Whether you like glam rock or T. Rex for that matter or not, Get It On just is a great rock tune – simple with only three chords, yet brilliant. Really one of my favorite ’70s rock tunes!
T. Rex were officially inducted into the Rock and Roll Hall of Fame by Ringo Starr last night. Under normal circumstances, this would have been a live event in February, but due to COVID-19, it was postponed and became a virtual TV show on HBO, which honored each inductee with a mini-documentary.
Written by T. Rex frontman Marc Bolan and released in July 1971, Get it On became the band’s second no. 2 hit in the UK and their most successful U.S. single peaking at no. 10 on the Billboard Hot 100. In fact, Bolan penned the tune during a U.S. tour specifically for the U.S. where it was retitled Bang a Gong (Get It On), hoping it would raise the band’s profile there. But glam rock never became as popular in America as it did in the UK.
According to Songfacts, Bolan worked out the track’s rhythm with T. Rex drummer Bill Legend. When the band got to L.A. as part of their tour, Get it On was recorded at Wally Heider Studios. While the rhythm, chorus and the line “you’re dirty and sweet” were in place, Bolan had to come up with the remaining lyrics on the spot. The last line, “Meanwhile, I’m still thinking…” is taken from Chuck Berry’sLittle Queenie, a tune Bolan had in mind when writing Get It On.
In addition to Bolan and Legend, the recording featured then-future Yes member Rick Wakeman (piano, Hammond), former King Crimson member Ian McDonald (saxophone), T. Rex bassist Steve Currie, as well as Howard Kaylan and Mark Volman (backing vocals) of The Turtles. Get It On was also included on the band’s sixth studio album Electric Warrior released in September 1971, the first under the (shortened) T. Rex name and their most successful record.
Radiohead, Janet Jackson, Stevie Nicks, Def Leppard, The Cure, Roxy Music and The Zombies make up class of 2019
By now it’s an all too familiar annual ritual in the music world, at least in America. On Thursday, the Rock and Roll Hall of Fame revealed its new inductees. The 2019 class includes Radiohead, Janet Jackson, Stevie Nicks, Def Leppard, The Cure, Roxy Music and The Zombies. While a good deal of music fans stopped paying attention long ago, others still care about the Rock and Roll Hall of Fame. Admittedly, I’m a bit of a music nerd, so I count myself as being part of the latter group.
I’ve no doubt that among those who follow the Rock and Roll Hall of Fame the debate about the selection process and who should be in is going to continue. While I don’t want to be overly judgmental and I’m luckily not a music critic and don’t aspire to become one, I have to say I’m a bit surprised about some of the inductees. Of course, I can’t claim this would be the first time.
Let’s start with Radiohead. In June 2017, guitarist Ed O’BrientoldRolling Stone, “I don’t want to be rude about the Rock and Roll Hall of Fame because for a lot of people it means something, but culturally I don’t understand it. I think it might be a quintessential American thing. Brits are not very good at slapping ourselves on the back…It just feels non-authentic to us.” Most of the band’s other members expressed reservations as well. That’s totally fine with me. What I don’t get is why the Rock Hall has inducted them anyway. Presumably, they won’t show for the induction ceremony, and I just feel sorry for their fans – unless of course they don’t care either!
Janet Jackson. I hate to say this, but the thought her selection at least in part reflects political correctness can’t escape my mind. Don’t get me wrong, it’s dreadful that the Rock Hall mostly remains a white boys club, and there’s no question women are underrepresented, especially women of color. But should Janet Jackson really have been the choice here? How about Ella Fitzgerald? Sure, you can say as a jazz singer, she wouldn’t be a perfect fit for an institution that has ‘rock and roll’ in its name. But they inducted Nina Simone last year. Or how about Mavis Staples, an amazing African American female artist? Yes, she’s already in the Rock Hall as part of The Staple Singers, who were inducted in 1999. Still, there are numerous examples of artists who have been inducted more than once – as part of a band and solo. Just look at 2019 inductee Stevie Nicks!
