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

#PeaceAndLove and a Big Virtual Birthday Show

Today is the 80th birthday of Ringo Starr, which does seem to be a bit unreal, at least to me. As he has done since 2008, Ringo is asking people wherever they are on the planet to say the words ‘peace and love’ at noon their local time. He’s also doing a birthday show, but given the global COVID-19 pandemic, things will be a bit different this year. Rather than repeating what I previously said, I let him address it directly. Ringo is much more entertaining than I could ever be, which is one of several reasons why The Beatles wouldn’t have been the same without him.

To join Ringo’s Big Birthday Show later today at 8:00 pm U.S. EDT/5:00 pm U.S. PDT, go to his YouTube channel. Here’s a little fun teaser what to expect.

I’m also using the occasion to republish a post from exactly three years ago. Coz, why not?

And don’t forget, love and peace!

I feel we need it more than ever, especially in this country these days!

Repost from July 7, 2017

Today, Ringo Starr celebrated his 77th birthday and announced his upcoming 19th studio album. As the Los Angeles Times reported, Starr and hundreds of fans and fellow musicians gathered at Capitol Records Tower in Hollywood for a “Peace and Love” birthday celebration. The annual event has been conducted since 2008, when Starr was asked about his birthday wish and replied “more peace and love.” Ever since he has asked his fans all over the world to stop at noon their local time and say the words “peace and love” to spread the message.

“The great thing is that it’s continuing to grow,” Starr said in the above LA Times story. “When this started in Chicago in 2008, there were maybe 60 or 100 people…My dream — my fantasy — is that one day in the future everyone on the planet will stop at noon and say, ‘Peace and love.’”

Starr was born as Richard Starkey on July 7, 1940 in Liverpool, England. Of course, he is best known as the drummer of The Beatles, replacing Pete Best in August 1962. Prior to that he had played in Rory Storm and The Hurricanes, which had become one of Liverpool’s leading bands in early 1960. Starr met The Beatles for the first time at Kaiserkeller in Hamburg, Germany on October 1, 1960. Just like The Beatles, The Hurricanes had accepted a residency in the Northern German city.

Only two weeks later after the initial encounter, Starr joined John Lennon, Paul McCartney and George Harrison to back up Hurricanes singer Lou Walters during a recording of the George Gershwin tune Summertime. During that time period in Hamburg, Starr also filled in for Best on a few occasions. In August 1962, Lennon asked Starr whether he wanted to join The Beatles. Apparently, George Martin wasn’t very impressed with Best’s drumming. Five months later, the Fab Four recorded their debut studio album Please Please Me, which was released in March 1963.

After the official break-up of The Beatles in early 1970, Starr launched a solo career, which to date has included 18 studio albums. No. 19 is called Give More Love and scheduled for September 15th. Rolling Stone just reported that Paul McCartney appears in two songs on the record: We’re On the Road Again and Show Me the Way. Other guests include Joe Walsh, Edgar Winter, Steve Lukather, Peter Frampton, Richard Marx, Dave Stewart, Don Was and Timothy B. Schmit. The record’s title song, a nice mid-tempo tune, has already been released, and the album is available for pre-order.

In mid-October, Starr and his All-Starr Band will kick off a 19-gig U.S. tour in support of the album. The All-Starr Band, a live rock supergroup, has existed in different configurations since 1989. The upcoming line-up will include Lukather, Todd Rundgren, Gregg Rolie, Richard Page, Warren Ham and Gregg Bissonette.

Following is a selection of songs to celebrate Starr’s birthday:

Octupus’s Garden (The Beatles, Abbey Road, 1969)

It Don’t Come Easy (non-album single, 1971)

Photograph (Ringo, 1973)

Wrack My Brain (Stop and Smell the Roses, 1981; written by George Harrison)

Walk With You (Y Not, 2010; duet with Paul McCartney)

Postcards From Paradise (Postcards From Paradise, 2015)

Sources: Wikipedia; Christian’s Music Musings; Los Angeles Times; Rolling Stone; Ringo Starr web site & YouTube channel; YouTube

My Playlist: Emmylou Harris

While I had known her name for decades, it really wasn’t until July 2017 that I started paying closer attention to Emmylou Harris when seeing her in Philadelphia as part of a concert headlined by John Mellencamp. There was something special about this lady with her all-white hair who recently had turned 70. Now 73, Harris has been active for more than 50 years, released dozens of solo and collaborative albums, scored 20 top 10 hits on the Billboard country charts and collected numerous Grammy and other awards. This playlist is an attempt to shine a light on her long and impressive career.

Harris was born on April 2, 1947 in Birmingham, Ala. Her dad, Walter Harris, was a Marine Corps officer, while her mom Eugenia was a wartime military wife. After high school graduation in Woodbridge, Va., Harris went to the School of Music, Theater and Dance at the University of North Carolina at Greensboro on a drama scholarship. It was there where she started to learn songs by Pete Seeger, Bob Dylan and Joan Baez on guitar and develop her musical aspirations. Harris dropped out, moved to New York City during the second half of the ’60s, and started performing on the folk circle in Greenwich Village while waiting tables.

