It’s been more than two months since my last installment of this recurring music history feature. And while I’ve already covered 53 different dates since I started the series in 2016, this didn’t include August 8. As always, the idea here is to highlight select events based on my music preferences, not to provide a full listing.
1964: Bob Dylan released his fourth studio album Another Side of Bob Dylan. Th title was appropriate, since the record marked a departure from the more socially conscious songs on predecessor The Times They Are A-Changin’ that had appeared seven months earlier in January 1964. Some critics were quick to complain Dylan was selling out to fame. But Robert Zimmerman rarely seems to care much what others think about his music. Here’s My Back Pages. The tune has been covered by various other artists, including The Byrds, Ramones and Steve Earle, to name a few.
1969: An ordinary pedestrian crossing in London’s City of Westminster inner borough would never be same after it became part of the iconic cover photo of Abbey Road, the actual final studio album by The Beatles from September 1969, even though it was released prior to their official final record Let It Be. The famous shot was taken by Scottish photographer Iain Macmillan, who was then a freelancer. For any photographers, he used a Hasselblad camera with a 50mm angle lens, aperture f22, at 1/500 seconds, according to The Beatles Bible. Following the shoot, Paul McCartney reviewed the transparencies and chose the fifth one for the album cover. After the band’s breakup, Mcmillan also worked with John Lennon and Yoko Ono for several years. Here’s one of my favorite tunes from that album: George Harrison’s Here Comes The Sun.
1970: The third studio album by Blood, Sweat & Tears, ingeniously titled Blood, Sweat & Tears 3, hit no. 1 on the Billboard 200, following its release in June that year. After the success of their preceding eponymous second album from December 1968, which also topped the U.S. charts, the record had been widely anticipated. Here’s Lucretia Mac Evil, a great tune written by the band’s lead vocalist David Clayton-Thomas. The song, which was also released separately as a single, was one of just a handful of original tracks on the album, which mostly included cover versions of tunes from artists like James Taylor, The Rolling Stones and Traffic – apparently part of the reason why it received lukewarm reviews.
1987: I Still Haven’t Found What I’m Looking For, the second single off U2’s fifth studio album The Joshua Tree, topped the Billboard Hot 100, marking the Irish rock band’s second no. 1 song in the U.S. after the record’s lead single With Or Without You. The Joshua Tree, which also topped the charts in Canada, Australia, New Zealand and various European countries, catapulted U2 to international superstardom. Like all other tracks on album, the lyrics of the tune were written by Bono, while the music was credited to U2. Here’s the official video filmed in Las Vegas in April 1987 after the band’s first show in the city.
Sources: Wikipedia; This Day in Rock; The Beatles Bible; Billboard; YouTube
If you read my previous Best of What’s Newpost all the way to the end and know me a little bit, it probably doesn’t come as a shocking surprise that the ’60s retro sound of The Reverberations proofed way too seductive to leave things at one clip. I’m still somewhat in disbelief this band from Portland, Ore. doesn’t do a better job to make it easier for music fans to find them. In my case, I have to thank Apple Music for including these guys in their most recent New Music Mix playlist.
The good news is in the meantime I uncovered some more background information, but I still feel it’s not nearly enough. According to Discogs, as of Changes, their second and most recent full album released in February 2019, the band’s members are Dave Berkham (lead guitar, vocals), John Jenne (rhythm guitar), Bob Fountain (keyboards), Cam Mazzia (bass) and Ian Bixby (drums, percussion). June Coryell and producer Pat Kearns are listed as guest backing vocalists.
According to Wikipedia, Kearns is a singer-songwriter for Blue Skies for Black Hearts, another Portland-based band, and has done production and engineering work for various other artists, such as The Exploding Hearts, Pat McDonald and Jerry Joseph. None of these names ring a bell, but that doesn’t mean much.
Among things that remain unclear is the origin of the band’s name. Given their psychedelic garage touch, I’m wondering whether it’s a nod to ’60s psychedelic garage rockers The 13th Floor Elevators and their song Reverberation (Doubt). Another clue is the album’s cover art, which was designed by Bixby and has features that are reminiscent of the Elevators’ debut The Psychedelic Sounds of the 13th Floor Elevators.
But, all of what I said in the preceding paragraph is speculation. It’s also not clear to me how long The Reverberations have been around. The oldest listing in Discogs is a self-released EP from 2015. What I do know is I really dig the band’s sound that heavily borrows from the ’60s, especially The Byrds and The Beatles. And, if you look at the image above, these guys kind of look like transplants from that era. Time for some music!
Here’s the excellent opener Footsteps. It appears all songs are credited to the entire band. Don’t get fooled by the track’s beginning, which sounds psychedelic but perhaps not so much like The Byrds. But wait until about 1:42 minutes into the song when that mighty jingle-jangle Rickenbacker gets going – can’t get enough of it!
Here’s Dream Catcher. Man, again, what a cool sound. And that harmony singing is just awesome!
The beginning of Left Behind has the same chord progression like Nights in White Satin by The Moody Blues, while the sitar-sounding instrument (I assume it’s sampled) reminds me of Paint It Black by The Rolling Stones. Not trying to be a smart ass here, but it’s obvious. Plus, the tune then takes off in its own direction. It’s all good!
Another great tune is Levitate Away. And, yes, the beginning sounds like Jimi Hendrix’s Purple Haze. But similarly to the previous track, the song then goes in a different direction. It’s quite catchy!