I never paid much attention to The Cure. Boys Don’t Cry was kind of nice at the time but completely over-exposed. Ironically, it might actually make me cry if I have to listen to the song one more time! Def Leppard, who won the fan ballot and got in the first time they had become eligible, may also trigger some debate. A British band that became hugely popular in the ’80s by mixing hard rock with pop elements, Leppard were oftentimes dismissed by the critics. In this context, I think The New York Times rightly called them the equivalent to Bon Jovi, who were inducted last year. While I wouldn’t have considered them, I don’t have any particular problem with Leppard or Bon Jovi for that matter – in fact, I generally like the latter.
I’m happy about Stevie Nicks, a great singer-songwriter who like Leppard made it in the first she had become eligible. Additionally, I’ve always liked Time Of The Season and She’s Not There, so I find it nice to see The Zombies among the 2019 inductees. I also generally like Roxy Music, though I have to add I don’t know them particularly well beyond their big hits.
This year, the induction festivities will happen at Barclays Center in Brooklyn, N.Y. on March 29. HBO and SiriusXM will broadcast an edited version of the event sometime thereafter. Last year, the broadcast happened in early May.
What do you think about the Rock and Roll Hall of Fame and the 2019 inductees? Feel free to leave comments. My only request is let’s keep any discussion civil, please.
Sources: Rock and Roll Hall of Fame website, Rolling Stone, New York Times
A two-part feature looking back at music of the decade
Here is the second and final installment of my feature looking back at music and some related events in the ’80s. This part is focused on the second half of the decade. As noted in part 1, it isn’t meant to be a comprehensive review but instead a selection of things I find noteworthy.
To me the key music event during this year and perhaps the entire decade was Live Aid. I was watching it on TV from Germany while simultaneously taping it on music cassette from the radio. Organized by Bob Geldorf and Midge Ure as a fundraiser to fight starvation in Ethiopia, Africa, the benefit concert was conducted on July 13 simultaneously in the U.K. at London’s Wembley Stadium and the U.S. at John F. Kennedy Stadium in Philadelphia. Among others, it featured Status Quo, Queen, U2, David Bowie, The Who and Paul McCartney at Wembley, while some of the performers in Philly included Joan Baez, Madonna, Tom Petty, Bob Dylan, Mick Jagger, Tina Turner and, in a less-than-stellar appearance, a reunited Led Zeppelin featuring Phil Collins on drums. The concerts were watched by an estimated global TV audience of 1.9 billion across 150 countries and raised approximately 150 million British pounds.
Other events that year included the official launch of VH-1 on cable TV in the U.S. (Jan 1); recording of the charity single for Africa We Are The World (Jan 28), co-written by Michael Jackson and Lionel Ritchie and performed by USA For Africa, who apart from Jackson and Ritchie featured Ray Charles, Billy Joel, Cindy Lauper, Paul Simon, Bruce Springsteen, Stevie Wonder and numerous other top artists; release of Dire Straits’ fifth studio album Brothers In Arms, their best-selling record that among others became known for its exceptional sound quality due to its all-digital recording (May 13); Michael Jackson’s purchase of the publishing rights for most of The Beatles’ catalog for $47 million, out-bidding former artistic collaborator McCartney whose success in music publishing had inspired Jackson to increase his activities in the business (Sep 6); and Roger Waters’ announced intention to leave Pink Floyd, which marked the start of a two-year legal battle over the rights to the band’s name and assets.
The biggest hit singles of 1985 were Shout (Tears For Fears), We Are The World (USA For Africa), Take On Me (a-ha), I Want To Know What Love Is (Foreigner) and Material Girl (Madonna). Following is Money For Nothing, the second single from Dire Straits’Brothers In Arms album, which they performed at Live Aid. Like on the studio recording, it featured Sting on backing vocals.
On Jan 30, the Rock and Roll Hall of Fame held its first induction ceremony. The first batch of inductees included Chuck Berry, James Brown, Ray Charles, Sam Cooke, Fats Domino, The Everly Brothers, Buddy Holly, Jerry Lee Lewis, Little Richard and Elvis Presley. While over the years since, there has been much debate over who should be in the Rock Hall, the selection process, the award categories, etc., I think there is no doubt that the above artists all well-deserving inductees.
