? Who knows… Meanwhile, I’d be curious how you feel about this tune. Perhaps, give it more than one listen.

Aaron Parks/Solace

According to his website, Aaron Parks is a forward-thinking jazz musician who came to the public’s attention during his time with trumpeter Terence Blanchard. Born in Seattle, Washington, Parks began playing piano at a young age and by the time he was 14 had enrolled in an early entrance degree program at the University of Washington. Originally, Parks pursued both science and music degrees; however, his prodigious talent won out and by age 16 he had transferred to the Manhattan School of Music. While there, he studied with noted pianist Kenny Barron…At age 18 he joined Blanchard’s ensemble and subsequently recorded four albums with the veteran trumpeter…Besides playing with Blanchard, Parks has performed with a variety of artists including trumpeter Christian Scott, drummer Kendrick Scott, vocalist Gretchen Parlato, and others. In 1999, Parks released his debut album The Promise as a band leader. Solace, composed by him, is a relaxing instrumental from his most recent album Little Big II: Dreams of a Mechanical Man, which appeared on May 8. It has a bit of a late night bar background music flair.

Hawklords/Aerospaceage Inferno

Going from a relaxing jazz instrumental to a full-blown space rock attack may be a bit of a leap, but why not? Hawklords initially were formed in 1978 as a spin-off from Hawkwind, a British space rock band fellow blogger Vinyl Connections featured in a recent post. Hawklords’ former Hawkwind members were Robert Calvert (vocals), Dave Brock (guitar) and Simon King (drums), who teamed up with Harvey Bainbridge (bass), Martin Griffin (drums) and Steve Swindells (keyboards). The first active phase of Hawklords only lasted until 1979. In 2008, a new version of the band emerged around Bainbridge, together with Dave Pearce (drums), Jerry Richards (guitar, keyboards), Tom Ashurst (bass) and ex-Hawkwind vocalist Ron Tree. Aerospaceage Inferno is from the band’s latest album Hawklords Alive released on May 29. Written by Calvert, the tune first appeared on his second solo album Lucky Leif and the Longships from September 1975. Calvert died from a heart attack in August 1988 at the age of 43. As reported by Louder, Hawklords’ new live album was recorded during a concert at Live Rooms in Chester, England in May 2019 during the band’s Hawklords Generations Tour.

Alice Phoebe Lou/Touch

Alice Phoebe Lou is a soon-to-be 27-year-old singer-songwriter hailing from Kommetjie, South Africa. According to her website, Lou grew up on a mountainside in South Africa, attending a local Waldorf school that cultivated her innate love of music and the arts. She made her first visit to Europe at 16, a life-changing journey that first saw her taking her songs to the streets. Lou returned home to finish school but as soon as she was able made her way back to Europe, specifically Berlin. Armed with just her guitar, a small amp, a passel of distinctive original songs, and an utterly intoxicating voice and charm, she soon built a devoted fan following, not just in Berlin but around the world as tourists and passers-by from faraway places were so captivated by her music that they began sharing it amongst friends and social media. Lou self-released her debut EP, MOMENTUM, in 2014, followed two years later by her acclaimed first full-length, ORBIT. She has since released two additional albums and two EPs. Touch is Lou’s new single, which I don’t believe is associated with an album (yet).

Sources: Wikipedia; Rolling Stone; Aaron Parks website; Louder; Alice Phoebe Lou website; YouTube

What I’ve Been Listening to: Pink Floyd/Wish You Were Here

I could have titled this post “What I’ve Been Listening to For the Past 40-Plus Years.” Wish You Were Here not only marked the start of my long Pink Floyd journey but also was an essential part of my early discovery of music. This album was one of various gems my sister had on vinyl as a 16-year-old or so. I was ten years old at the time and essentially didn’t understand a word of English. It didn’t matter. The music bug had infected me forever. It’s the most beautiful infection I can think of!

Of course, I also explored the other 14 studio albums Pink Floyd released between 1967 and 2014. That was many moons ago as well. And I realized records like The Piper at the Gates of Dawn, Meddle or The Dark Side of the Moon match or even exceed the mighty of Wish You Were Here. Still, Floyd’s masterpiece from September 1975 will forever keep a special place in my heart. Always.