In 1969, Harris married fellow songwriter Tom Slocum who wrote the title track for her debut album Gliding Bird. The folk record also included five songs written by Harris. The label Jubilee Records went under shortly after the release, so all distribution and promotion was ceased. Subsequently, Harris disowned the record. She regards her second release Pieces of the Sky from February 1975 as her official debut.

In 1971, after he had seen her perform, Flying Burrito Brothers co-founder Chris Hillman introduced Harris to his music partner Gram Parsons who became a key figure in her early career. Harris worked with Parsons on his solo debut GP from January 1973 and toured as a member of his band the Fallen Angels. Later that year, she also worked with Parsons on his second and final solo album Grievous Angel, which was released in January 1974, following his death from an accidental overdose of drugs and alcohol in September 1973.

In February 1975, the aforementioned Pieces of the Sky appeared. It’s the album that launched Harris’ career as a country artist and established what she became mainly known, i.e., covering songs written by other artists. The album also coincided with the formation of The Hot Band, Harris’ high-profile backing band until 1991. The initial lineup included James Burton (guitar), Glen Hardin (piano), Hank DeVito (pedal steel guitar), Emory Gordy, Jr. (bass) and John Ware (drums).

To date, Harris has released 21 solo studio albums, three live records and a dozen compilations. Additionally, her impressive catalog includes seven collaboration albums with artists like Dolly Parton, Linda Ronstadt and Rodney Crowell. Harris also has worked as a guest with numerous other artists, including The Band, Glen Campbell, Johnny Cash, Guy Clark, Bob Dylan, Sheryl Crow and Steve Earle, among others. Let’s get to some music!

While perhaps not as representative of Harris as her other records, I’d like to kick off this playlist with a tune from 1969’s Gliding Bird, which was written by her: Black Gypsy.

If I Could Only Win Your Love from her second album Pieces of the Sky became Harris’ first hit single, climbing to no. 4 on the Billboard Hot Country Songs chart in 1975. Co-written by Charlie Louvin and Ira Louvin who formed the country and gospel duo The Louvin Brothers, it also marked the first of only a handful of Harris singles that charted on the Billboard Hot 100, in this case at no. 58. Linda Ronstadt sang backing vocals on the album.

While Emmylou Harris is best known as a country artist, her song choices can be eclectic. Here’s an example from her third studio album Elite Hotel released in December 1975: A beautiful cover of The Beatles tune Here, There and Everywhere. Credited to John Lennon and Paul McCartney, the McCartney ballad originally appeared on the Revolver album from August 1996.

Harris’ next album Luxury Liner from December 1976 included the first cover of Townes Van Zandt’s Pancho and Lefty, which subsequently became the revered singer-songwriter’s best known composition. The tune has also been covered by other artists, most notably Willie Nelson and Merle Haggard, who recorded it as the title track of their collaboration album that came out in January 1983.

Roses in the Snow, Harris’ first ’80s album, appeared in May 1980. Unlike her preceding country and country rock records, this album was more bluegrass-oriented. Here’s a great rendition of the Paul Simon tune The Boxer, featuring beautiful harmony singing by Cheryl White and her sister Sharon White. The Boxer first appeared on Simon & Garfunkel’s final studio album Bridge Over Troubled Water from January 1970.

In February 1985, Harris released The Ballad of Sally Rose, a concept album loosely based on her relationship with Gram Parsons. The record also stood out for another reason. Like her debut 16 years earlier, it illustrates Harris is more than just a cover artist. All songs were co-written by her, mostly together with her then-second husband Paul Kennerley, an English singer-songwriter, musician and record producer, who also produced this record. Here’s White Line, one of the record’s two singles.

Next, I’d like to jump to the ’90s and Wrecking Ball, Harris’ 18th studio album. The record became her first since Pieces of the Sky that did not make the country charts. Perhaps that wasn’t too surprising, given the music moved away from her traditional acoustic to a more edgy and atmospheric sound. Producer Daniel Lanois who produced and co-produced various U2 albums like The Joshua Tree and Achtung Baby undoubtedly had something to do with it. Here’s the title track written by Neil Young who also provided harmony vocals. Young had first recorded the tune for his 1989 studio album Freedom. And, coming back to U2, Larry Mullen, Jr. played drums on most of the album’s songs including this one.

Given the significance of collaboration albums in Harris’ catalog, I’d like to at least acknowledge one: Trio II from February 1999, the second album she did together with Dolly Parton and Linda Ronstadt. All tracks had actually been recorded in 1994, but label disputes and conflicting schedules had prevented the release at the time. While I’ve featured it on the blog before, I just couldn’t resist including the ladies’ angelic rendition of After The Gold Rush, the title track of Neil Young’s third studio album from September 1970. Interestingly, while the remake did not chart when it was released as a single from Trio II, it won the 2000 Grammy for Best Country Collaboration with Vocals. The intensity of this version is just killing me. This is why I dig vocals!

In September 2003, Harris released Stumble into Grace, her second album of the current century. Like some of her previous records, it includes a significant number of her own compositions. She also co-wrote most of the remaining tracks. Here’s the opener Here I Am, one of her tunes.

