Elton John and his lyricist Bernie Taupin primarily are known for great pop songs they wrote, especially during John’s most productive period during the first half of the ’70s. Your Song, Rocket Man, Daniel and Goodbye Yellow Brick Road are some that come to mind. Occasionally, they also came up with more rock-oriented tunes. I thought it would be fun to put together a playlist focused on the latter.
Rock and Roll Madonna
Rock and Roll Madonna was released as a non-album single in Britain in June 1970. It didn’t chart. Even though the beginning and the end sound like a live recording, the audience noise was added, a technique John would use again some four years later for Bennie and the Jets, one of his various chart toppers in the U.S. and Canada during the 70s. Rock and Roll Madonna featured Deep Purple bassist Roger Glover.
Crocodile Rock first appeared in October 1972 as the lead single for John’s sixth studio album Don’t Shoot Me I’m Only the Piano Player from January 1973. The tune, which has a late ’50s and early ’60s flair, became John’s first no. 1 single in the U.S. In 1974, a lawsuit alleged John and Taupin had illegally copied the falsetto of Speedy Gonzalez, a song that been popularized by Pat Boone in 1962. The case was settled out of court.
Saturday Night’s Alright for Fighting
Saturday Night’s Alright for Fighting perhaps is my favorite rocker by Elton John. It appeared on the excellent Goodbye Yellow Brick Road, his seventh studio album from October 1973. It also was released separately in June that year as the lead single. The tune prominently features Scottish rock guitarist Davey Johnstone, a longtime collaborator who had become a full-time member of John’s band for his fifth studio album Honky Château released in May 1972.
The Bitch Is Back
Another nice rocker is The Bitch Is Back – sounds like it could be the title of Stones song. The tune was recorded for John’s eighth studio album Caribou from June 1974. It also became the record’s second single in August of the same year. Dusty Springfield sang backing vocals.
Pinball Wizard (Tommy soundtrack, March 1975)
Obviously, Pinball Wizard isn’t a John-Taupin song, but I just couldn’t leave it out. I almost like this excellent cover better than the original by The Who. When I heard John’s version for the first time, I thought this is how Pete Townshend should have written this rock gem instead of what feels like arbitrarily fading out the song at less than 3 minutes. John’s cover is part of the soundtrack for the 1975 film version of Tommy, in which he also starred, along with numerous other music artists like Eric Clapton, Tina Turner and the members of The Who.
(Gotta Get A) Meal Ticket
Two months after the film version of Tommy had been released, John’s ninth studio album Captain Fantastic and the Dirt Brown Cowboy appeared in May 1975. It features (Gotta Get A) Meal Ticket, another great rock tune.
Grow Some Funk of Your Own
The ’70s were a very productive period for John, especially the first half, during which he released nine albums. Rock of the Westies was John’s second studio record in 1975, which appeared in October that year, only five months after Captain Fantastic and the Dirt Brown Cowboy. Here’s Grow Some Funk of Your Own, for which Davey Johnstone received a co-writing credit. The song was also released separately in January 1976 and became the album’s second single.
I’m Still Standing
I’d like to wrap up this playlist with the only track that’s not from the ’70s: I’m Still Standing, from Too Low for Zero, John’s 17th studio album that appeared in May 1983. Coming on the heels of four less successful records, especially compared to his releases during the first half of the ’70s, Too Low for Zero marked a comeback. It ended up being John’s best-selling album of the ’80s. I did like it at the time and still do. Here’s I’m Still Standing.
Next Wednesday morning, right before Thanksgiving, classic rock radio station Q104.3 starts their annual marathon of counting down the “Top 1,043 Classic Rock Songs Of All Time.” The list, which takes a broad definition that goes beyond classic rock in the traditional sense, is based on listener submissions of their top 10 favorite songs.
Playing the entire list from song no. 1,043 all the way down to no. 1 will take from Wednesday, November 25, 9:00 a.m. (EST) until Sunday, November 29, sometime in the evening, usually between 9:00 – 10:00 p.m. On Thanksgiving Day at noon, the countdown is interrupted for Arlo Guthrie’sAlice’s Restaurant.
This year marks the 20th time of Q104.3’s holiday tradition. Each year, Led Zeppelin’sStairway to Heaven has been the eternal no. 1. While the station doesn’t disclose actual vote counts, each year I’ve listened they said Stairway won by a substantial margin.
Rigged voting? I don’t think so. Q104.3 plays plenty of Zep as part of their regular rotation. One of their DJs, Carol Miller, who has been on the air since 1973, is a huge Led Zeppelin fan, and hosts the long running segment Get the Led Out. As such, I think it’s safe to assume many folks who listen to Q104.3 dig Zeppelin. And, honestly, if I could only choose one classic rock song, I also would go with Stairway.
Admittedly, the entire exercise is a bit nerdy but quite appealing to a music nut like myself. BTW, each submission is weighted equally, so the order of the picks doesn’t matter. But think about it, when can you ever hear 1,043 different songs in a row on the radio? Most stations tend to play a limited set of tracks over and over again.