I’d like to call out one more track: What Can I Do? Coz, I dig these guys, what can I do? It’s another beautiful jingle-jangle guitar-driven tune.
Changes appeared on Beluga Music, which according to Discogs is an independent label based in Stockholm, Sweden, and has been around since 1994. On their website, they describe themselves as “The Home of Punk & Garage Records”. It does seem to be a bit odd for a U.S.-based band to have a Swedish label, but hey, what do I know? Plus, at the end of the day, it’s all about the music. And their music surely sounds sweet to me!
Sources: Wikipedia; Discogs; Beluga Music website; YouTube
Sometimes one beautiful thing leads to another. In my previous post, I wrote about Tom Petty’s affection for The Byrds and how he covered some of their tunes. One of the clips I included was a performance of Mr. Tambourine Man, the Bob Dylan tune popularized by The Byrds with their beautiful jingle-jangle version in the mid-’60s. The footage came from a concert that celebrated the 30th anniversary of Dylan’s eponymous debut album. This prompted me to further check out that tribute show and boy, do I love what I found!
The four-hour concert took place at Madison Square Garden in New York City on October 16, 1992. Regardless of what you think of Dylan, the fact that he is revered by so many top-notch artists speaks for itself. It was certainly reflected in the concert’s line-up, which featured John Mellencamp, Stevie Wonder, Lou Reed, Willie Nelson, Johnny Cash, Neil Young, Johnny Winter, Eric Clapton, George Harrison, Tom Petty and Roger McGuinn, among others.
The house band for the show included Booker T. Jones (organ) and other former members of the MG’sDonald “Duck” Dunn (bass) and Steve Cropper (guitar), along with Anton Fig and Jim Keltner (each on drums). And there were countless other musicians in different capacities I haven’t even mentioned. This was possibly a one-of-a-kind concert!
Let’s kick off the music with Like a Rolling Stone performed by John Mellencamp and special guest Al Kooper on the organ – great way to open the night! Dylan first recorded the classic tune for his sixth studio album Highway 61 Revisited from August 1965.
Among the show’s true gems was Stevie Wonder’s performance of Blowin’ in the Wind. One of the defining protest songs of the ’60s, it was the opener to Dylan’s sophomore album The Freewheelin’ Bob Dylan released in May 1963. As Wonder eloquently said, it’s a tune that “will always be relevant to something that is going on in this world of ours.” I’m afraid his words still ring true today.
Next up: Tracy Chapman and her beautiful version of The Times They Are A-Changin’. Recently, I’ve gained new appreciation of the singer-songwriter thanks to badfinger20, who covered Chapman the other day on his great PowerPop blog. The Times They Are A-Changin’ is the title track of Dylan’s third studio album that appeared in January 1964.
Ready for some hardcore blues? Enter Johnny Winter and his scorching version of Highway 61 Revisited, the title track of the above-noted album from August 1965. Ohhh, wham bam thank you man, to borrow creatively from David Bowie. Unfortunately, I could only find the audio version, but I think you can still picture it.
Just Like Tom Thumb’s Blues is yet another tune from the Highway 61 Revisited album. If I would have to name my favorite Dylan record, I think this would be it. Of course, the caveat is I haven’t listened to all of his records, not even close! The artist who got to perform the tune during the concert was Neil Young, who did a great job. BTW, he dubbed the concert “Bobfest,” according to Wikipedia.
Here’s a great cover of I Shall Be Released by Chrissie Hynde. The first officially released version of the song was on the July 1968 debut album by The Band, Music From Big Pink. Dylan’s first recording occurred during the so-called Basement Tapes sessions with The Band in 1967, which was released on The Bootleg Series 1-3 in 1991. In 1971, Dylan recorded a second version that appeared on Bob Dylan’s Greatest Hits Vol. II from November that year.
Don’t Think Twice, It’s All Right is one of my favorite Dylan tunes, so I faithfully followed his advice and didn’t hesitate to call it out. It’s another song from The Freewheelin’ Bob Dylan. Eric Clapton did a beautiful job making it his own. Don’t think twice, check it out!
George Harrison’s appearance at the show was remarkable. It marked his first U.S. concert performance in 18 years. Sadly, it would also be his last time performing in public, as Rolling Stone noted in a January 2014 story previewing the March 2014 super deluxe reissue of the concert. Harrison covered Absolutely Sweet Marie, a tune from Blonde on Blonde, Dylan’s seventh studio album from June 1966.
Of course, I couldn’t write about the bloody concert without including Tom Petty and the Heartbreakers, who performed Rainy Day Women #12 & 35, another track from Blonde on Blonde. Love it!
For the final clip in this post, it’s about time to get to the man himself and My Back Pages. He first recorded the tune for his fourth studio album Another Side of Bob Dylan, which appeared in August 1964. For his rendition at the show, he got a little help from his friends Roger McGuinn, Tom Petty, Neil Young, Eric Clapton and George Harrison. That’s what friends are for, and they did a great job!
The last word shall belong to guitarist and the show’s musical director G.E. Smith, who is quoted in the above Rolling Stone story: “That gig was one of the highlights of my career… There aren’t a lot of people that can attract a lineup like that, and everyone was on their best behavior. Lou Reed and Neil Young can be prickly, but not in the three days we were prepping that show. I also got to talk to Johnny Cash. What’s cooler than that?”