Other events: Bob Geldorf’s knighthood award to recognize his work for Live Aid and other charity concerts for Africa (Jun 10); release of Madonna’sTrue Blue album, the best-selling record of year (Jun 30); and disbanding of The Clash, Electric Light Orchestra (revived by Jeff Lynne in 2000) and Men At Work.
The top-performing hit singles included Rock Me Amadeus (Falco) – the first German-language song to top the U.S. Billboard Hot 100, Papa Don’t Preach (Madonna), The Final Countdown (Europe), Take My Breath Away (Berlin) and West End Girls (Pet Shop Boys). The 1986 tune I’d like to highlight is Sledgehammer by Peter Gabriel, which was first released as a single in April. It also appeared on his fifth studio album So that came out the following month. Here’s the song’s official video, which won multiple accolades in 1987, including a record nine awards at the MTV Music Video Music Awards and “Best British Video” at the Brit Awards. It’s definitely one of the most memorable music videos of the decade.
Some of the events in music during that year included the induction of Aretha Franklin as the first woman into the Rock and Roll Hall of Fame (Jan 3); release of U2’s fifth studio album The Joshua Tree (Mar 9), which topped the charts in 20-plus countries and became one of the world’s most commercially successful records, selling more than 25 million copies; Whitney Houston’s second studio album Whitney, the first record by a female artist to debut at no. 1 on the Billboard 200 (Jun 27); launch of MTV Europe (Aug 1); and release of A Momentary Lapse Of Reason, Pink Floyd’s first studio album after the departure of and legal battle with Roger Waters (Sep 7). Waters finally wrapped up his legal separation from the band later that year.
The highest-charting hit singles were La Bamba (Los Lobos), Never Gonna Give You Up (Rick Astley); I Wanna Dance With Somebody Who Loves Me (Whitney Houston), It’s A Sin (Pet Shop Boys) and Who’s That Girl (Madonna) – I remember each of these songs like it was yesterday! Here’s Where The Streets Have No Name from my favorite U2 album The Joshua Tree. Credited to the band (music) and Bono (lyrics), the tune was released as the album’s third single in August 1987, five months after the record’s appearance.
Some of the music events that year included the induction of The Beach Boys, The Beatles, The Drifters, Bob Dylan and The Supremes into the Rock and Roll Hall of Fame (Jan 20); near-death experience for Alice Cooper on stage after one of the props, the Gallows, malfunctioned – yikes! (Apr 7); sale of legendary soul label Motown Records to MCA and financial firm Boston Ventures for $61 million (Jun 27); John Fogerty’s win of what sounds like a frivolous self-plagiarism lawsuit Fantasy Records had brought against him, claiming his 1985 comeback tune The Old Man Down The Road was too similar to Run Through The Jungle, which he had recorded with Creedence Clearwater Revival in 1970 (Nov 7); and final concert by Roy Orbison in Akron, Ohio (Dec 4) prior to his death from a heart attack only two days thereafter.
Leading hit singles: A Groovy Kind Of Love (Phil Collins), Don’t Worry Be Happy (Bobby McFerrin), Always On My Mind (Pet Shop Boys), Heaven Is A Place On Earth (Belinda Carlisle) and Take Me To Your Heart (Rick Astley). One 1988 song I like in particular is Under The Milky Way Tonight by Australian outfit The Church. Co-written by Steve Kilbey and Karin Jansson, it became the lead single to their excellent fifth studio album Starfish. Both were released in February that year. Here’s a clip.
I can’t believe I made it to the last year of the decade! Some of the events I’d like to highlight are criticism of Madonna by religious groups worldwide over alleged blasphemous use of Christian imagery in her music video for Like A Prayer (Feb 23), which had premiered on MTV the day before; release of Bonnie Raitt’s 10th studio album Nick Of Time, one of my favorite records from her (Mar 21); release of Tom Petty’s excellent debut solo album Full Moon Fever (Apr 24); Ringo Starr’s formation of his All-Starr Band (Jul 23); opening of The Rolling Stones’ North American tour in Philadelphia to support their comeback album Steel Wheels (Aug 31), two days after the album had dropped; and release of Neil Young’s 17th studio album Freedom (Oct 2), best known for the epic Rockin’ In The Free World.