I know it may seem to be weird to tout what I believe is perfect music as a natural sleeping aid. Wish You Were Here is great for that! In fact, I started using the record for that purpose when I had my first stereo and first set of headphones. I still love listening to the album at night in bed, nowadays using my smartphone and earbuds, which I have to admit is a less than perfect way to enjoy music. I’m happy to report I also keep listening to Pink Floyd during the daytime while I’m wide awake! 🙂

Pink Floyd in 1975 (from left: Nick Mason David Gilmor, Roger Waters & Richard Wright

Recorded at Abbey Road Studios in London between January and July 1975, Wish You Were Here is Floyd’s ninth studio album. It’s the band’s second record after The Dark Side of the Moon, which was based on a conceptual theme that was entirely written by Roger Waters. In this case, the topics include biting criticism of the music business and alienation. And, of course not to forget, a tribute to founding member Syd Barrett who had been instrumental to the band’s early phase until his ouster in April 1968 due to mental illness and the use of psychedelic drugs.

In fact, on June 5, 1975, the day when Pink Floyd were completing the mix of Shine On You Crazy Diamond, Syd Barrett showed up at the studio out of the blue. Being overweight with shaven head and eyebrows, he barely resembled the 22-year-old man back in 1968. Waters and Nick Mason didn’t recognize him, while David Gilmour first thought he was an EMI staff member. Richard Wright first realized it was Barrett who reportedly said he was happy to help with the recording. But according to Mason’s Pink Floyd memoir Inside Out, Barrett “sat round and talked for a bit but he wasn’t really there.”

Apparently, Barrett also joined a wedding reception in the canteen at EMI for David Gilmour who a month later got married to his first wife, American artist, sculptor, author and former model Ginger Gilmour. He left the festivities quietly without saying goodbye to anybody. It was the last time the band members had seen Barrett who passed away from pancreatic cancer in 2006 – what an incredibly sad story!

Syd Barrett at Abbey Road Studios, June 5, 1975

Wikipedia includes this quote from Roger Waters, taken from Crazy Diamond: Syd Barrett and the Dawn of Pink Floyd, a 2001 Barrett biography written by Mike Watkinson and Pete Anderson: I’m very sad about Syd. Of course he was important and the band would never have fucking started without him because he was writing all the material. It couldn’t have happened without him but on the other hand it couldn’t have gone on with him. “Shine On” is not really about Syd—he’s just a symbol for all the extremes of absence some people have to indulge in because it’s the only way they can cope with how fucking sad it is, modern life, to withdraw completely. I found that terribly sad.

Interestingly, Alan Parsons, who still was a staff engineer at EMI and had played a key role in shaping the sound of Pink Floyd’s previous album The Dark Side of the Moon, declined to continue working with the band. While I couldn’t find any specific explanatory accounts, Wikipedia’s entry for Dark Side notes the members of the band had some disagreements over the style of the mix. Ultimately, they decided to bring in producer Chris Thomas to provide “a fresh pair of ears.” Perhaps that didn’t sit well with Parsons. Instead of him, Brian Humphries served as recording engineer for Wish You Were Here. The band had previously worked with him on the More soundtrack album from June 1969 and again in 1974. Time for some music.

While it’s a long track (not a rarity when it comes to Pink Floyd!), I just couldn’t skip the magnificent opener Shine On You Crazy Diamond (Parts I-V). Of course, this is the tune that even if it’s not an outright tribute to Syd Barrett as the above quote by Waters seems to suggest, at a bare minimum is inspired by him. Especially, the instrumental intro makes me feel like floating in space – which is why the tune is perfect to relax and fall asleep! 🙂 The music is credited to Gilmour, Wright and Waters.

Next up: Have a Cigar, which on the vinyl edition is the first track of the B-side. An excerpt from the lyrics leaves on doubt what Waters was writing about. I just wonder how the executives at the record company felt when they heard the tune for the first time. I guess somebody there was smart enough to realize that while the words weren’t exactly flattering, they had a masterpiece on their hands that would sell many copies. They call it riding the gravy train!

Come in here, dear boy, have a cigar,
You’re gonna go far,

You’re gonna fly high,
You’re never gonna die,

You’re gonna make it if you try,
They’re gonna love you.
I’ve always had a deep respect and I mean that most sincere;
The band is just fantastic, that is really what I think,
Oh, by the way, which one’s Pink?

Both the tune’s lyrics and music were credited to Waters. English folk singer Roy Harper sang on the tune, making Have a Cigar only one of two Floyd songs that featured a guest singer on lead vocals. The other one was The Great Gig in the Sky from Dark Side with the amazing Clare Torry.