This morning, my streaming music provider served up a great Get Up! playlist, which was based on my listening habits. It included Tom Petty’s version of Feel a Whole Lot Better. Not only did the tune immediately put me in a good mood, but it once again reminded me that in addition to writing so many great songs, Petty also performed fantastic covers. The Byrds and Roger McGuinn in particular were important musical influences. I also happen to dig the latter two, so I thought it would be fun to put together a post of Petty’s Byrds covers.
Let’s start with So You Want to Be a Rock ‘n’ Roll Star, which appeared on Pack Up the Plantation: Live!, the first live album by Tom Petty and the Heartbreakers from November 1985. Co-written by Roger McGuinn and Chris Hillman, the tune was first released in January 1967 as the lead single to The Byrds’ fourth studio album Younger Than Yesterday, which came out the following month.
Next up is the above-mentioned Feel a Whole Lot Better. Petty included that tune on his solo debut Full Moon Fever released in April 1989. The song was written by Gene Clark and first appeared in June 1965 as the b-side to the single All I Really Want to Do. Both of these songs were included on The Byrds’ debut album Mr. Tambourine Man released one week after the single.
For the last clip, I needed to cheat a bit. Mr. Tambourine Man, of course, is a Bob Dylan tune; however, it was The Byrds who popularized it in April 1965. And while Dylan has written many great songs, I think The Byrds not only made Mr. Tambourine Man their own, but also significantly improved it in the process! The following cover by Roger McGuinn and Tom Petty and the Heartbreakers is from a beautiful concert that took place at New York’s Madison Square Garden in October 1992 to celebrate the 30th anniversary of Dylan as a recording artist. Most of that show was captured on a live album released in August 1993 and separately on VHS, DVD and Blu-ray.
In the wake of Petty’s untimely death in October 2017, McGuinn was interviewed for a story published by Philly Voice. He recalled the first time he heard American Girl, the third single off the eponymous debut album by Tom Petty and the Heartbreakers. “I said, ‘when did I record that?…I was kidding, but the vocal style sounded just like me and then there was the Rickenbacker guitar, which I used. The vocal inflections were just like mine. I was told that a guy from Florida named Tom Petty wrote and sings the song, and I said that I had to meet him.” And he did, and the two hit it off!
McGuinn added, “When I covered ‘American Girl,’ I changed a word or two and Tom asked me if it was because the vocal was too high and I said ‘yes.’ I had fun with Tom’s song…There is nobody like Tom Petty.” I couldn’t agree more!
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 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.
‘How can a “two-part musical journey to Australia” have a part 3,’ you might ask. Well, to start with, math has never been my strong suit. I also could have called it ‘le encore’ to the initial two-part mini-series, since that’s what it really is. But I like the concept of a part 3 in a two-part series. Plus at the end of the day, the title matters less than the music.
Parts 1 and 2, which you can read here and here, featured AC/DC, Bee Gees,The Church, Cold Chisel, Crowded House, The Easybeats, INXS, Men At Work, Midnight Oil and Little River Band – or, as Bruce, the man behind the excellent Vinyl Connection, noted, “a pretty good ‘starter pack’ of a certain kind of accessible pop/rock that is, for the most part, radio friendly.” While I leave it up to you to decide whether it’s “pretty good”, I do agree with the radio-friendly part. I realize to some folks pop is a bad word, since they associate it with commercial and selling out. I have no shame to say I like pop, if it’s well crafted. My all-time favorite band The Beatles had plenty of pop. I also think Thriller by Michael Jackson, the King of Pop, is one of the best albums ever recorded.
Part 3 or le encore or whatever you’d like to call it was inspired by some great feedback to parts 1 and 2 from readers like Bruce, who clearly know more about music from down under than I do. And that’s one of the reasons why I enjoy this blogging thing. One door opens another, and the more you get into it, the more you realize how little you know – or, how I prefer to view it, how much more there’s to explore! So let’s get to five additional acts from Australia from A to P. And, no, I’m not saying that’s all the land of the vegemite sandwich has to offer, but as the wise George Harrison once said all things must pass.
My streaming music provider doesn’t list even one song by this band, which was founded in Melbourne in 1973. But luckily, there’s YouTube. The following mini-bio is based on the website of singer-songwriter and guitarist Mike Rudd and bassist Bill Putt, who were the driving force behind Ariel. The group combined key members from two of Australia’s leading progressive bands of the period: Rudd, Putt and John Mills (keyboards) had come from Melbourne’s Spectrum, while Tim Gaze (guitar) and Nigel Macara (drums) had played in Sydney-based Tamam Shud. Like Spectrum, Ariel began strongly, but lineup changes, record company problems and the changing nature of music in the mid-70s meant that they never achieved the level of success they deserved. Ariel disbanded in July 1977. During their three-and-a-half-year run, they were quite productive, releasing four studio and two live albums. Ariel proved to be Mike Rudd’s last really high-profile outfit, although he remains one of the most respected figures in the music scene. His long-time musical partner Bill Putt passed away in July 2013. Here’s Miracle Man, written by Gaze, a catchy rocker from Ariel’s debut album A Strange Fantastic Dream released in January 1974.