I’d like to wrap up this playlist with a track from what is Harris’ most recent solo album, Hard Bargain, released in April 2011. Her two latest records are collaborations with Rodney Crowell from February 2013 and March 2015. There’s also the Complete Trio Collection, a compilation of the Trio I and Trio II collaborative albums with Dolly Parton and Linda Ronstadt, which came out in September 2016. Given the enormous role of Gram Parsons, it felt right to highlight opener The Road, a tune Harris penned about her musical mentor – the first to focus on his death since Boulder to Colorado, a song from Pieces of the Sky. It’s also noteworthy that Hard Bargain became Harris’ highest chart entry since the above Roses in the Snow from 1980, peaking at no. 3 on the Billboard Top Country Albums. It also hit no. 18 on the Billboard 200, her highest mainstream chart success since 1977’s Luxury Liner, a remarkable late-stage career success.

Emmylou Harris has sold 75 million records in the U.S. alone. She has won 14 Grammy awards out of 48 for which she had been nominated. She has also won numerous country, bluegrass and Americana awards, and was inducted into the Country Music Hall of Fame in February 2008.

Sources: Wikipedia; YouTube

The Venues: Hollywood Bowl

I rarely blog back-to-back in the same category, but yesterday’s post about Red Rocks Amphitheatre was so much fun that I decided to do another one. And the Hollywood Bowl certainly isn’t just any place, at least not in my book.

The first time I heard of the legendary Los Angeles entertainment venue was in connection with The Beatles at the Hollywood Bowl. It was one of the very first Beatles albums I got on vinyl. I must have been around 12 years at the time. I still own that copy!

Then, in 1980 as a 14-year-old, I got to visit the actual venue (though not for a concert) during a summer vacation in the U.S., which included L.A. – my first visit to this country. Also my very first time on an airplane! I still have so many vivid memories about this trip. Seeing the Bowl where The Beatles once played remains one of them.

I suppose the trip planted the seed that led me to come back years later to study in America and eventually stay here for good. My girlfriend I met during my studies, who I’m happy to call my wife for now 20-plus years, also had something to do with it! 🙂

Back to the Hollywood Bowl and a bit of history before we get to the ultimate thrill. It all started 101 years ago in 1919 when the Theatre Arts Alliance asked William Reed and his son H. Ellis Reed to find a suitable location for outdoor performances. After the Reeds found and selected the natural amphitheater because of its amazing acoustics and convenient proximity to downtown Hollywood, the Community Park and Art Association began construction of the facility.

The Bowl began as a community space rather than a privately owned venue. The first events were held there in 1921. Proceeds from the early performances were used to finance construction of new elements, such as a stage, seating and background, which were added in 1922, 1923 and 1924, respectively. Initially, the Bowl served as a venue for concerts by the Los Angeles Philharmonic, as well as a community space for Easter services, the Hollywood Community Chorus and younger musicians including children.

In 1926, the first band shell was constructed but it was considered unacceptable from both a visual and an acoustics standpoint. Lloyd Wright came up with the now-familiar concentric ring motif and the 120-degree arc in 1928. But his wooden construction was destroyed by water damage and replaced the following year by a shell with a transite skin over a metal frame. That structure stood until 2003 and evidently was the one I saw in 1980.

In the early ’80s an inner shell made from large cardboard tubes that had been there since the ’70s to improve the acoustics was replaced by large fiberglass spheres designed by Frank Gehry. Eventually, in 2003, the 1929 outer shell was replaced with a new, somewhat larger, acoustically improved shell. Initially, a curtain served as a backdrop until a proper back wall had been constructed, which was first revealed in 2005. I suppose that’s the structure that stands to this day.

Now on to the real fun. Those who’ve visited my blog more frequently won’t be surprised what comes next: The Rolling Stones – just kidding! I love the Stones, but the first clip must capture my favorite band of all time. And, yes, there is historic YouTube footage.

The Beatles played the Hollywood Bowl twice, in August 1964 and in August 1965. Here’s A Hard Day’s Night, the title track of the corresponding studio album, which as usually was credited to John Lennon and Paul McCartney. This version is from the August 23, 1964 gig, an impressive illustration of “Beatlemania.” According to The Beatles Bible, all 18,700 tickets had been sold for the show. A Hard Day’s Night was the second-to-last tune of their 12-song set.

Are you ready to set the night on fire? On July 1968, The Doors did just that. Their performance that evening was captured on Live at the Hollywood Bowl, the band’s third official live album released in May 1987. A VHS version of the concert also appeared at the time. In October 2012, the full version of the show came out on CD, LP and Blu-ray as Live at the Bowl ’68. Credited to all four members of The Doors, Light My Fire originally was included on the band’s eponymous debut album from January 1967. Man, watching this footage gives me goosebumps, especially Ray Manzarek’s extended organ solo – even though by definition it doesn’t have any vocals! 🙂

Let’s get it on with a nostalgic piece, as Elton John called it during his September 7, 1973 gig at the Hollywood Bowl: Crocodile Rock. That show was also filmed, for inclusion in a documentary by English film director Bryan Forbes, Elton John and Bernie Taupin Say Goodbye Norma Jean and Other Things. Co-written by John and his lyricist Bernie Taupin, Crocodile Rock was first recorded for John’s sixth studio album Don’t Shoot Me I’m Only the Piano Player, which came out in January 1973. Now, that’s the Elton John I dig. You also gotta love the guy behind John in the crocodile outfit playing what looks like a Vox Continental keyboard!