The last tune I’d like to highlight is the album’s title track – undoubtedly one of Pink Floyd’s best-known songs. Interestingly, Wish You Were Here wasn’t released as a single at the time, though the tune quickly became a staple on the radio in Germany and elsewhere. Eventually, a live version of the song from the band’s third live album Pulse appeared as a single in September 1994. Gilmour and Waters co-wrote the music. Together with Welcome to the Machine, it is one of two tunes on the album featuring Gilmour on lead vocals.

According to Wikipedia, the song’s distinct intro was recorded from Gilmour’s car radio. His guitar intro, played on a 12-string, was processed to sound as if it was playing through an AM radio, and then overdubbed a fuller-sounding acoustic guitar solo. This passage was mixed to sound as though a guitarist were listening to the radio and playing along. As the acoustic part becomes more complex, the ‘radio broadcast’ fades away and Gilmour’s voice enters, while the rest of the band joins in. What a brilliant concept!

Upon its release, Wish You Were Here received a mixed reception from music critics. For example, Rolling Stone cleverly noted the band’s”lackadaisical demeanor”, leaving the subject of Barrett “unrealised; they give such a matter-of-fact reading of the goddamn thing that they might as well be singing about Roger Waters’s brother-in-law getting a parking ticket.” The Village Voice’s Robert Christgau, on the other hand, was shockingly positive: “The music is not only simple and attractive, with the synthesizer used mostly for texture and the guitar breaks for comment, but it actually achieves some of the symphonic dignity (and cross-referencing) that The Dark Side of the Moon simulated so ponderously.”

Of course, Wish You Were Here has since been frequently regarded as one of the greatest albums of all time. In fact, it is ranked at no. 211 in Rolling Stone’s 2012 list of 500 Greatest Albums of All Time – way too low, in my humble and completely unbiased opinion! In the magazine’s 50 Greatest Prog Rock Albums of All Time from June 2015, it came in at no. 4. This sounds more acceptable to me!

No matter how you feel about Wish You Were Here, one thing is undisputed: The album became one of Pink Floyd’s most successful records topping the charts in the U.S., Australia, New Zealand and various European countries including the UK, France, The Netherlands and Switzerland. It has sold an estimated 13 million copies, compared to more than 45 million for Dark Side, Floyd’s best-seller. Gilmour and Wright have called Wish You Were Here their favorite Pink Floyd album.

Sources: Wikipedia; Rolling Stone; YouTube

What I’ve Been Listening to: Toto/The Seventh One

I fully expect Toto is going to elicit different reactions from readers, ranging from excellent to rather mediocre. Let there be no doubt where I stand: While like every band some of Toto’s songs were more compelling than others, overall, I really dig these guys for their outstanding musicianship and, yes, many of their catchy and well executed pop-rock tunes. The Seventh One from March 1988 is probably my favorite album.

My initial introduction to Toto was Hold the Line, a track from their eponymous debut album from October 1978. It was included on a compilation titled The Rock Album – The Best of Today’s Rock Music, which came out in 1980. A friend gave it to me as a present on music cassette. Then came Toto IV from April 1982, and songs like Rosanna, Africa and I Won’t Hold You Back, which each received extensive radio play in Germany. I was hooked!

Toto’s next two albums, Isolation and Fahrenheit from October 1984 and August 1986, respectively, didn’t excite me as much. As a result, the band started fading a bit from my radar screen. And then The Seventh One was released. I dug this album right from the get-go.

Since Toto IV, the band’s line-up had changed. Lead vocalist Bobby Kimball and bassist David Hungate, who were both part of Toto’s initial members, had been replaced by Joseph Williams and Mike Porcaro, respectively. But frankly, I don’t feel this impacted the quality of the album at all. Let’s get to some music!

I’d like to kick it off with the opener Pamela, co-written by David Paich (keyboards, backing vocals) and Joseph Williams. The tune was also released separately as the lead single in February 1988 ahead of the album. Apart from its catchy melody, I dig Jeff Pocaro’s drums part in particular including the cool breaks. To me, Pocaro was one of the best drummers in rock and pop. Of course, the caveat here is I don’t play the drums myself. But I suppose if you were good enough to pass the audition for perfectionists Walter Becker and Donald Fagen, you must have been a bloody good drummer! Not to mention countless other top-notch artists like Eric Clapton, Dire Straits, Pink Floyd and Bruce Springsteen, to name a few.