Indie rock band The Go-Betweens were co-founded by singer-songwriters and guitarists Robert Forster and Grant McLennan, the only constant members during the band’s existence. By the time they released their studio debut Send Me a Lullaby in November 1981, Lindy Morrison had joined on drums and vocals, with Forster and McLennan handling vocals and rhythm guitar and vocals, bass and lead guitar, respectively. By 1987, the band also included Amanda Brown (violin, oboe, guitar, keyboards, backing vocals) and John Willsteed (bass, guitar), the lineup until their first breakup in December 1989. After pursuing solo careers during the ’90s, Forster and McLennan revived The Go-Betweens with a new lineup in 2000. That version of the band released three more albums. Following McLennan’s death from a heart attack in May 2006, Forster dissolved the band and resumed his solo career. While The Go-Betweens had strong supporters even among critics – of all people, Robert Christgau called them “the greatest songwriting partnership working today” – chart success largely eluded them, with no top 50 hit in Australia or the UK. Here’s Cattle and Cane from the band’s sophomore album Before Hollywood that appeared in May 1983. Co-written by McLennan and Forster, the tune was also released separately as the record’s lead single. Climbing to no. 4 on the UK Independent Singles Chart, I assume it was their most successful song.
Initially called Le Hoodoo Gurus, Hoodoo Gurus, a band I had never heard of before, were formed in Sydney in 1981 by Dave Faulkner (guitar, vocals), James Baker (drums), Roddy Radalj (guitar, vocals) and Kimble Rendall (guitar, vocals). So where the hell is the bassist, you might ask – after all, no bass, no band! Well, I suppose Hoodoo Gurus are an exception that proves the rule! Plus, from what I can see, at least on all of their studio albums, they knew better and had a bassist. The band’s popularity peaked in the mid to late ’80s with their second, third and fourth albums, especially in Australia, where according to Wikipedia they reached “iconic status” on the rock scene. Between 1998 and 2003 and band was on hiatus, while their members pursued side projects and solo work. By early 2003, Hoodoo Gurus had reformed. They have since released three additional albums and remain active to this day. Faulkner is the only original member of their current lineup. Here’s a tune that’s right up my alley: Show Some Emotion written by Faulkner and included on their second album Mars Needs Guitars! Love the jingle-jangle sound that reminds me of The Byrds and R.E.M.
Nick Cave and the Bad Seeds
The band (initially without a name) was founded by Australian singer-songwriter Nick Cave in Melbourne in December 1983, which in addition to him included Tracy Pew (bass) and Hugo Race (guitar), or were they? Wikipedia notes an embryonic version of the band that got together in September 1983 in London where Cave lived at the time. Following a short Australian tour, Cave returned to London, where the first consistent lineup emerged with him, Race, singer-songwriter and multi-instrumentalist Mick Harvey, Blixa Bargeld (guitar, vocals), and Barry Adamson(bass). At that time, they called themselves Nick Cave and the Cavemen. Their debut album From Her to Eternity, a pun on the James Jones novel From Here to Eternity, appeared in June 1984. A biography by Mark Deming on All Music calls them “one of the most original and celebrated bands of the post-punk and alternative rock eras in the ’80s and onward.” The band remains active until today and has released 17 studio albums, the most recent of which is Ghosteen and came out last October. Here’s the official video of Into My Arms, written by Cave, and the opener to the band’s 10th studio album The Boatman’s Call from March 1997.
Powderfinger were formed in Brisbane in 1989 by Steven Bishop (drums), John Collins (bass) and Ian Haug (guitar, vocals), who were all students at a local private school. They started out as a cover rock band that among others played songs by Neil Young, whose classic Powderfinger became their name. By 1992, the band had evolved into the lineup that existed until their disbanding in 2010: Haug, Collins, Bernard Fanning (vocals), Darren Middleton (guitar) and Jon Coghill (drums). Following a self-funded EP that appeared on their own label Finger in August 1992, the band released their first full-fledged record Parables For Wooden Ears in July 1994. It was poorly received. But things started to change significantly with their sophomore release Double Allergic that catapulted them to no. 4 on the Australian charts; each of their remaining five studio albums went all the way to the top. Some of their records also charted in New Zealand. It appears their only album that made the Billboard 200 ironically was titled Odyssey Number Five, their fourth studio album from September 2000. That’s unfortunate. From the aforementioned album, here’s the catchy My Happiness credited to all members of the band.
Sources: Wikipedia; Mike Rudd and Bill Putt website; All Music; YouTube
What do you do in music when you run out of ideas? Get “inspired” by the work of others and claim it as your own ingenious creation. And get good legal representation. Just ask Led Zeppelin!
For any first time visitors, I totally dig Zep and Stairway To Heaven. I’m glad they recorded that song, which probably is my most favorite rock tune. Messrs. Page and Plant just should have given credit where credit was due, even if ripping off Taurus by Spirit was a subconscious act. Okay, ’nuff going on a tangent, this is supposed to be a happy post. And guess what? It totally was my idea! 🙂
This morning, I watched a clip of a Paul McCartney appearance on The Late Show with Stephen Colbert. At some point, Colbert noted many other artists had done covers of Beatles songs, adding he believed Yesterday was the most covered tune. He then asked McCartney about his favorite version. Thinking about Yesterday, McCartney mentioned Elvis Presley, Frank Sinatra and his favorite, Marvin Gaye. Then I completely erased the clip from my memory.
Fast-forward 30 minutes. I’m sitting at my computer, and suddenly out of nowhere, a flash of ingenuity hit me. What if I did a playlist of Beatles songs covered by other artists? What a brilliant and original idea, I thought, so here it is!