Above is an image of my picks for this year and below are clips of the corresponding tunes. While I still dig all of my picks from last year, this time, I deliberately decided to shake things up and submit an entirely new list. And it doesn’t even include two of my favorite bands of all time, The Beatles and The Rolling Stones, not to mention Led Zeppelin. Here are my choices without further explanation, other than these are all songs I dig, though they aren’t necessarily my all-time favorites.
The Jimi Hendrix Experience – Purple Haze (non-album single, March 1967)
Creedence Clearwater Revival – Born on the Bayou (Bayou Country, January 1969)
The Allman Brothers Band – Black Hearted Woman (The Allman Brothers Band, November 1969)
The Who – The Seeker (non-album single, March 1970)
Bruce Springsteen – Bobby Jean (Born in the U.S.A., June 1984)
Tom Petty and the Heartbreakers – Mary Jane’s Last Dance (Greatest Hits, November 1993)
Lenny Kravitz – Rock and Roll Is Dead (Circus, September 1995)
Sheryl Crow – If It Makes You Happy (Sheryl Crow, September 1996)
Pretenders – Hate for Sale (Hate for Sale, July 2020)
AC/DC – Shot in the Dark (Power Up, November 2020)
My recent “desert island” collection of 10 studio albums included Deep Purple’sMachine Head, which after more than 40 years of listening remains the ultimate hard rock album to me. In that post, I also noted that these days heavy rock no longer is my primary music choice. But occasionally, I still enjoy it, which triggered the idea to put together this playlist. I guess just like with many other things, when it comes to music, it’s all about moderation, except of course for The Beatles, The Rolling Stones, The Who, Neil Young, live concerts, music equipment… 🙂
As more frequent visitors of the blog know, I find doing rankings nearly impossible. But since I suppose there needs to be some system to the madness, the following list is in chronological order from oldest to most recent. And, yes, I suppose in some cases you could question whether a pick is really hard, heavy or metal rock, or is it just rock? The boundaries can be pretty fluid. Plus, to some extent, it’s also a bit subjective. At the end of the day, it’s all about music I dig when the occasion is right. With all these caveats out of the way, let’s get to it.
Steppenwolf – Born to be Wild
This classic from Steppenwolf’s eponymous debut album from January 1968 sometimes has been called the first heavy metal song – in part because of the second line of the second verse, “heavy metal thunder.”Born to be Wild was written by Canadian rock musician and songwriter Dennis Edmonton, aka Mars Bonfire. The tune also appeared separately as a single in June 1968 and became Steppenwolf’s biggest hit next to Magic Carpet Ride. It will forever be associated with the 1969 biker cult picture Easy Rider. Every time I hear that opening line Get your motor runnin’, I feel like climbing on my chopper and heading down Route 18 to the Jersey shore. Then reality sets in. I don’t own a bike, not to mention the minor detail I don’t really know how to ride one. But when I get the urge to look for adventure, there’s always my sexy family crossover SUV! 🙂
Led Zeppelin – Whole Lotta Love
While Led Zeppelin IV is my favorite Zep album, Whole Lotta Love possibly is my favorite tune among their crunchy rockers. Credited to all four members, the track first appeared on Led Zeppelin’s sophomore album that came out in October 1969, ingeniously titled Led Zeppelin II. The following month, Whole Lotta Love was also released as a single and became their best chart-performing song, reaching no. 1 in Australia and Germany, and peaking at no. 4 in the U.S. Notably, it didn’t chart in their home country. From today’s perspective, the fact that Whole Lotta Love became such a big hit looks unreal. You need cooling/Baby I’m not fooling/I’m gonna send ya/Back to schooling//A-way down inside/A-honey you need it/I’m gonna give you my love/I’m gonna give you my love//Want to whole lotta love/Want to whole lotta love/Want to whole lotta love/Want to whole lotta love…
Deep Purple – Speed King
Obviously, it was only a matter of time until I would feature a Deep Purple tune in this post. But while Machine Head was their Mount Rushmore, there’s more to the British hard rockers than this 1972 gem. One great example is the opener to the band’s fourth studio album Deep Purple in Rock released in June 1970: Speed King. Credited to the entire band, the song’s lyrics are made up of titles of classic rock & roll tunes by Chuck Berry and Little Richard, which I always thought was a cool idea. Good golly, said little Miss Molly/When she was rockin’ in the house of blue light/Tutti Frutti was oh so rooty/Rockin’ to the east and west/Lucille was oh so real/When she didn’t do her daddies will/Come on baby, drive me crazy, do it, do it.. This is one kick-ass rocker!