Here’s a tune guitarist Steve Lukather considers to be one of his best compositions: Anna. He co-wrote the ballad with Randy Goodrum, an American songwriter, pianist and producer. In August 1988, it also became the album’s third single.

Stop Loving You with its upbeat groove just is an infectious pop song. Co-written by Lukather and Paich, the track also appeared as the album’s fourth single. While it did well in Europe, hitting no. 2 in each The Netherlands and Belgium and reaching no. 37 in Italy, it didn’t chart in the U.S. Here’s the official video.

Ready for some rock? How about that and with a little help from Linda Ronstadt on vocals and some smoking lap steel guitar by David Lindley? Here’s Stay Away, another Paich-Lukather co-write. Perhaps, they should have released that one as a single!

And since it’s so much fun, how about another pop rocker: Only the Children, co-written by Paich, Lukather and Williams.

Let’s end things on a quieter note with another ballad: A Thousand Years. I actually would have bet that Lukather had a role in writing the tune. But nope, it was co-written by Williams, Paich and Mark Towner Williams.

While Toto and Columbia Records were confident The Seventh One was one of the band’s strongest albums to date, its chart performance remained far below expectations. In part, Wikipedia attributes this to upheaval at the record company with president Al Teller’s departure right in the wake of Pamela’s release. Apparently, this led to waning promotion of the song that ended up stalling at no. 22 on the Billboard Hot 100 – not exactly terrible, but certainly a huge difference to Africa and Rosanna, which had peaked at no. 1 and no. 2 in the U.S., respectively. Of course, chart performance is a double-edged indicator to begin with. Just look at today’s charts!

Sources: Wikipedia; YouTube

On This Day in Rock & Roll History: April 12

For those of you who celebrate, Happy Easter, and I hope everybody is doing well! I decided to do another installment of my long-running music history feature, which hit 50 with the previous post. It turns out April 12 was a pretty eventful date, so let’s get to it.

1968: Pink Floyd released their fourth single in the UK, It Would Be So Nice. The tune, which was written by keyboarder Richard Wright, had a rather uplifting, almost pop-like sound unlike many other Floyd songs at the time. It was the band’s first release after the exit of Syd Barrett. Idiotically, the BBC is said to have banned the initial version of the song due to a passing reference of the London newspaper The Evening Standard, which violated their strict no-advertising policy. Apparently, this prompted the band to record an alternate, BBC friendly version. It didn’t help from a popularity perspective, and the song failed to chart in the UK or elsewhere. Apparently, Roger Waters and Nick Mason didn’t like the tune either. Waters called it a “lousy record.” Mason was even more outspoken: “Fucking awful, that record, wasn’t it? At that period we had no direction. We were being hustled about to make hit singles.” Ouch!

1973: The American children’s TV series Sesame Street has seen many celebrities over its 50-plus-year history. One of the coolest and funkiest guests ever must have been Stevie Wonder who appeared on the program 47 years ago. Then 23 years old, Wonder performed Superstition, the lead single from his latest album at the time Talking Book. I always loved that funky tune. Check out the apparent joy Wonder got out of this and his kickass backing band – priceless!

1976: Bob Seger & the Silver Bullet Band released the excellent live album Live Bullet. The material came from a 1975 gig at Cobo Hall in Detroit. Interestingly, Seger was still a largely regional act at the time. This would change with the band’s next studio album Night Moves that came out in October of the same year and finally put them on the map nationally. Over the years, tracks from Live Bullet became staples on rock radio. Undoubtedly, the best known is the road tale Turn the Page, which was written by Seger. Check out the official video I came across on YouTube. Love that tune!

1976: That evening, Paul McCartney with his wife Linda visited John Lennon at his apartment in the Dakota. Lennon was watching the late-night NBC comedy show Saturday Night, the predecessor to Saturday Night Live. During this particular episode, co-creator and producer Lorne Michaels invited The Beatles to reunite on the show for the deliberately measly offer of $3,000 (approximately the equivalent of $13,900 today). Michaels had no idea Lennon and McCartney were watching the whole thing – and actually considered showing up at the show’s studio that night just for fun. The Beatles Bible quotes Lennon from his final major interview he gave to book author David Sheff in 1980: “Paul and I were together watching that show. He was visiting us at our place in the Dakota. We were watching it and almost went down to the studio, just as a gag. We nearly got into a cab, but we were actually too tired.” Now, that would have been something!