Got To Get You Into My Life (Earth, Wind & Fire)
Essentially, this was an homage to Motown, which The Beatles recorded in 1966 for the Revolver album. In July 1978, Earth, Wind & Fire released a fantastic cover of the tune as a single. It also was part of the less than stellar feature film Sgt. Pepper’s Lonely Hearts Club Band. Feel free to snip along!
Yesterday (Marvin Gaye)
I trust this song needs no further introduction. What you may not have known is that none other than the fabulous Marvin Gaye recorded a take of the timeless ballad. And when Marvin sang, magic happened most of the time. He included his version of Yesterday on his tenth studio album That’s The Way Love Is from January 1970. Just listen to this – makes me feel like floating in space!
We Can Work It Out (Stevie Wonder)
We Can Work It Out is a non-album single The Beatles issued in December 1965 as a double A-side with Day Tripper. Stevie Wonder liked the song and decided to record a take for his August 1970 studio album Signed, Sealed & Delivered. Who can blame him? According to Wikipedia, Wonder performed the tune for McCartney on various occasions. Even if you’re Paul McCartney, it’s gotta be cool to witness Stevie Wonder playing one of your songs!
Eleanor Rigby (Ray Charles)
This is one of my all-time favorite Beatles tunes and another track from the Revolver album. I also dig this cover by Ray Charles, which he recorded as a single in 1968.
In My Life (Johnny Cash)
In My Life is one of the most beautiful and moving songs John Lennon has written and a standout on the Rubber Soul album, in my opinion. Gosh, I can’t deny this tune gets me every time! At first, I wanted to feature the cover by Bette Midler, a fantastic vocalist. Then I came across this take by Johnny Cash, which blew me away. There’s perhaps nobody better than the Man in Black when it comes to conveying raw emotion and vulnerability, especially during the later stages of his career. This take is from American IV: The Man Comes Around, a studio album released in November 2002, about 10 months before he passed away.
She’s A Woman (José Feliciano)
José Feliciano is an artist I’ve admired for many years, not only because of his outstanding guitar-playing, but also because of great covers he has done and how he has made them his own. Check out this amazing version of She’s A Woman, which The Beatles initially released as the B-side to their I Feel Fine single in November 1964. Feliciano’s take also first appeared as a single, in 1969. I love how he gave it a Latin jazz type groove.
If I Needed Someone (Roger McGuinn)
If I Needed Someone has become one of my favorite Beatles and George Harrison tunes. And who better to cover it than Roger McGuinn, the man who after seeing George playing a Rickenbacker guitar on TV knew that jingle-jangle sound was made for him and The Byrds. If I Needed Someone is another gem on Rubber Soul. McGuinn recorded his version for his seventh solo album Limited Edition that came out in April 2004. Every time I hear that distinct Rickenbacker sound, I’m getting the same sentiment than listening to a Hammond B3 – I want one. So badly!
I’m leaving you with one more cover, which perhaps is the ultimate rock remake of all time: With A Little Help From My Friends by Joe Cocker. Cocker has recorded strong versions of various Beatles tunes, but this one from Sgt. Pepper’s Lonely Hearts Club Band is the crown jewel. It became the title track of his debut album from May 1969.
What do Robert Allen Zimmerman and Philip David Ochs have in common? Both wrote brilliant protest songs in the ’60s. The difference? Robert changed his name to Bob Dylan and became one of the most famous music artists of our time. Philip chose to perform as Phil Ochs and remained largely obscure outside singer-songwriter circles.
Until recently, I had never heard of Phil Ochs myself. Then I saw somebody ranting on Facebook that Bob Dylan undeservedly gets all the credit for being this brilliant protest singer when the recognition should really go to Ochs. The truth is while both artists at some point were important protest singer-songwriters, none of them invented the genre. According to Wikipedia, the tradition of protest songs in the U.S. long predates the births of Dylan and Ochs – in fact going all the way back to the 18th century.
One of the important forerunners to the 1950s and 1960s protest singer-singwriters were the Hutchinson Family Singers, who starting from 1839 became well known for singing about social issues, such as abolition, war and women’s suffrage. And let’s not forget Woody Guthrie, who was born in 1912 and started learning folk and blues songs during his early teens. Over a 26-year-period as an active music artist, Guthrie wrote hundreds of political, folk and children’s songs. He was a major influence on numerous other songwriters who in addition to Dylan and Ochs included Johnny Cash, Pete Seeger, Harry Chapin, Bruce Springsteen, John Mellencamp and many other former and contemporary artists.
‘I get it,’ you might think, ‘but who the hell is Phil Ochs?’ Sadly, it’s a pretty rough story, and it doesn’t have a Hollywood happy ending.
Ochs was born on December 19, 1940 in El Paso, Texas. His dad Jakob “Jack” Ochs was a physician from New York, and his mom Gertrude Finn Ochs hailed from Scotland. The two met there and got married in Edinburgh where Jack was attending medical school at the time. After their wedding, they moved to the U.S. Jack joined the army as a doctor and was sent overseas close to the end of World War II. He returned as a sick man with bipolar disorder and depression.
Jack’s health conditions prevented him from establishing a successful medical practice. Instead, he ended up working at a series of hospitals around the country and frequently moving his family. As a result, Phil Ochs grew up in different places, along with an older sister (Sonia, known as Sonny) and a younger brother (Michael). His father was distant from the family, eventually got hospitalized for depression, and passed away from a brain bleeding in April 1963. Phil’s mother died in March 1994.