Before jumping to the current century, let’s go to October 2, 1991, and a gig by Sting during his Soul Cages Tour that year. The show at the Hollywood Bowl also coincided with his 40th birthday. Here’s The Soul Cages, the great title track from Sting’s third solo release that appeared in January 1991. Like all songs on the album, the tune was written by him.

Next are two clips from the current century, for which it is easier to find YouTube footage. Let’s kick it off with The Rolling Stones and what according to Setlist.fm looks like the first of two dates played at the venue in 2005: November 6. There was another show there two days later. Both concerts were part of the Bigger Bang Tour. I caught the Stones for the first time during that tour on October 1, 2005 at Hersheypark Stadium in Hershey, Pa. I realize Satisfaction is the most overplayed Stones song, but unfortunately, it was the only complete clip I could find from their Bowl gig. Co-written by Mick Jagger and Keith Richards, (I Can’t Get No) Satisfaction became the first no. 1 for the Stones in 1965 and was also included on the American version of their fourth studio album Out of Our Heads released in July of the same year. Hey, it may be over-exposed, but it’s still one of the coolest guitar riffs in rock & roll! When watching Jagger in this footage I noticed he was still moving like this when I saw the Stones again last year – unbelievable!

The final clip I reserved for an artist who has been near and dear to me for many years. Unfortunately, he’s no longer with us: Tom Petty. The following footage is from his final show with The Heartbreakers. This gig at the Hollywood Bowl on September 25, 2017 marked the triumphant finale of the band’s 40th anniversary tour. You can watch the entire concert here. I’ve done it twice and have to say it’s just amazing. For this post I’d like to highlight the final two songs of the night: You Wreck Me from Petty’s second solo album Wildflowers (November 1994) and the classic American Girl, off the November 1976 eponymous debut by Tom Petty and the Heartbreakers.

Sources: Wikipedia; The Beatles Bible; Setlist.fm; YouTube

The Venues: Red Rocks Amphitheatre

In January 2018, I did a post about Bad Company’s album Live at Red Rocks. It keeps getting views, with the most recent occurring just a few days ago. This gave me the idea to write about what must be one of the most magnificent outdoor performance venues. Plus, my last post in the venues category dates back to August 2019 – another good reason to look at one of the places where the ultimate thrill in music takes place: The live experience!

Red Rocks Amphitheatre has a long history, something I had not been aware of and frankly had not thought about. How long? It somewhat depends where you start. Construction of the facility near Morison, Col., 10 miles west of Denver, began in 1936, though the first concerts there were produced by John Brisben Walker as early as 1906. Brisben, a magazine publisher and automobile entrepreneur, had the vision to leverage the site’s natural acoustics for entertainment purposes.

The next important milestone in the venue’s history occurred in 1927, when manager of Denver parks John Cranmer convinced the city to acquire the area of Red Rocks from Brisben. The price? $54,133, which is the equivalent of approximately $797,920 today – quite a bargain, if you ask me! Denver architect Burnham Hoyt was brought in to design the facility. After a five-year construction, Red Rocks Amphitheatre opened to the public in 1941.

What’s truly amazing to me is the age of the rock formations. It took the natural amphitheater more than 200 million years to form. There are traces dating back to the Jurassic period 160 million years ago, including dinosaur tracks and fossil fragments. In one of the less glorious aspects in Red Rocks’ history, the area around it was inhabited for hundreds of years by the native American Ute tribe, until they were displaced in the 19th century, according to this collection of facts about the venue, published by the Denver Post in June 2016.

Now let’s get to the fun part: Music performances at Red Rocks. And as you might imagine, there have been many. The challenge, however, is to find live footage from there, capturing artists I truly dig, especially old gigs from the ’60s and ’70s, such as Jimi Hendrix in September 1968 or Jethro Tull in June 1971. The latter unfortunately led to a confrontation between non-paying fans who had arrived to the sold-out show without tickets and the police. It resulted in a five-year ban of rock concerts at the venue.

The first show I’d like to highlight dates back to August 26, 1964, when The Beatles played Red Rocks as part of their U.S. tour that year. While according to The Beatles Bible, only 7,000 of the 9,000 tickets were sold, making it the sole show of the tour that wasn’t sold out, the Fab Four still set a box office record for the facility, marking the earliest notable rock & roll performance there. Here’s some historical footage I found, which includes concert snippets. It’s impossible to verify whether were actually captured at Red Rocks. In any case, it’s a nice illustration of the insanity of Beatlemania.

For the next gig, I’m jumping ahead 19 years. On June 5, 1983, U2 recorded their concert film U2 Live at Red Rocks: Under a Blood Red Sky, which also yielded their live album Under a Blood Red Sky released in November of the same year. The following clip captures the first 15 minutes of the film directed by Gavin Taylor. U2 almost looked like high school pals, but they sure as heck didn’t sound like a high school band. The energy they brought is just infectious. Appropriately, the boys from Dublin kicked it off with Out of Control, a tune from their October 1980 album Boy. It was a rain-soaked evening! This was followed by two other tracks from Boys: Twilight and An Cat Dubh.