Lorne Michaels Offer to The Beatles

1983: R.E.M. released their debut album Murmur. Shockingly, the music critics got it right for once and gave it a warm reception. It also peaked at no. 36 on the Billboard 200, not shabby for a debut. A re-recorded version of Radio Free Europe appeared separately as a single and reached no. 78 on the Billboard Hot 100. In spite of the critical acclaim, Murmur only sold approximately 200,000 copies by the end of the year, which back then wasn’t considered special – wow, how the times have changed! Eventually, the album reached Gold certification (500,000 units sold) in 1991. Peter Buck’s jangly Rickenbacker guitar sound, Mike Mills’ melodic basslines and Michael Stipes’ vocals are right up my alley. Here’s Radio Free Europe. Like all other songs except for one, the tune was credited to all four members of the band, which in addition to Buck, Mills and Stipes also included drummer Bill Berry.

Sources: Wikipedia; Songfact Music History Calendar; Ultimate Classic Rock; The Beatles Bible; YouTube

Tangerine Trees and Marmalade Skies

A trip back to ’60s psychedelic music

While it’s quite possible that more than three weeks of social distancing are starting to have an impact, I can say without hesitation that my interest in psychedelic music predates COVID-19 – I would say by at least three decades. But it wasn’t exactly love at first sight.

I guess a good way to start would be to define what I’m writing about. According to Wikipedia, psychedelic music (sometimes called psychedelia) is a wide range of popular music styles and genres influenced by 1960s psychedelia, a subculture of people who used psychedelic drugs such as LSD, psilocybin mushrooms, mescaline and DMT to experience visual and auditory hallucinations, synesthesia and altered states of consciousness. Psychedelic music may also aim to enhance the experience of using these drugs.

To be clear, I don’t want to judge people using drugs but personally don’t take any and never had any particular interest to explore stuff. With the exception of alcohol, which I occasionally like to enjoy, I guess the furthest I ever took it was to try cigarettes during my early teenage years. Around the same time, I also smoked a cigar, cleverly thinking that just like with a cigarette, you’re supposed to inhale. As you can see, I was definitely young and stupid. And, yes, I did feel a bit funny afterwards! 🙂

Psychedelic Music Collage 2

Psychedelic music has some characteristic features. Again, Wikipedia does a nice job explaining them: Exotic instrumentation, with a particular fondness for the sitar and tabla are common. Songs often have more disjunctive song structures, key and time signature changes, modal melodies and drones than contemporary pop music. Surreal, whimsical, esoterically or literary-inspired, lyrics are often used. There is often a strong emphasis on extended instrumental segments or jams. There is a strong keyboard presence, in the 1960s especially, using electronic organs, harpsichords, or the Mellotron, an early tape-driven ‘sampler’ keyboard.

Elaborate studio effects are often used, such as backwards tapes, panning the music from one side to another of the stereo track, using the “swooshing” sound of electronic phasing, long delay loops and extreme reverb. In the 1960s there was a use of electronic instruments such as early synthesizers and the theremin. Later forms of electronic psychedelia also employed repetitive computer-generated beats.

Before getting to some examples, I should add that psychedelic music developed in the mid-’60s among folk and rock bands in the U.S. and the U.K. It included various subgenres, such as psychedelic folk, psychedelic rock, acid rock and psychedelic pop. The original psychedelic era, which is the focus of this post, ended in the late ’60s, though there have been successors like progressive rock and heavy metal and revivals, e.g., psychedelic funk, psychedelic hip hop and electronic music genres like acid house and trance music.

Apparently, the first use of the term psychedelic rock can be attributed to The 13th Floor Elevators, an American rock band formed in Austin, Texas in December 1965. Here’s their debut single You’re Gonna Miss Me. Written by guitarist and founding member Roky Erickson, the tune reached no. 55 on the Billboard Hot 100 and became their only charting song.

Eight Miles High by The Byrds is one of my favorite tunes from the psychedelic era. Written by co-founding members Roger McGuinn (lead guitar, vocals), Gene Clark (tambourine, vocals) and David Crosby (rhythm guitar, vocals), the song first appeared as a single in March 1966 and was also included on the band’s third studio album Fifth Dimension released in July of the same year. That jingle-jangle guitar sound and the brilliant harmony singing simply do it for me every time!