During his teenage years, Ochs became a talented clarinet player. Prior to the age of 16, he was principal soloist with the orchestra at the Capital University Conservatory of Music in Columbus, Ohio. Although Ochs had become an accomplished classical instrumentalist, he soon discovered the radio and started listening to the likes of Buddy Holly, Elvis Presley, Hank Williams and Johnny Cash.
Initially, Ochs wanted to become a journalist. Well, he of sort did, combining his interest in writing about politics with music. During his journalism studies at Ohio State University, he met fellow student, activist and future folk singer Jim Glover in the fall of 1960, who introduced him to the music of Pete Seeger, Woody Guthrie and The Weavers, and taught him how to play guitar. It wouldn’t take long before Ochs merged his interest of politics and music and started writing his own songs. He preferred to characterize himself as a topical rather than a protest singer.
Glover and Ochs started performing as a duo called The Singing Socialists and later The Sundowners but broke up before their first professional gig. Glover went to New York, while Ochs started performing professionally at a local fok club in Cleveland. In 1962, he went to the Big Apple as well and soon established himself in the Greenwich Village folk music scence. Ochs described himself as a “singing journalist,” explaining his songs were inspired by stories he saw in Newsweek. By the summer of 1963, he had developed a sufficiently high profile and was invited to perform at the Newport Folk Festival, along the likes of Dylan, Joan Baez and Peter, Paul & Mary.
Ochs’ debut album All The News That’s Fit To Sing, an allusion to The New York Times‘ slogan “All the news that’s fit to print,” appeared in 1964. Here is Ballad of William Worthy. The tune tells the story about an American journalist who traveled to Cuba despite the U.S. embargo and was forbidden to return to the U.S. Check out the brilliant lyrics of this tune – safe to assume Ochs’ words didn’t endear him to the Johnson Administration.
In 1965, Ochs’ sophomore album I Ain’t Marching Anymore came out. Here’s the excellent satirical anti-war tune Draft Dodger Rag, which quickly became an anthem of the anti-Vietnam war movement.
After Ochs’ first three albums with Electra Records had gone nowhere commercially speaking, he signed with A&M Records and in October 1967 released his fourth studio record Pleasures Of The Harbor. Unlike his first three folk music-oriented records, the album went beyond folk, featuring elements of classical, rock & roll, Dixieland and even experiental synthesized music. Apparently, the idea was to produce a folk-pop crossover. While the album included great tunes, it’s safe to say it didn’t bring Ochs commercial success. Here is Outside Of A Small Circle Of Friends, which became one of Ochs’ most popular songs. The tune was inspired by the case of a 28-old woman who was stabbed to death in front of her home in Queens, New York, while dozens of her neighbors reportedly ignored her cries for help.
Tape From California is Ochs’ fifth album. Released in July 1968 on A&M Records, it continued his shift away from straight folk-oriented protest songwriting, though he was far from abandoning topical songs. The War Is Over is a tune that was inspired by poet Allen Ginsberg who in 1966 declared the Vietnam war was over. Ochs decided to adopt the idea and organize an anti-war rally in Los Angeles, for which he wrote the song.
Phil Ochs’ final studio album came out in February 1970. Weirdly, it was called Greatest Hits, even though it was not a compilation but a collection of 10 new tracks. Most of the record was produced by Van Dyke Parks, who previously had appeared on Tape From California, contributing piano and keyboards to the title track. Greatest Hits featured an impressive array of guest artists, including Clarence White and Gene Parsons, both from The Byrds; Ry Cooder; Jim Glover; and members of Elvis Presley’s backing band, among others. The album cover was an homage to Elvis, showing Ochs in a gold lamé suit reminiscent of the outfit Elvis wore for the cover of his 50,000,000 Elvis Fans Can’t Be Wrong greatest hits compilation. Here is Jim Dean Of Indiana, a tune about the actor James Dean, who like Elvis was one of Ochs’ idols.
Greatest Hits was Ochs’ final attempt to connect with average Americans, who he was convinced weren’t listening to topical songs. Disillusioned by key events of 1968, including the assassinations of Martin Luther King, Jr. and Robert F. Kennedy, the police riot in Chicago around the Democratic National Convention and the election of Richard Nixon, Ochs felt he needed to be “part Elvis Presley and part Che Guevara,” as Wikipedia puts it. Ochs supported the album with a tour, performing in the Elivs-like suit and being backed by a rock band, singing his own songs, along with tunes by Buddy Holly, Elvis Presley and Merle Haggard. But his fans weren’t sure what to make of the “new Phil Ochs.”
Pretty much from there, things went downhill for Ochs. He developed writer’s block and slipped into depression and alcoholism. He did not release any additional records. On April 9, 1976, Ochs committed suicide by hanging himself in the home of his sister Sonny. He was only 35 years old.
I’d like to conclude this post with a few quotes I found on Life of a Rebel, a blog dedicated to Ochs. “As a lyricist, there was nobody like Phil before and there has not been anybody since,” said fellow folk singer Dave Van Ronk. “He had a touch that was so distinctive that it just could not be anybody else. He had been a journalism student before he became a singer, and he would never sacrifice what he felt to be the truth for a good line.” In a note to Ochs in 1963, Pete Seeger wrote, “I wish I had one tenth your talent as a songwriter.” And what did the mighty Bob Dylan tell Broadside magazine in 1964? “I just can’t keep up with Phil. And he’s getting better and better and better.”