Black Sabbath – Paranoid
While I can’t claim to be a Black Sabbath fan, there’s just no way you can leave out these English rockers from any heavy rock collection. It would be like doing a post about the British Invasion and excluding The Beatles. And, to be clear, I’m not just featuring Sabbath because I felt I had to. I’ve always loved Paranoid, the title track of their second studio album that came out in September 1970. Credited to the entire band, Paranoid first appeared as a single in August of the same year. It became their biggest hit, topping the charts in Germany, and reaching no. 2, 3 and 4 in Switzerland, Austria and the UK, respectively. Apparently, audiences were less receptive in America, where the tune stalled at no. 61 on the Billboard Hot 100. Here’s a cool official clip, even though it’s all playback. Check out Tony Iommi’s cool Gibson SG. One day when I grow up I’m gonna get an ax like this – it even plays rhythm and solo at the same time! 🙂
Uriah Heep – Bird of Prey
Yep, Uriah Heep with their crazy high vocals can border a bit on the weird, but these guys were rockin’, especially in their early days. I seem to remember when I bought the album Salisbury as a young teenager, my six-year older sister who accompanied me to the record store was a bit embarrassed about my choice. Come on, sis’, while with Carole King’sTapestry, CSNY’sDéjà Vu and Pink Floyd’sWish You Were Here, to name a few, you undoubtedly introduced me to some of the best recorded music ever, your taste also varied – let’s just leave it at that! 🙂 Credited to the band members Ken Hensley, Mick Box, Paul Newton and Keith Baker, Bird of Prey is the furious opener of Heep’s sophomore album from February 1971. That tune rumbles just like the tank on the album cover – “geil,” as was fashionable to say in Germany back in the day!
Rainbow – Long Live Rock ‘n’ Roll
I don’t care how you feel about Rainbow, and my thoughts about them are mixed these days, Long Live Rock ‘n’ Roll just is an epic rocker. Co-written by former Deep Purple guitarist and Rainbow founder Ritchie Blackmore and the band’s powerhouse lead vocalist Ronnie James Dio, Long Live Rock ‘n’ Roll was the title track of Rainbow’s third studio album released in April 1978. It also became the record’s lead single in March of the same year. To me, this is Rainbow’s best song. Apparently, audiences felt differently, at least the time, and far preferred some of their later songs, on which Blackmore adopted a more commercial sound along the lines of Foreigner.
Gary Moore – Victims of the Future
Before Gary Moore fully embraced electric blues during his solo career, the Irish guitarist released heavy rock album Victims of the Future in December 1983. The big hit off that record was the power ballad Empty Rooms, which was played to death on the radio in Germany. I don’t even recall hearing the title track, which was co-written by Moore, Neil Carter (keyboards), Neil Murray (bass) and Ian Paice (drums) – and, yep, that’s the Ian Paice from Deep Purple. The song wasn’t released as a single; clocking in at more than six minutes, it wouldn’t have been radio-friendly to begin with. Admittedly, this is a pretty aggressive tune I can only tolerate occasionally, but when I’m in the mood for some heavy action, I still enjoy it. According to Wikipedia, Moore later dismissed the record as “just one of my feeble attempts at heavy rock”. It’s certainly quite different from his electric blues music he released starting in the early ’90s all the way until his premature death at age 58 in February 2011.
Guns N’ Roses – Sweet Child o’ Mine
My sentiments about Guns N’ Roses in general are similar to the previous pick. Sometimes, their music is simply too aggressive, so again, I need to be in the right mood. When I am, I actually enjoy a good number of their tunes. On these occasions, Sweet Child o’ Mine is one of my favorites. It’s a track off their debut album Appetite for Destruction from July 1987. Credited to the entire band, the tune also became the album’s third single in August of the same year. It was one of the songs that fueled the record’s massive international chart success, turning it into Guns N’ Roses’ biggest album. The guitar work on this song is just killer!
Scorpions – Raised on Rock
I suppose writing a post about heavy rock without acknowledging German veterans Scorpions would border on treason. The band from the city of Hannover first entered my radar screen with Love at First Sting, their hugely successful ninth studio album they released in March 1984, 12 years into their recording career. I seem to recall reading somewhere there were times before then when Scorpions were more famous elsewhere than in their home country. With hits, such as Rock You Like a Hurricane, Big City Nights and Still Loving You, Love at First Sting definitely changed that. Scorpions continue to rock and roll to this day. In April, they released a new tune, Sign of Hope, a classic Scorpions-style ballad, inspired by COVID-19. According to a statement on their website, they have been working on songs for a new album. The tune I decided to feature here appeared 26 years after Love at First Sting. Raised on Rock is the opener to the band’s 17th studio album Sting in the Tail from March 2010, which together with the supporting tour was positioned as their farewell. Then, they decided they simply couldn’t stop.
AC/DC – Play Ball
Let’s wrap up things with a great late-career rocker by AC/DC. Play Ball is from their 16th studio album Rock or Bust, which is the band’s most recent to date from November 2014. There have been reports about a new album for some time, largely fueled by Twisted Sister’sDee Snider, who apparently is close to AC/DC. According to this NMEstory from late July, the album is already in the can, but it’s release has been delayed due to COVID-19. It sounds like thanks to some technology wizardry, it will feature the classic lineup including Malcolm Young and be the band’s final album. For now, let’s focus on actually released AC/DC music. Co-written by Malcolm Young prior to his forced retirement due to dementia and his younger brother Angus Young, Play Ball was the lead single from Rock or Bust, which appeared in October 2014, preceding the album by one month – a classic AC/DC rocker!