Key hit singles were Like A Prayer (Madonna), Eternal Flame (The Bangles), Another Day In Paradise (Phil Collins), The Look (Roxette) and Love Shack (The B-52s). The final ’80s tune I’d like to call out via clip is Down To London by Joe Jackson, an artist I’ve listened to for many years. He recorded the song for his 10th studio release Blaze Of Glory, which appeared in April 1989.
Unforgettable performance of iconic tune at 1995 Rock and Roll Hall of Fame concert
This morning, I listened to a nice compilation of tunes released by Chess Records. The legendary Chicago blues and R&B record company and the amazing artists it had under contract make an excellent topic for another post to explore in the future.
The first track on the list was Johnny B. Goode by Chuck Berry. Following is a clip of a great live version of the song, which has always been one of my favorite classic rock & roll tunes. It brought together Berry and the Boss as part of a Rock & Roll Hall of Fame concert in 1995 to celebrate the dedication of the Hall of Fame Museum. The performance also marked the first appearance of the reunited E Street Band, which Springsteen had dissolved in 1989.
The quality of Berry’s concerts varied substantially, which is obvious when you watch clips of his live performances on the Internet. In great part this happened because Berry did not want to have a standing touring band. Instead, he insisted that tour organizers hire local musicians from the towns where he would perform. Typically, these bands would not get an opportunity to rehearse with Berry. Essentially, this left the musicians with following Berry’s lead. Not surprisingly, the outcomes varied.
The above clip is one of the best live performances of Berry I could find. He was still in pretty decent shape at age 68. You can clearly see the kick that Springsteen and The E Street Band got out of it. Also great to watch is the interaction between Berry and Clarence Clemons, the band’s amazing saxophonist at the time.
Journey, one of my favorite rock bands, joins a long list of music artists to receive one of music’s biggest honors.
Friday night (April 7) was the moment Neal Schon thought would never come. Journey was inducted into the Rock & Roll Hall of Fame. And what initially had looked like against all odds,Steve Perry joined his former band mates on stage to accept the honor, marking his first appearance with Journey in 26 years. Though some rumors persisted until the last minute, he did not perform.
While Journey had become eligible for the Rock & Roll Hall of Fame more than 15 years ago, they were only nominated last year and made it in right away. That’s unlike many other inductees, who had been eligible for even longer periods and/or been nominated multiple times prior to their induction.
Sadly, the induction ceremonies are notorious for drama surrounding former and present members of bands. More recent examples include Chicago and Peter Cetera, and Deep Purple and Ritchie Blackmore. Journey was no exception, though in their case, the outcome was mostly a happy end!
A certain degree of creative tension in a band can help their music evolve, so it’s not an inherently bad dynamic. But unfortunately, all too often such differences turn personal and bring out big egos. Ironically, for many bands this seems to happen after they become successful. When more is at stake, all the brotherhood and time and effort to get to that stage seem to be forgotten!
Steve Perry clearly was bitter when Journey continued to travel without him in 1998. Following the band’s recording of their 1996 reunion album Trial by Fire, Perry suffered a hip injury in Hawaii. He was told it required hip replacement surgery. This put the band’s planned tour in support of the album on hold. After Perry had refused to undergo the procedure for 17 months, Schon and keyboarder Jonathan Cain lost their cool. They told him to either get under the knife so Journey could resume touring upon his recovery, or they would look for a new singer. Perhaps not surprisingly, Perry was taken aback by this ultimatum and decided to leave the band.