While I couldn’t find a clip of the above noted Jethro Tull gig from 1971, here some footage from a show they played at Red Rocks on August 12, 2008: Aqualung, the title track of the band’s fourth studio album from March 1971. It was the only song on that album that wasn’t solely written by Ian Anderson. His first wife, English photographer, actress, playwright and life coach Jennie Anderson (born Franks), is listed as a co-writer.

The last clip I’d like to include captures one of my all-time favorite rock artists John Fogerty who played Red Rocks last year as part of his My 50 Year Trip tour, which is still ongoing though currently on hold because of you know what! Here’s Fortunate Son, a tune a wrote for Willy and the Poor Boys, the fourth studio album by Creedence Clearwater Revival released in November 1969. I can tell you one thing: I consider myself as fortunate to have seen the man in May 2018. He continues to kick ass!

Obviously, Red Rocks Amphitheatre is currently closed, and their website lists the many shows from April through October that have been cancelled or postponed/ rescheduled due to COVID-19. While this sucks for live music lovers like myself and creates a lot of pain for artists, the venue and all the connected vendors, it’s the right thing to do. Catching the bloody virus spreads many hospitalizations and lots of death, as this country has painfully witnessed over the past few months.

I’d like to wrap up this post on a more cheerful note with some additional Red Rocks facts noted in the above Denver Post article, which was updated in November 2018.

Red Rocks has seen nearly 2,700 shows through the end of 2016.

While the above Beatles gig may have marked “the earliest notable rock performance,” it was Ricky Nelson who played the venue’s first ever rock show in 1959.

The band that has performed at Red Rocks the most is Widespread Panic.

Huey Lewis and the News are the band with the record for most consecutive shows in a row, with four gigs performed from August 9-12, 1985.

Electrical transformers were moved outside the venue, after Neil Young noticed they were causing feedback on his tube amps.

While Red Rocks has been successful in attracting big names, one of the biggest has yet to book the venue despite constant rumors they are going to do so: The Rolling Stones.

Sources: Wikipedia; Denver Post; The Beatles Bible; Red Rocks Park and Amphitheatre website; YouTube

On This Day in Rock & Roll History: June 6

After having done more than 50 installments of this recurring feature, I still find it intriguing what turns up when you look at a specific date throughout music history. I’ve said it before and I say it again: It’s a rather arbitrary way to do this. But, hey, at the end of the day, it’s all about great music. Without further ado, let’s see what happened on June 6.

1960: Roy Orbison, the rock & roller with an operatic voice, released Only the Lonely, his first big hit peaking at no. 2 in the U.S. and Canada, and topping the charts in Ireland and the U.K. According to Songfacts, it was one of the first tunes Orbison wrote together with Joe Melson. Among others, the two also co-wrote Crying and Blue Bayou. Songfacts also includes the following Orbison told NME in 1980 about writing “sad songs” like Only the Lonely: “I’ve always been very content when I wrote all those songs. By this I’m saying that a lot of people think you have to live through something before you can write it, and that’s true in some cases, but I remember the times that I was unhappy or discontent, and I couldn’t eat, I couldn’t sleep, I couldn’t communicate, and I certainly couldn’t write a song, no way. All the songs I wrote that were successful were written when I was in a contented state of mind.”

1962: The Beatles came together for their first artist test recording session at EMI Studios at 3 Abbey Road, St John’s Wood, London. According to The Beatles Bible, the action went down in studio no. 2, where between 7:00 pm and 10:00 pm they recorded four tracks: Besame Mucho, Love Me Do, P.S. I Love You and Ask Me Why. The session was produced by George Martin with assistant Ron Richards and was the only one to feature Pete Best on drums. Initially, Richards was in charge, and Martin was only brought in after engineer Norman Smith was intrigued with Love Me Do. At the end of the session, which was hampered by quality issues due to the poor equipment The Beatles had brought along, Martin called them to the control room to tell them what they would need to do to become professional recording artists. When none of them reacted, Martin said: “Look, I’ve laid into you for quite a time, you haven’t responded. Is there anything you don’t like?” After an awkward pause, George Harrison responded: “Yeah, I don’t like your tie!” That cracked the ice, and the rest is history. While none of the material recorded at the session was used, four months later, The Beatles featuring Ringo Starr on drums re-recorded Love Me Do with George Martin. Backed by P.S. I Love You, it became their first single (not counting My Bonnie they had recorded with Tony Sheridan in June 1961).

1971: After 23 years on the air, CBS aired the last episode of The Ed Sullivan Show. It was a repeat. The last original telecast, episode no. 1,068, had aired on March 28 of the same year. Originally co-created and produced by Marlo Lewis, the show’s initial title was Toast of the Town. On September 25, 1955, it officially became The Ed Sullivan Show. Countless famous artists performed on the program, such as Elvis Presley, The Beatles, The Supremes, Stevie Wonder, The Beach Boys, The Rolling Stones and The Doors. CBS and Sullivan were quite conservative, and there were some “controversial” performances on the show. One of the most notorious appearances were The Doors on September 17, 1967. For the song Light My Fire, Jim Morrison had been told to alter the line Girl, we couldn’t get much higher. He complied during the rehearsal, but when it came to the live performance, he sang the original line – committing the ultimate sin! The Doors were never invited back on the program. Here’s a short clip documenting the horrible transgression!