Jeez, after listening to ten heavy rock tunes, my ears are exhausted. Yesterday, the long-awaited reissue of The Rolling Stones’Goat Heads Soup came out. I think I’m just about ready for Angie. A-Angie, A-Angie/When will this hard rock disappear/Angie, Angie/where will it lead from here…
A selection of newly released music that caught my attention
As another busy week that left little opportunity for blogging is drawing to a close, the time has come again to take a look at newly released music. The selections in this latest Best of What’s New installment all fall into the pop rock and blues areas. Artists include a rock band from England teaming up with a U.S. rock singer-songwriter, two blues artists from down under, a gothic blues singer-songwriter from Nashville and Sheryl Crow with her latest single.
The Struts with Albert Hammond Jr./Another Hit of Showmanship
The Struts are a British rock band from Derby, England, which was founded in 2012. According to their website, In just a few years, The Struts have found themselves massively embraced by some of the greatest icons in rock-and-roll history. Along with opening for The Rolling Stones, The Who, and Guns N’ Roses, the U.K.-bred four-piece was hand-picked by Mötley Crüe to serve as the supporting act for their last-ever performances, while Dave Grohl praised them as the best band to ever open for Foo Fighters. To date, The Struts have released two full-fledged studio albums, 3 EPs and numerous singles. For their latest single Another Hit of Showmanship, which appeared today, they teamed up with singer-songwriter Albert Hammond Jr., who is best known as guitarist in American rock band The Strokes. “‘Another Hit of Showmanship’ reminds me of being at a club night called Ramshackle years ago at the O2 Academy in Bristol, where they’d play bands like the Libertines and Razorlight and Scissor Sisters, and of course the Strokes,” Struts vocalist Luke Spiller stated, as reported by Rolling Stone. “I hit up Albert out of the blue and told him, ‘We’ve got this song, and I’m so excited to see what you would do with it.’ As soon as he got his hands on it, he took it to a whole different level — it really just shows why he’s so brilliant at what he does.” It’s quite a catchy tune!
Josh Teskey&Ash Grunwald/Thinking ‘Bout Myself
Vocalist and guitarist Josh Teskey is a co-founding member of The Teskey Brothers, an Australian blues rock band formed in 2008. Ash Grunwald is a blues musician who hails from down under as well and has been active for 20 years. What do you get when you combine the two? Josh Teskey and Ash Grunwald, and an album, Push the Blues Away, scheduled for November 13. NME reportedThinking ‘Bout Myself is the first single released August 24. The two artists have worked together before. In 2019, they recorded a single, Ain’t My Problem, and while filming a clip for the song ended up jamming. “Somebody filmed our little jam,” Grunwald stated. “And it became the seed of a great idea: Why don’t we do an acoustic blues album? No bells and whistles, something from the heart.” All except two of the eight tracks were written either by Teskey or Grunwald. Well, based on this single, it certainly sounds promising.
Adia Victoria/South Gotta Change
Adia Victoria is a Nashville-based singer-songwriter, who according to Wikipedia is known for her “gothic blues” musical style. After a friend had given Victoria a guitar for her 21st birthday, she got into blues music. In 2010, she moved to Nashville and began performing locally. Her debut single Stuck in the South appeared in early 2015. Rolling Stone included her in a 10 New Artists You Need to Knowfeature, calling the tune a “swampy, bluesy track that put Adia Victoria on the map.” Her debut studio album Beyond the Bloodhounds came out in May 2016, followed by her sophomore release Silences from February 2019. South Gotta Change is Victoria’s new single released today and produced by none other than veteran T-Bone Burnett. Victoria’s compelling vocals and a great sound make this tune a real gem. Check out the official video.
Cheryl Crow/In The End
Threads may have been Cheryl Crow‘s final full-fledged album, as she stated when it came out a year ago. I previously reviewed it here. Luckily, Crow also said she’s not retiring from touring or releasing new music. Going forward, she added, she wanted to focus on singles or perhaps EPs. Apparently, Crow is following through. After releasing a cover of Bill Withers’ Lonely Town, Lonely Street in April and the original Woman in the White House on August 10, Crow is out with another single today: In the End. An excerpt from the lyrics leaves no doubt what’s on her mind these days. There’s a fly on the wall in the house on the hill/Where the king of the world watches TV/And the people await for his latest mandate/To a nation of angry believers/His words are a trap while his loyal band of thugs/Cover up all his many transgressions/The fly lands on his ear and whispers, “What’s there to fear/As long as you’re still the obsession?/As long you’re still the obsession”… Co-written by Crow and her long-time collaborator Jeff Trott, the nice pop rocker is classic Sheryl Crow.
Sources: Wikipedia; The Struts website; Rolling Stone; NME; YouTube
Here’s Part 2 of my mini-series recalling musical highlights from the Live Aid concert that took place on July 13, 1985. Like in the first part, the footage in this post was all captured at Wembley Stadium in London, England. The next installment is going to feature clips from John F. Kennedy Stadium in Philadelphia, the second stage of the music marathon.