As somebody who considers Crosby, Stills, Nash & Young to be one of the best vocal harmony bands, you’d think I’d pay more attention to their individual members. With the exception of Neil Young, I guess I simply accepted that the sum is more than the parts. Even if that’s oftentimes true when it comes to top-notch bands, ignoring the parts can mean missing out on great music. Case in point: David Crosby and his album Sky Trails from September 2017, which is only his sixth solo record – pretty remarkable for an artist who released his solo debut in Feb 1971.
With David Crosby having been a founding member of The Byrds and Crosby, Still & Nash (CSN), and CSN having been active on and off between 1968 and 2015 – sometimes with, most of the time without Neil Young – I think it’s fair to say most people associate Crosby with the aforementioned bands. But, as noted above, he has released various solo albums. Sky Trails recently popped up as a listening suggestion in my streaming music platform. I’ve since listened a few times to the album and have to say I really dig it. I was also surprised how jazzy it is. I guess I had expected something more folk rock-oriented.
Let’s get to some music and kick it off with the opener She’s Got To Be Somewhere. This Steely Dan style tune is my favorite on the album. It was written by James Raymond, who produced the record, played keyboards, and, it turns out, is Crosby’s son – one of his four kids, not counting the two children born to Melissa Etheridge via artificial insemination. Commenting on the tune, Crosby says on his website, “We didn’t consciously do that. We just naturally go to a place where Donald [Fagen] goes. I loved Steely Dan right from the first notes I heard.” Well, the man has good taste!
The album’s dreamy title track was co-written by Crosby with American singer-songwriter and guitarist Becca Stevens. The tune reminds me a bit of music I’ve heard by Clannad. Admittedly, it’s been a long time I’ve listened to the Irish folk band, and it would probably be worthwhile revisiting them. The saxophone fill-ins add a dose of jazz to the tune. “She’s a stunning, amazing singer and a great writer,” Crosby says of Stevens. “I’d rather be in a band with her than almost anybody.”
Here It’s Almost Sunset is a track co-written by Crosby and Mai Agan, an Estonian bass player and composer. It’s another tune on the quieter side. Most tracks on the album are. Again, there are nice saxophone accents. Wikipedia lists three saxophonists who supported the recording, Chris Bullock, Jeff Coffin and Steve Tavaglione, but unfortunately does not reveal who played on which song. Neither do the YouTube clips, which only list the aforementioned core musicians.
Capitol is a protest song co-written by Crosby and Raymond, expressing their less than flattering opinion about legislators: …And you think to yourself/This is where it happens/They run the whole damn thing from here/Money just burns, filling up their pockets/Where no one can see/And no can hear… Sadly, these words seem to ring true more than ever in this country these days.
The last tune I’d like to highlight is called Curved Air. It’s another co-write by Crosby and Raymond. The flamenco guitar sounded was created by Raymond using keyboards. “Hell no, I can’t play like that,” Crosby comments on the track that examines life’s contradictions. “It’s James on keyboard. So is the bass. It’s the only time I’ve ever heard anybody write singer/songwriter music with flamenco playing.”
In addition to Raymond, Agan and Tavaglione, the core musicians on the album include Jeff Pevar (guitar), British-born, Canadian-raised singer-songwriter Michelle Willis (keyboards, vocals) and Steve DiStanislao (drums). “All the people in the Sky Trails band are much younger than me, so I have to paddle faster to keep up,” Crosby says with a laugh. This was not the first time he had played with them. Between 1996 and 2004, Crosby performed with Raymond and Prevar in the jazz rock band CPR, or Crosby, Prevar & Raymond. DiStanislao and Tavaglione played on CPR albums as well.
David Crosby, who turned 78 years in August, is still going strong. His most recent studio album Here If You Listen appeared in October last year. With four of his seven solo albums having been released since 2014, it appears Crosby is on some sort of late-career surge. He also continues to tour. In fact, he’s currently on the road in the U.S., with confirmed dates until September 17. The tour schedule is here.
There is also a new documentary, David Crosby: Remember My Name. Released on July 19, the film was directed by A.J. Eaton and produced by Cameron Crowe, who has known Crosby for many years. Based on the trailer, the film looks intriguing, and I’m going to watch it on Sunday evening at a movie theater in my area.
While I suspect most folks can tell an anecdote where they feel a teacher or professor did them wrong, you probably figured this post isn’t about academic grades, though it is somewhat related to grading. I’m talking about the good old-fashioned single from the last Century. Yep, it’s hard to believe that in the age of online streaming and digital downloads there was once was a time when music artists would release singles on vinyl and people would actually buy them!
The most common format of the vinyl single was the 7-inch 45 rpm, which according to Wikipedia was introduced by RCA Victor in March 1949 as a more durable and higher-fidelity replacement for 78 rpm shellac discs. Historically, singles had an A-side and a B-side, and placing a song on the A-side implied it was better than the tune on the flip side. In December 1965, The Beatles disrupted this tradition when they released the first so-called double-A side: We Can Work It Out and Day Tripper. The 70s saw yet another type called double-B, where you had one song on the A-side and two tunes on the B-side. Also known as maxi singles, the initial format was 7 inches and, starting from the mid-70s, 12 inches.