1982: The Peace Sunday: We Have a Dream concert took place at The Rose Bowl in Pasadena, Calif., which attracted a crowd of 85,000 people. The six-hour event to promote nuclear disarmament featured artists like Tom Petty, Crosby, Stills & Nash, Bob Dylan, Stevie Nicks and Jackson Browne. It was partly broadcast on ABC Television’s Entertainment Tonight program on the same day. Here’s a clip of Bob Dylan and Joan Baez performing the Dylan tune With God On Our Side. Dylan first recorded the song for his third studio album The Times They Are a-Changin’ from January 1964.

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

A-Wop-Bop-a-Loo-Bop-a-Wop-Bam-Boom!

In Memoriam of Little Richard

“I created rock ‘n’ roll! I’m the innovator! I’m the emancipator! I’m the architect! I am the originator! I’m the one that started it! There wasn’t anyone singing rock ‘n’ roll when I came into it. There was no rock ‘n’ roll.” No, Richard Wayne Penniman wasn’t exactly known for modest self-assessment. I think this comment he made during an interview with SFGATE.com, the website of the San Francisco Chronicle, in July 2003 also illustrates he was a showman who had a knack for memorable quotes.

I’m writing this, as the obituaries still keep pouring in for the man known as Little Richard, who passed away this morning in Tullahoma, Tenn. at the age of 87, according to The New York Times. CNN reported Richard’s former agent Dick Alen confirmed the cause of death was related to bone cancer. Apparently, Richard had not been in good health for some time.

Little Richard 2

Instead of writing yet another traditional obituary, I’d like to primarily focus on what I and countless other rock & roll fans loved about Little Richard, and that’s his music. While he is sadly gone, fortunately, his music is here to stay. And there is plenty of it, so let’s get started and rock it up!

Richard’s recording career started in 1951 close to his 19th birthday when RCA Victor released Every Hour. An original composition, the soulful blues ballad doesn’t exactly sound like A-Wop-Bop-a-Loo-Bop-a-Wop-Bam-Boom!, but one already can get an idea of Richard’s vocal abilities. While tune became a regional hit, it did not break through nationally, just like the other songs Richard recorded with RCA Victor, so he left in February 1952.

Following a few lean years and a struggle with poverty, which in 1954 forced Richard to work as a dishwasher in Macon, Ga., the breakthrough came when Specialty Records released Tutti Frutti as a single in November 1955. The record company had hired songwriter Dorothy LaBostrie to replace some of Richard’s sexual lyrics with less controversial words. Not only did the classic bring Richard long-sought national success, but the loud, hard-driving sound and wild (yet somewhat tamed) lyrics also became a blueprint for many of his tunes to come.

Tutti Frutti started a series of hits and the most successful two-year phase of Richard’s career. One of my favorites is the follow-up single Long Tall Sally from March 1956. Co-written by Richard, Robert “Bumps” Blackwell and Enotris Johnson, the song became Richard’s highest-charting U.S. mainstream hit, climbing to no. 13 on the Billboard Hot 100. It also marked his first no. 1 on the Hot R&B Singles chart. Over the years, I must have listened to Long Tall Sally 100 times or even more. It still grabs me. I also dig the cover by The Beatles. Classic rock & roll doesn’t get much better.

Ready, Teddy, for another biggie? Yeah, I’m ready, ready, ready to a rock ‘n’ roll.

Lucille, you won’t do your sister’s will?
Oh, Lucille, you won’t do your sister’s will?
You ran off and married, but I love you still

Lucille, released in February 1957, was co-written by Richard and Albert Collins – and nope, that’s not the blues guitarist. The two just happen to share the same name. According to Wikipedia, “the song foreshadowed the rhythmic feel of 1960s rock music in several ways, including its heavy bassline and slower tempo.” Okay, I guess I take that. Lucille became Richard’s third and last no. 1 on the Hot R&B Singles. The song reached a more moderate no. 27 on the Billboard Hot 100. In the UK, on the other hand, it climbed to no. 10 on the Official Singles Chart. In addition to Richard’s vocals and piano, the horn work on this tune is just outstanding!

And then came that tour of Australia together with Gene Vincent and Eddie Cochran in October 1957 that changed Richard’s trajectory. As Rolling Stone put it in their obituary, After what he interpreted as signs – a plane engine that seemed to be on fire and a dream about the end of the world and his own damnation – Penniman gave up music in 1957 and began attending the Alabama Bible school Oakwood College, where he was eventually ordained a minister. When he finally cut another album, in 1959, the result was a gospel set called God Is Real.

After Richard left the music business, his record label Specialty Records continued to release previously recorded songs until 1960 when his contract ended and he apparently agreed to relinquish any royalties for his material. One of these tunes was another classic, Good Golly, Miss Molly. Co-written by John Marascalco and Blackwell, and first recorded in 1956, the single appeared in January 1958. It became a major hit, peaking at no. 10 and 8 in the U.S. and UK pop, charts respectively, and reaching no. 4 on the Hot R&B Singles.