One of Live Aid’s definitive moments was the performance by Queen. Freddie Mercury once again vividly illustrated he was a born live performer and showman, and the rest of the band was on fire as well. Here’s We Are the Champions, the closer of Queen’s mini set. Written by Mercury, the tune combined with We Will Rock You was the lead single of the band’s sixth studio album News of the World. Both appeared in October 1977, with the single predating the album by two weeks.
It kind of must have sucked having had to follow Freddie Mercury, especially after that performance. The Who, who had reunited for Live Aid following their breakup in December 1983, proofed they were up to challenge. Roger Daltrey, Pete Townshend and John Entwistle, together with Kenny Jones and John Bundrick on drums and keyboards, respectively, were in decent shape. Here’s the mighty Townshend-penned Love, Reign O’er Me from Quadrophenia, the sixth studio album by The Who released in October 1973. And, yep, the chap announcing them is Jack Nicholson, who I guess was so excited he literally read everything from a piece of paper. 🙂
Let’s wrap up this second part with some Elton John. Bennie and the Jets, composed by John with lyrics from Bernie Taupin, first appeared on his seventh studio album Goodbye Yellow Brick Road that came out in October 1973. The song was also released separately as the record’s third single in February 1974. Nice performance by John who had staged a comeback in 1983 with his great album Too Low for Zero, though seeing him without flashy glasses is unusual.
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.
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
Since my recent post about Something in the Air by Thunderclap Newman, the above creatively borrowed and somewhat adjusted phrase had been stuck in my head, just like the catchy song. The first part of the statement is true, the second half is perhaps debatable. But while this British rock band only had one real hit, there’s no doubt in my mind Thunderclap Newman was more than just a one-hit-wonder.
As a fan of The Who, I’m intrigued by Pete Townshend’s role in the band’s history – in fact, without Townshend, there would have been no Thunderclap Newman. He brought the band’s core members together in late 1968/early 1969: Songwriter and multi-instrumentalist Speedy Keen (born John David Percy Keen), Dixieland jazz pianist Thunderclap Newman (born Andrew Lawrence Newman) and lead guitarist Jimmy McCulloch (born James McCulloch). They are pictured in that order from left to right in the above photo.
Interestingly, prior to the band’s formation, Keen had been The Who’s chauffeur and shared an apartment with Townshend. He also had written Armenia In the Sky, the opener to The Who’s third studio album The Who Sell Out from December 1967. Apparently, Townshend was impressed with the songwriting talents of Keen who had played in different bands since 1964, so he decided to introduce him to Newman and McCulloch. Townshend was also instrumental in getting the band a contract with Track Records, an independent label established by The Who’s managers Kit Lambert and Chris Stamp.
The first song Thunderclap Newman recorded was their big hit Something in the Air written by Keen. The sessions took place at Townshend’s home studio. He also produced the single and played bass on the recording under the pseudonym Bijou Drains. Released in May 1969, Something in the Air topped the UK Singles Chart only three weeks after its appearance, replacing The Beatles’Ballad of John and Yoko. The tune’s original title was Revolution, but it was changed because The Beatles already had a song with that title, which had come out in 1968.
Following the success of Something in the Air, an initially reluctant Thunderclap Newman agreed to go on the road. They brought in Jim Pitman-Avery (bass) and Jack McCulloch (drums), Jimmy’s older brother, to support Deep Purple on a 26-date tour of England and Scotland from July to August 1969. After the tour, Pitman-Avery and Jack McCulloch exited and formed country-rock band Wild Country, leaving Thunderclap Newman with their three core members. Keen, Newman and McCulloch went back into the studio and recorded Hollywood Dream, their only studio album.
Like Something in the Air, Townshend played a key role, producing Hollywood Dream and again playing bass under the name of Bijou Drains. And while the final track Something in the Air undoubtedly is the hit, there are other gems on this album. Let’s kick things off with the nice opener Hollywood #1, which like most of the other tracks was written by Keen.
Here’s Open the Door Homer, a great cover of a Bob Dylan song. If I see it correctly, Dylan did not release the tune until 1975 when he included it on The Basement Tapes, a collection of tracks he had recorded in 1967, mostly with backing by The Band. In particular, I dig Keen’s singing on this tune.
Next up: Accidents, another original tune written by Keen. There’s a lot going on in this more than nine-minute track, including some great piano and guitar work. In fact, as much as I dig Something in the Air, Accidents is the album’s tue standout to me. A shorter version was released separately and peaked at no. 46 on the UK Singles Chart in June 1970, becoming Thunderclap Newman’s only other single to make the charts.
The last song I’d like to call out is the title track. To readers who know my affection for vocals, it may come as a bit of a surprise that I chose to highlight an instrumental. Well, it’s not that I don’t like instrumentals – after all, I’m a big fan of Pink Floyd’s ’70s albums that are filled with instrumental parts. But after a while, I simply feel the need to hear some vocals! In part, I also chose Hollywood Dream since it was co-written by the McCulloch brothers, making it the only original that wasn’t penned by Keen. BTW, Jimmy McCulloch was only 15 years when he recorded this tune with the band.