Journey went on to hire Steve Augeri as their new lead singer and also replaced Steve Smith on drums with Deen Castronovo, who Schon and Cain had known from their common time with Bad English. I saw that lineup of Journey in the late 90s and was really impressed. I had doubts it was possible to replace Perry, who in his prime time had a voice like no other rock singer. But Augeri sounded surprisingly similar to Perry, and he also did an incredible job hitting and holding these impossibly high notes. From my distant vantage point, he even looked a bit like Perry – frankly, it was almost a bit creepy!
Unfortunately, belting out Journey songs and hitting these crazy high notes night after night took a toll on Augeri’s voice. First challenges started to emerge in 2003, and in 2006, he was dropped from the band. The officially stated explanation was a “chronic throat infection.” For some time, Jeff Scott Soto from Swedish hard rock band Talisman filled in on lead vocals. Finally, in the summer of 2007, Cain and Schon found Arnel Pineda on the Internet. The Filipino singer had been a big Journey fan and performed some of their songs with his cover band The Zoo, which were posted on YouTube – what an incredible story!
I also saw the current Journey lineup with Pineda last April in a superb double bill with the classic Santana band – one of only a handful of gigs the two bands did together. The show predated my blog, so I never got to write a review. In a nutshell, it was absolutely amazing seeing guitar legend Carlos Santana reunite with Schon, Gregg Rollie and other members of the classic Santana band, and playing iconic tunes from their first three albums, as well as their then-new release, Santana IV. Journey’s set was also fantastic, and Pineda did an amazing job on lead vocals.
Back to the induction ceremony. Journey played three of their best known songs, all from the Perry era, their most commercially successful period: Lights (Infinity, 1978), Don’t Stop Believin’ (Escape, 1981) and Separate Ways (Frontiers, 1983). After reports had emerged that Perry would be there, naturally, fans didn’t stop believin’ he’d also perform. In a couple of interviews leading up to the big night, Schon seemed to be very open about the idea; recognizing Perry’s vocal abilities have changed, he also offered to lower the key of one of their songs.
While it’s sad Perry ended up not performing, especially for Journey fans, I think he deserves a lot of credit for joining his former band mates on stage and giving a very gracious speech. I thought one the high points was when he called out Pineda: “I must give a complete shout out to someone who sings his heart out every night, and it’s Arnel Pineda…To Arnel, I love you.” While Perry certainly couldn’t blame Pineda for his painful departure from Journal, putting aside all his past bitterness and showing up for the fans really was a class act!
Following are excerpts from the remarks from some of the other Journey inductees, as reported by Rolling Stone:
Schon: “Steve Perry [Applause] If it wasn’t for him, there would be no Journey. [Former Journey manager] Herbie Herbert, thank you from the bottom of my heart, for finding me after Gregg was picking me up in high school when I was 15. Soon after that, I was in the Santana group.”
Rolie: “This is my second trip here. And what a trip this has been. First Santana, Journey, Ringo Starr [since 2012, Rolie has been a member of Ringo’s All-Star Band] and back here with Journey…And Neal Schon…saving me from the restaurant business. Don’t ever do it. Just start Journey.”
Steve Smith: “I’ve started out in 1963 at nine years old as a jazz drummer…it wasn’t until 1969 that I discovered rock & roll…As disc jockey Alan Freed, Rock & Roll Hall of Fame inductee once said, “Rock & Roll is really swing with a modern aim. It began in the levies and in the plantations, and featured blues and rhythm.” He said this in the 1950s.”
In addition to Perry, Schon, Rollie and Smith, Journey inductees included current keyboarder and bassist Cain and Ross Valory, respectively, as well as Aynsley Dunbar. Dunbar was the drummer on Journey’s first four albums Journey (1975); Look Into the Future (1976); Next (1977); and breakthrough Infinity, the only overlap with Perry. Since Pineda only joined Journey in 2007 and as such was not eligible yet, he wasn’t inducted.
Here’s a clip of Journey’s performance of Don’t Stop Believin’ during the induction. It doesn’t do great justice to the band’s sound and Pineda’s outstanding voice the way I remember it from last year, but it’s the best footage I could find.
Excerpts from the induction will be shown on HBO on April 29 at 8:00 PM ET/PT. It should be awesome!