Here’s the title track from the above noted 1959 album God Is Real. The tune was written by gospel music composer Kenneth Morris.

In 1962, Richard started a gradual return to secular music. While according to Rolling Stone, a new generation of music artists like The Rolling Stones and Bob Dylan welcomed him back, his music no longer sold well. When Richard performed at the Star-Club in Hamburg in the early ’60s, a then still relatively unknown British band called The Beatles opened up for him. The above Rolling Stone obituary included this quote from John Lennon: “We used to stand backstage at Hamburg’s Star-Club and watch Little Richard play…He used to read from the Bible backstage and just to hear him talk we’d sit around and listen. I still love him and he’s one of the greatest.”

In January 1967, Richard released a soul-oriented album titled The Explosive Little Richard. It was produced by his longtime friend Larry Williams and featured Johnny “Guitar” Watson. They co-wrote this tasty tune for Richard, Here’s Poor Dog (Who Can’t Wag His Own Tail). It also appeared as a single and reached no. 121 and 41 on the Billboard Hot 100 and Hot R&B Singles charts, respectively. The record didn’t chart.

While Richard enjoyed success as a live performer, his records continued to sell poorly. In April 1970, he had a short-lived comeback of sorts with Freedom Blues, a single from his album The Rill Thing released in August that year. Co-written by Richard and R&B singer Eskew Reeder, Jr., who had taught him how to play the piano, the tune reached no. 47 on the Billboard Hot 100 and peaked at no. 28 on the Hot R&B Singles.

During the remainder of the ’70s, Richard continued to perform and also had guest appearances on records by Delaney and Bonnie, Joe Walsh and Canned Heat, among others. He also became addicted to marijuana and cocaine. Eventually, his lifestyle wore him out, and in 1977, Richard quit rock & roll for the second time and returned to evangelism.

In 1984, he returned to music yet another time, feeling he could reconcile his roles as a rock & roll artist and an evangelist. Following a role in the movie picture Down and Out in Beverly Hills, Richard released another album, Lifetime Friend, in 1986. I actually got it on CD at the time. Here’s the nice opener Great Gosh A’Mighty, which Richard co-wrote with Billy Preston. Reminiscent of the old “A-Wop-Bop-a-Loo-Bop-a-Wop-Bam-Boom Richard,” the tune had also been included in the soundtrack of the aforementioned movie.

In 1992, Richard released Little Richard Meets Masayoshi Takanaka, which featured newly recorded versions of his hits. The final Little Richard album Southern Child appeared in January 2005. Originally, the record had been scheduled for release in 1972 but had been shelved. Richard continued to perform frequently through the ’90s and the first decade of the new millennium. Nerve pain in his left leg and hip replacement forced him to reduce concerts and eventually to retire in 2013.

Richard was inducted into the Rock and Roll Hall of Fame in 1986 as part of the very first group of inductees, which also included Chuck Berry, James Brown, Ray Charles, Sam Cooke, Fats Domino, The Everly Brothers, Buddy Holly, Jerry Lee Lewis and Elvis Presley. He also was inducted into the Songwriters Hall of Fame and received numerous awards. Four of his songs, Tutti Frutti (no. 43), Long Tall Sally (no. 55), Good Golly, Miss Molly (no. 94) and The Girl Can’t Help It (420), are in Rolling Stone’s list of 500 Greatest Songs of All Time from April 2010.

I’d like to end this post with a few reactions from other music artists:

“He was the biggest inspiration of my early teens and his music still has the same raw electric energy when you play it now as it did when it first shot through the music scene in the mid 50’s” (Mick Jagger)

“So sad to hear that my old friend Little Richard has passed. There will never be another!!! He was the true spirit of Rock’n Roll!” (Keith Richards)

“He will live on always in my heart with his amazing talent and his friendship! He was one of a kind and I will miss him dearly” (Jerry Lee Lewis)

“God bless little Richard one of my all-time musical heroes. Peace and love to all his family.” (Ringo Starr)

“He was there at the beginning and showed us all how to rock and roll. He was a such a great talent and will be missed. Little Richard’s music will last forever.” (Brian Wilson)

Sources: Wikipedia; SFGATE.com; The New York Times; CNN; Rolling Stone; YouTube

Steve Forbert Releases New Album Early Morning Rain

Collection features 11 covers of singer-songwriter’s favorite tunes by Gordon Lightfoot, Elton John, Ray Davies, Leonard Cohen and other artists

While I’ve heard of Steve Forbert before, included one of his songs in my previous Best of What’s New installment and some fellow music bloggers I follow have covered him, I still feel I know next to nothing about this longtime American singer-songwriter. But here’s one thing I know for sure: I dig Early Morning Rain, Forbert’s first covers album in a 40-plus-year career, which came out today.

Forbert was born on December 13, 1954 in Meridian, Miss. He started writing songs as a 17-year-old and moved to New York City in 1976. He became a street performer in Greenwich Village and soon started playing CBGB and other local clubs. In 1978, Forbert got a record contract with Nemperor and later that year released his debut album Alive on Arrival. The record was well-received, and some critics were quick to call him “the new Dylan,” a label Forbert dismissed as a cliche.