In early 1971, Thunderclap Newman brought in Australian musicians Roger Felice (drums) and Ronnie Peel (bass) to create a new touring lineup. This was followed by another tour with Deep Purple through England and Scotland between January and April 1971. And then it was suddenly all over for the band. Why? Referencing a 1972 interview Newman gave to the New Musical Express (now known as NME), Wikipedia hints to personal friction between Newman and Keen. It’s unfortunate when egos clash, but certainly not unheard of, especially in music!
Keen went on to record two solo albums, Previous Convictions (1973) and Y’ Know Wot I Mean? (1975), and also played as a session musician with Rod Stewart, The Mission and Kenny G. Sadly, he passed away from heart failure at the age of 62 on March 12, 2002.
Newman also recorded a solo album, Rainbow, which appeared in 1971. Other than that he was “was musically dormant and worked as an electrician, until he put together a new version of Thunderclap Newman in 2010,” according to an obituary in The Guardian. In addition to Newman, the band’s new line-up featured Tony Stubbings (bass), Nick Johnson (lead guitar), Mark Brzezicki (drums) and Pete Townshend’s nephew Josh Townshend (rhythm guitar and vocals). Shortly thereafter, the band released Beyond Hollywood, an album of studio and live tracks of old Thunderclap Newman songs. In 2011, they toured the UK with Big Country. The last two gigs listed on the band’s official website are from 2012. Newman died on March 29, 2016 at the age of 73.
Jimmy McCulloch formed his own group in October 1971 and also played guitar in various other bands, most importantly Paul McCartney’s Wings, which he joined in August 1974. After exiting Wings in September 1977, McCullogh joined the reformed Small Faces. Another own band and a few additional stints followed. On September 27, 1979, McCulloch was found dead, apparently having died from a heart attack attributed to morphine and alcohol poisoning. He was only 26 years old.
Boy, do I love this catchy tune, and now it’s stuck in my head! I heard it for the first time by Tom Petty and the Heartbreakers on their 1993 Greatest Hits compilation. Because it sounds so much like he could have written it, for a long time, I thought Something in the Air was a Tom Petty song! The original version was first released in May 1969 by Thunderclap Newman, a British band with an intriguing history that involves Pete Townshend who founded and produced them – something I might explore in a separate post. Townshend also played bass on the recording under the alias Bijou Drains. The tune was written by John David Percy “Speedy” Keen, Townshend’s former chauffeur who also penned Armenia in the City, a song The Who included on their 1967 album The Who Sell Out. Something In The Air topped the UK Singles Chart in July 1969 and was the sole no. 1 hit for Thunderclap Newman who only recorded one study album before they disbanded in April 1971.
Since I really dig the Tom Petty cover, here it is, taken from The Live Anthology, released in November 2009. This fantastic box set nicely illustrates that in addition to great original songs, Tom Petty and the Heartbreakers were a top-notch cover band – a potential fun topic for yet another post!
And, coz’ three make a charm, let’s throw in yet another version of the song that until today I had no idea existed: The Dukes of September. Formed in 2010, this American “supergroup” included Donald Fagen, Michael McDonald and Boz Scaggs. Essentially, it was a revival of The New York Rock and Soul Revue, a music project produced by Fagen’s then-future wife Libby Titus. Led by Fagen, the project involved a series of concerts between 1989 and 1992, which also featured McDonald, Scaggs and various other prominent music artists who performed a mix of their own songs and covers.
Highlights of my rock & roll journey during the past 12 months
It feels unreal to me Christmas and New Year’s are upon us again – not to mention a new decade! I still recall a conversation with a school friend when we were 12 years old. He and I imagined where we might be when the year 2000 comes. At the time, the turn of the century was still more than two decades out. It seemed so far away. Now, not only has 2000 come and go, but we’re 20 years down the road, baby – crazy how time flies!
Well, this post doesn’t span decades. The idea is much more moderate: Looking back at my personal music journey over the past 12 months, as documented by this blog. While to some extent it reflects what happened in music this year, it’s not a broad review piece. Since I mostly listen to ’60s and ’70s artists or new music they release, I couldn’t do a legitimate comprehensive look-back on 2019 in music.
In the past, I’ve said more than once most new music nowadays lacks true craftsmanship and sounds generic and soulless to me. And while I still largely ignore what dominates today’s charts, I’ve finally come to accept contemporary music isn’t inherently bad. It’s just different and I generally don’t like it. Here’s the good news: I don’t have to. There’s so much “old” music out there I’ve yet to discover, and while artists may retire or pass away, their music will stay. Forever. That’s the beauty of music. It means for those of us who dig it, rock & roll will never die! Okay, enough with the wise-cracking and on to some highlights of my music journey this year.