In May 1966, The Rolling Stones released Paint It Black. Credited to Mick Jagger and Keith Richards, the song was also included on the U.S. edition of Aftermath, the band’s fourth British and sixth U.S. studio album. Not only did Paint It Black top the charts in the UK, U.S., The Netherlands, Australia and Canada, but it also had the distinction to become the first no. 1 hit to feature a sitar.

One of the hotspots for psychedelic music in the U.S. during the second half of the ’60s was San Francisco. Among the key bands based in the city by the bay were Jefferson Airplane. Here’s White Rabbit, a tune written by lead vocalist Grace Slick. Initially, it was recorded for the band’s sophomore album Surrealistic Pillow from February 1967. It also came out separately as a single in June that year.

After ten paragraphs into the post, it’s about time I get to the band that probably is one of the first that comes to mind when thinking about psychedelic rock: Pink Floyd, especially during their early phase with Syd Barrett. Here’s a tune I’ve always dug: Arnold Layne, their debut single from March 1967, written by Barrett. According to the credits, this video was directed by Derek Nice and filmed on the beach in East Wittering, West Sussex, England in late February 1967.

March 1967 also saw the release of Purple Haze, the second single by the Jimi Hendrix Experience, and one of my favorite Jimi Hendrix tunes. The track features blues and Eastern modalities, along with novel recording techniques and sound effects like the Octavia pedal that doubled the frequency of the sound it was fed. The song also marked the first time Hendrix worked with sound engineer Eddie Kramer who would play a key role in his future recordings. Purple Haze climbed all the way to no. 3 in the UK; in the U.S., it only reached no. 65 on the Billboard Hot 100.

Two months later, in May 1967, The Beatles released their eighth studio album Sgt. Pepper’s Lonely Hearts Club Band. It included the psychedelic gem Lucy In the Sky with Diamonds, the tune that inspired the headline of the post:

Picture yourself in a boat on a river
With tangerine trees and marmalade skies
Somebody calls you, you answer quite slowly
A girl with kaleidoscope eyes

While credited to John Lennon and Paul McCartney as usual, the song was primarily written by Lennon.

After the break-up of The Animals, lead vocalist Eric Burdon formed Eric Burdon & The Animals in December 1966. The band subsequently relocated to San Francisco. In May 1968, they released their second album The Twain Shall Meet. Among the record’s tunes is the anti-war song Sky Pilot. Credited to Burdon and each of the other members of the band Vic Briggs (guitar), John Weider (guitar, violin), Barry Jenkins (drums) and Danny McCulloch (bass), the tune also appeared separately as a single. Due to its length, the track had to be split across the A and B sides. Remarkably, Sky Pilot reached no. 14 on the Billboard Hot 100, and no. 7 in Canada and Australia. Chart success in the UK was more moderate, where it peaked at no. 40.

In June 1968, Iron Butterfly released their sophomore album In-A-Gadda-Da-Vida. The 17-minute title track, which occupied all of the record’s B-side, was written by the band’s keyboarder and vocalist Doug Ingle. Separately, a shortened version appeared as a single and became the band’s biggest hit reaching no. 30 in the U.S. In-A-Gadda-Da-Vida not only is psychedelic rock, but is also considered to be an early example of heavy metal. Here’s the single edit.

The last tune I’d like to highlight is Shotgun by Vanilla Fudge. It was included on their fourth studio album Near the Beginning from February 1969. “Near the End” perhaps would have been a more appropriate title, since by that time, the original psychedelic era was entering the twilight zone. Written by Autry DeWalt, the tune was first recorded by Junior Walker & the All Stars in 1965.

Sources: Wikipedia; YouTube

 

On This Day in Rock & Roll History: March 22

Today, my recurring music history feature is hitting a bit of a milestone with the 50th installment. While 50 sounds like an impressive number, it means I still have 315 dates left to cover! The music nerd in me tells me that’s actually not a bad thing! Plus, it turns out there’s lots of fodder for March 22, so let’s get to it.

1963: Please Please Me, the debut studio album by The Beatles, appeared in the UK. According to The Beatles Bible, the record was rush-released to capitalize on the success of the singles Love Me Do and Please Please Me. Both singles were on the album, along with their b-sides P.S. I Love You and Ask Me Why, respectively. The remaining 10 tracks were recorded during a marathon session on February 11, 1963, which lasted just under 10 hours. The other fun fact about the record is that George Martin initially had planned to call it Off The Beatle Track – kind of clever, though he obviously abandoned the idea. Naming it after a successful single probably was also part of the plan to maximize sales. As was common on the early Beatles albums, Please Please Me featured various covers. Here’s one of my favorites: Twist and Shout, co-written by Phil Medley and Bert Berns, and first recorded by U.S. R&B vocal group The Top Notes in 1961.