His sophomore album Jackrabbit Slim from 1979 included Romeo’s Tune, which also was released separately as a single and became what essentially has been his only hit to date. In the U.S., the tune climbed to no. 11 on the Billboard Hot 100. It also charted in other countries, including Canada where it peaked at no. 8, as well as Australia, New Zealand and South Africa. I don’t recall hearing the song on the radio in Germany back then.

Steve Forbert

Forbert’s songs have been covered by a wide range of artists, including Keith Urban, Rosanne Cash, Marty Stuart and John Popper. In 2004, his album Any Old Time, a tribute to Jimmy Rodgers, was nominated for a Grammy in the category of “Best Traditional Folk.” In 2006, Forbert was inducted into the Mississippi Music Hall of Fame, and just earlier this year, he received a 2020 Governor’s Arts Award for Excellence in Music from that state. But it seems to me all this recognition hasn’t translated much into chart or other commercial success for Forbert.

Early Morning Rain is Forbert’s 21st studio album. The tracks represent what he calls 11 of his favorite folk-rock songs. Artists he covers include Gordon Lightfoot, Richard Thompson and Linda Thompson, Elton John, Leonard Cohen, Bob Dylan and Ray Davies – quite an interesting group. Forbert told American Songwriter he made his choices from an initial list of 150 tracks. So why does this album speak to me? To start with, I love the warm sound. I also like how Forbert approached the songs and made them his own. While his voice is distinct and certainly not exactly opera quality, I think it greatly matches the song arrangements.

Let’s get to some music. Since on YouTube you currently cannot access clips unless you’re a premium subscriber, following are links to the album on Soundcloud and Spotify. Hope that at least one of these platforms will work for readers. If you have Apple Music, you also can get it there.

While I think it’s worthwhile listening to the entire album, I’d like to call out some of the tunes. The opener and title track Early Morning Rain was written by Gordon Lightfoot. It appeared on his debut album Lightfoot! from January 1966. The beautiful steel guitar fill-ins that according to the credits listed in this review by Americana Highways were provided by Marc Muller, particularly stand out to me in this tune.

Your Song is one of my favorite Elton John tunes. Composed by John with lyrics by longtime collaborator Bernie Taupin, the track first appeared on John’s sophomore eponymous studio album released in April 1970. The backing vocals in Forbert’s version were provided by New Jersey singer-songwriter Emily Grove.

Pretty much all of the tunes on the album are on the quieter side. One exception is Supersonic Rocketship. Interestingly, Forbert’s take sounds more rock-oriented than the relatively mellow original by The Kinks. Written by Ray Davies, the track was included on the band’s 11th studio album Everybody’s in Show-Biz, which appeared in August 1972. Again, Grove features on backing vocals and nicely blends with Forbert.

Someday Soon is a country & western song by Ian Tyson written in 1964. The Canadian singer-songwriter recorded with his wife Sylvia Tyson as part of their duo Ian & Sylvia. It appeared on their third studio album Northern Journey. For this cover, Forbert is supported on backing vocals by Anthony Crawford, a singer-songwriter from Birmingham, Ala.

The last tune I’d like to call out is Leonard Cohen’s Suzanne, a song I’ve dug for many years. Suzanne was first published as a poem in 1966 before it was recorded as a song by Judy Collins later that year. Cohen included it on his debut album Songs of Leonard Cohen from December 1967. It also appeared separately as the lead single to that record.

In addition to Muller, Grove and Crawford, I like to acknowledge the other musicians listed in the credits: George Naha (electric guitar), Rob Clores (keyboards), Aaron Comess (drums), and John Conte and Richard Hammond (both bass). The album was produced, mixed and engineered by Steve Greenwell. Based on AllMusic, Greenwell also produced Forbert’s previous albums The Magic Tree (2018) and Compromised (2015).

“I’ve never done a cover record, and after 40 years, that’s a lot of pent up thinking,” Forbert told American Songwriter. “The point was to be able to really make a contribution. It’s not that much different from making an album of my own material. I wanted to pick things that hopefully fit like a glove…I do have a style and so like I’m presenting my style instead of playing out my heart and soul with original material.”

Given the large initial list of songs, Forbert also didn’t rule out the possibility of a sequel. Some of the tunes he mentioned in this context include Dance the Night Away (Cream), I Should Have Known Better (The Beatles), North Country Blues (Bob Dylan), Are You Lonesome Tonight (Elvis Presley) and Lather (Jefferson Airplane). As a fan, I’m delighted to see a Beatles tune, but I’d be even more curious to hear Forbert’s take on Dance the Night Away.

I realize there is a certain degree of irony that Forbert’s first record I explored more closely and decided to write about is a covers album. But I suppose you got to start somewhere, and Early Morning Rain is a new album I happened to know was coming out today. Plus, I’m definitely encouraged and certainly curious to listen to more of Fobert’s music.

Sources: Wikipedia; Steve Forbert website; American Songwriter; Americana Highways; AllMusic; 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!

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