As a retired band-turned-closet musician, live music remains the ultimate thrill to me. Yes, ticket prices continue to be outrageous for most top acts, and that’s not going to change. But this hasn’t deterred me yet from seeing artists I dig. However, it did require being more selective (for example, I skipped Steely Dan and The Doobie Brothers, since I had seen both in 2018) and oftentimes settling for cheaper seats.
My two concert highlights this year were The Rolling Stones at MetLife Stadium in East Rutherford, N.J. in early August and The Who at New York’s Madison Square Garden in May. I had seen both before, but since they are among my longtime favorite bands and in the twilight of their careers, I simply did not want to miss the opportunity. I’m glad I was able to catch both, especially The Who. At the time I bought my ticket, I had not realized this wasn’t a “regular” gig but The Who backed by a symphonic orchestra. Had I understood this, it may have deterred me. But the concept worked pretty well, so I’m happy I didn’t read the fine print! Here’s a clip from each show: Jumpin’ Jack Flash and the Love Reign O’er Me, two tunes that will never go out of style in my book!
I also saw various other great shows: Walter Trout (The Iridium, New York, April 9), Joe Jackson (State Theatre, New Jersey, New Brunswick, May 18), Govt’ Mule (The Stone Pony, Asbury Park, N.J., June 28), Southern Avenue (The Wonder Bar, Asbury Park, N.J., July 11) and Hall & Oates (Fairgrounds, Allentown, Pa.). I wouldn’t have gone to that last concert, had it not been for my wife. While I wouldn’t call myself a Hall & Oates fan, it was a great show.
As King/Emperor of Tribute Bands (blame Music Enthusiast for the title! 🙂 ), this concert section wouldn’t be complete without acknowledging the many tribute shows that continued to attract me. I know some folks roll their eyes when they hear the word tribute band. I find nothing wrong listening to music I dig, especially when it’s faithfully captured. Among the many tribute concerts I saw, two stood out: Pink Floyd tribute Brit Floyd (Sands Bethlehem Event Center, Bethlehem, Pa., March 30) and the annual Rock The Farm Tribute Festival (Seaside Heights, N.J., September 28). Here’s a clip from the Brit Floyd gig: Comfortably Numb – epic!
And then there’s of course Woodstock’s 50th anniversary. I finally got to see the director’s cut of the documentary on the big screen. While I can’t deny 224 minutes is pretty massive, I enjoyed every minute of it. Here’s the main post I did to commemorate the festival. And here’s a clip of one of the most iconic rock performances of all time: Joe Cocker and With A Little Help From My Friends.
As stated above, for the most part, new music means new albums released by “old” artists I dig. As I looked back through my previous posts, I was surprised to find that I reviewed 22 new albums. Granted this number includes three live albums (The Doobie Brothers/Live From The Beacon Theatre, The Rolling Stones/Bridges To Bremen and Paul McCartney/Amoeba Gig) and an excellent posthumous compilation by Tom Petty And The Heartbreakers (The Best Of Everything), which do not feature new music. Even if you exclude these, it still leaves you with 18 albums. This makes me wonder what I would do if I also paid more attention to contemporary artists. It pretty much would be impossible to review their new music as well, given I have a family and a full-time job – another good reason to focus on what I trulydig! 🙂
Albums by “old hands” I’d like to call out are The Who (WHO), Booker T. (Note By Note), Neil Young (Colorado), Ringo Starr (What’s My Name), Santana (Africa Speaks), Little Steven And The Disciples of Soul (Summer of Sorcery), Joe JacksonFool and Sheryl Crow (Threads). One artist who seems to be missing here is Bruce Springsteen and Western Stars. While I dig Springsteen and don’t think it’s a bad record, it just doesn’t speak to me the way other music by The Boss does, so I ended up skipping a review. Crow said Threads is her final full-fledged release, explaining in the age of streaming music, most people make playlists and no longer listen to entire albums. Boy, this statement really reflects how much listening habits and the music business have changed! Here’s Live Wire, a nice bluesy tune co-written by Crow and Jeff Trott and featuring Bonnie Raitt and Mavis Staples.
There were also some new blues releases I enjoyed by both older and younger artists, including Walter Trout (Blues Survivor), Jimmie Vaughan (Baby, Please Come Home), Kenny Wayne Shepherd Band (The Traveler) and “wunderkind” Jontavious Willis (Spectacular Class), as Taj Mahal has called him. How about some music from Willis’ sophomore album? By the way, it was executive-produced by Mahal. Here’s opener Low Down Ways.
I also would like to call out albums from three other contemporary artists: Rick Barth (Fade), SUSTO (Ever Since I Lost My Mind) and Southern Avenue (Keep On). If you’re a more frequent visitor of the blog, you may recall Southern Avenue is one of the very few young bands I truly dig. I just love how these guys blend blues, soul and R&B, and the vocals are just killer! Here’s the title track from the above album, which is their second one. The tune was co-written by guitarist Ori Naftaly, lead vocalist Tierini Jackson and producer Johnny Black. There’s just something about Southern Avenue’s sound I find really seductive.