Do singles even matter you might ask. At the end of the day, it’s all music, so who cares how it’s called. Well, I guess I’m a bit of a music nerd, so I get excited about it. That being said, I never got much into buying 45 rpms myself. In retrospect, that’s a good thing, since the handful I ended up were all pretty awful. Three I can still remember include I Was Made For Loving You (Kiss), Heart of Glass (Blondie) and How Could This Go Wrong (Exile) – indeed, how could things have gone so wrong? Well, to my defense it was the disco era and, perhaps more significantly, I was like 12 or 13 years old and slightly less mature!:-)
Before I go any further with this post, I have to give credit where credit is due. The initial inspiration for the topic came from a story on Ultimate Classic Rock about B-sides that became big hits. Then I also remembered that fellow blogger Aphoristic Album Reviewshas a recurring feature called Great B-sides. Both together made me curious to do some research and there you have it: a playlist of tunes that initially were released as B-sides, which in my opinion would have deserved an A-side placement or perhaps double-A side status. This doesn’t necessarily mean I feel the corresponding A-sides were inferior. With that being said, let’s get to it!
What better artist to kick off a rock playlist than with Mr. Rock & Roll, Chuck Berry. In September 1956, he released Brown Eyed Handsome Man, a single from his debut album After School Session. The B-side was Too Much Monkey Business, which I personally prefer over the A-side. Both tunes were written by Berry. Like many of his songs, Too Much Monkey Business was widely covered by others like The Beatles, The Kinks and The Yardbirds. Naming them all would be, well, too much monkey business!
Another 1950s artist I dig is Buddy Holly, a true rock & roll and guitar pioneer who during his short recording career released such amazing music. Here’s Not Fade Away, the B-side to Oh, Boy!, a single that appeared in October 1957 under the name of Holly’s band The Crickets. Not Fade Away was credited to Charles Hardin, Holly’s real name, and Norman Petty. In February 1964, The Rolling Stones released a great cover of the tune, their first U.S. single and one of their first hits.
In November 1964, Them fronted by 19-year-old Van Morrison released a cover of Baby, Please Don’t Go, a traditional that had first been popularized by delta blues artist Big Joe Williams in 1935. While Them’s take was a great rendition, it was the B-side, Morrison’s Gloria, which became the band’s first hit, peaking at no. 10 on the British singles charts. Following the song’s big success, apparently, Gloria was re-released as a single in 1965, with the garage rocker getting its well-deserved A-side placement. G.L.O.R.I.A., Gloria, G.L.O.R.I.A., Gloria – love this tune!
Another great B-side is I’ll Feel A Lot Better by The Byrds, which they put on the flip side of their second single All I Really Want To Do from June 1965. It was written by founding member Gene Clark, the band’s main writer of original songs between 1964 and early 1966. Like the Bob Dylan tune All I Really Want To Do, I’ll Feel A Lot Better appeared on The Byrds’ debut album Mr. Tambourine Man. I’m a huge fan of Roger McGuinn’sRickenbacker jingle-jangle guitar sound. Another reason I’ve always liked The Byrds is because of their great harmony singing. It’s the kind of true music craftsmanship you hardly hear any longer these days.
My next selection won’t come as a shock to frequent readers of the blog: I’m The Walrus by The Beatles. Other than the fact that The Fab Four are my all-time favorite band, there’s another valid reason I included them in this playlist. You can file this one under ‘what were they thinking relegating the tune to the B-side and giving the A-side to Hello Goodbye.’ Hello? According to The Beatles Bible, not only was John Lennon’s push to make Walrus the A-side overturned by Paul McCartney and George Martin, who both felt Hello Goodbye would be more commercially successful, but it created real resentment from Lennon. And frankly who can blame him! After the band’s breakup, he complained “I got sick and tired of being Paul’s backup band.” Yes, Hello Goodbye ended up peaking at no. 1 but also as one of the worst Beatles singles!
Next up: Born On The Bayou by Creedence Clearwater Revival, the B-side to Proud Mary, a single released in January 1969. Unlike the previous case, I think this is a great example of two killer tunes that are each A-side material. Written by John Fogerty, both songs appeared on CCR’s second studio album Bayou Country that also came out in January 1969.
In October 1969, Led Zeppelin issued Led Zeppelin II, only nine months after their debut, and one of their best albums, in my opinion. The opening track Whole Lotta Love was released as a single in November that year. The B-side was Living Loving Maid (She’s Just A Woman). It may not be quite on par with Whole Lotta Love, but it sure as heck is an excellent tune with a great riff. The song was co-written by Jimmy Page and Robert Plant.
The Needle And The Damage Done is one of my favorite songs from one of my all-time favorite artists: Neil Young. It became the B-side to Old Man, which Young released as a single in April 1972 off Harvest, his excellent fourth studio album that had appeared in February that year.
Also in April 1972, David Bowie came out with Starman, the lead single from The Rise and Fall of Ziggy Stardust and the Spiders from Mars, his fifth studio album and my favorite Bowie record. The B-side was Suffragette City, a kick-ass glam rocker. Like all tracks on Ziggy Stardust, it was written by Bowie.
Of course, this playlist wouldn’t be complete without featuring a tune from one of my other all-time favorite bands, The Rolling Stones. I decided to go with When The Whip Comes Down, the B-side to Beast Of Burden, which was released as a single in September 1978. As usually co-written by Mick Jagger and Keith Richards, both tunes appeared on Some Girls, the Stones’ 14th British and 16th U.S. studio album from June that year. That’s according to Wikipedia – I didn’t count them myself!
Sources: Wikipedia, Ultimate Classic Rock, Radio X, Smooth Radio, Forgotten Hits, The Beatles Bible, YouTube