1965: Robert Allen Zimmerman, the genius known as Bob Dylan, released his fifth studio album Bringing It All Back Home. It marked his first top 10 record in the U.S., climbing to no. 6 on the Billboard 200, and his second no. 1 studio release in the UK, following The Freewheelin’ Bob Dylan from May 1963. Perhaps more significantly, Bringing It All Back Home was also Dylan’s first album to feature recordings with electric instruments; in fact, on the entire A-side, he was backed by an electric band. The b-side was acoustic. Four months later, on July 25, the electric controversy turned into a firestorm with Dylan’s appearance at the Newport Folk Festival. Here’s Maggie’s Farm. It was the much faster and more aggressive performance of that song at Newport, which caused most of the controversy there.

1971: John Lennon released his fifth solo single Power to the People in the U.S., 10 days after its debut in the UK. Credited to Lennon and Plastic Ono Band, the non-album tune peaked at no. 11 on the Billboard Hot 100, marking Lennon’s second most successful single to date. In the UK, the song climbed to no. 6. It performed best in Norway where it hit no. 3. Power to the People was recorded at Ascot Sound Studios in Berkshire, England as part of sessions that also yielded tunes for Lennon’s second solo album Imagine. “I wrote ‘Power to the People’ the same way I wrote ‘Give Peace a Chance,’ as something for the people to sing,” Lennon reportedly said. “I make singles like broadsheets. It was another quickie, done at Ascot.” Quickie or not, I think it’s safe to say it wasn’t his best tune.

1974: The Eagles dropped their third studio album On the Border. After two country-rock records, the band decided they wanted a more rock-oriented sound. Therefore, most of the album was produced by Bill Szymczyk, who had previously worked with then-future Eagles member Joe Walsh and The James Gang, among others. It also marked the band’s first record with rock guitarist Don Felder. Here’s Already Gone, featuring Felder on lead guitar and Glenn Frey on lead vocals. Co-written by Jack Tempchin and Robb Strandlund, the tune also appeared separately as the album’s lead single. It’s one of my favorite rockers by the Eagles.

1975: Led Zeppelin hit no. 1 on the Billboard 200 with their sixth studio album Physical Graffiti. The double LP, which includes recordings spanning from January 1970 to February 1974, maintained the top spot for 6 weeks and marked Zeppelin’s fourth no. 1 record in the U.S. The album also topped the charts in the UK and Canada. Viewed as one of the band’s strongest albums, Physical Graffiti was certified 16x Platinum in the U.S. in 2006, which means sales of more than eight million copies – unreal from today’s perspective! Here’s the bombastic Kashmir, co-written by Jon Bonham, Jimmy Page and Robert Plant. It’s one of the most unusual rock songs I know; frankly, it wasn’t exactly love at first sight for me, though over the years, I’ve come to dig it.

1977: Stevie Wonder released Sir Duke, the third single off his 18th studio gem Songs in the Key of Life. Both are long-time favorites in my book. The tribute to jazz legend Duke Ellington marked Wonder’s fifth and last no. 1 on the Billboard Hot 100 during the ’70s. It also topped the R&B chart and became a hit internationally, reaching no.1 in Canada and top 10 positions in Germany, Switzerland and the UK. I just love the groove of this tune. The horn work is outstanding – take it away, Stevie!

1980: Pink Floyd scored their only no. 1 hit in the U.S. on the Billboard Hot 100 with Another Brick in the Wall (Part 2), where it would stay for four weeks. Given the Roger Waters song, off Floyd’s 11th studio album The Wall, was their most pop-oriented, radio-friendly tune, perhaps that’s not exactly a surprise. It also became a chart-topper in the UK, Austria, France, Germany, Switzerland and New Zealand. I can confirm firsthand that it was played to death on the radio in Germany. On a lighter note, I also recall a funny incident at a school party when I was in seventh grade. For some reason, which I can’t remember, we had a little get-together in our classroom. When our English and homeroom teacher walked in, the song was blasting out of a boom box. He couldn’t suppress a brief smile before looking serious again. What happens when you think you don’t need no education is now vividly on display among some young people in the U.S. and other countries, who continue to hang out in the middle of the COVID-19 pandemic as if nothing had happened.

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