I think I came across a number of great clips I posted throughout the year. One of the best has to be this footage of The Who performing Won’t Get Fooled Again. That’s the raw power of rock & roll! It was filmed on May 25, 1978 at England’s Shepperton Studios, about 20 miles southwest of London, for the closing sequence of the band’s rockumentary The Kids Are Alright. And then, there’s this very different but equally mesmerizing clip: a live demonstration of the Hammond B3 by the amazing Booker T. Jones. To really get excited about it, I realize maybe you need to be a musician.
2019 marks the third full year I’m doing this blog. While I really wanted to start writing about my passion, I wasn’t sure whether I could keep it going when I set out in June 2016. Due to personal reasons, I had to slow down a bit during the past couple of months. But music and writing about artists I dig is therapy to me, so I have every intention to continue and hopefully pick up the pace again. When starting the blog, I also felt I’m doing this for myself first and foremost, not to become some “Internet sensation.” While that is still the case, I can’t deny it’s great to see visitors and that traffic has trended up nicely. Of course, growing from tiny numbers is relatively easy, and there is realistically no way I can keep up the current momentum.
I’m leaving you with a clip from my most popular post this year (measured by total views): The above mentioned Rock The Farm Tribute Festival. The positive reception made me really happy, since it’s great music for a great cause. Here’s It’s Late by Canadian Queen tribute Simply Queen.
I’d like to thank all visitors for reading and especially those who go through the trouble of leaving comments. I always love getting feedback, even if I may not agree with everything folks say. But that’s cool.
“Although it’s been 13 years since their last LP and more than half a century since they formed, Pete Townshend and Roger Daltrey still know who they are” (Rolling Stone). “While Who is an album brimming with experience, emotion and ideas, it’s ultimately aimed at the fans who have always stuck with them, through thick and thin. Their best since Quadrophenia, then. Just don’t leave it so long next time, eh?” (UNCUT). “Whether Roger Daltrey is bellowing through anti-war flamenco or slagging off copycat bands, The Who have lost none of their vim and vigour. Just don’t mention Brexit.” (NME).
On Friday, The Who released WHO, their widely anticipated new studio album. From what I have seen, it has received mostly positive reviews. While I oftentimes feel music critics are desperately trying to be clever in an effort to say something memorable, I have no problem citing reviews I happen to agree with! The Who are among my favorite ’60s rock bands, so I realize there’s no way I can be completely unbiased here. After having listened to WHO various times, I have to agree with NME there is plenty of vim and vigour on this album.
The Who have now existed for some 55 years, which is incredible in and of itself. Okay, there were some breaks in-between when Pete Townshend and Roger Daltrey worked on solo projects. And, yes, it is fair to say the band hasn’t been 100 percent the same since the untimely death of Keith Moon in September 1978 at age 32 – not to mention The OxJohn Entwistle who passed away in June 2002. Still, The Who’s longevity is truly remarkable. Think about it, how many bands other than The Rolling Stones and The Beach Boys can you name that have lasted for more than half a century?
Here’s another remarkable aspect: WHO is only the 12th studio album by The Who, and their first since Endless Wire, which came out in October 2006 – a whopping 13 years ago! And the preceding record It’s Hard dates back all the way to June 1982. That’s the one with Eminence Front, one of my favorite tunes from the band’s later-stage career – actually, from today’s perspective, it’s not even their midstage if you base it on the number of years the band has been in existence!
Back to WHO. There are various tracks on the album showing Pete Townshend still knows how to write great music. But what really stands out to me is Roger Daltrey’s singing. At age 75, he still is a formidable vocalist. “It’s a feat made all the more incredible given his brush with the Grim Reaper in 2015 following a bout of viral meningitis,”UNCUT’s above review rightly points out – and, as USA Todayreported, after recurring laser surgeries Daltrey apparently needs to undergo to remove precancerous cells from his throat.
And let’s not forget about the fine backing musicians, including long-time drummer Zak Starkey, bassist Pino Palladino and keyboarder Benmont Tench. There are also Gordon Giltrap (acoustic guitar) and Gus Seyffert, who plays bass on three tracks, as well as various additional drummers: Carla Azar, Matt Chamberlain, and Joey Waronker. Last but not least, Pete’s younger brother Simon Townshend, who is also part of the band’s touring line-up, contributed one of the songs: Break The News. All other tracks except for one were written by Pete. Time for some music!
The album kicks off with three great tunes, which so far are my favorite tracks: All This Music Must Fade, Ball And Chain and I Don’t Wanna Get Wise. In addition to the music, some of the lyrics stand out as punchy. On the opener, Daltrey sings, I don’t care, I know you gonna hate this song, and that’s fair, we never really got along/It’s not new, not diverse/It won’t light up your parade/It’s just simple verse…Townshend ends the tune with the words, Yours is yours, and what’s mine is mine/And what’s mine is mine, and what’s mine is yours/Who gives a fuck?
Or take Ball And Chain, a re-recording of a Townshend solo track that initially was called Guantanamo and appeared on his 2015 compilation album Truancy: The Very Best of Pete Townshend: …Down in Guantanamo/We still got the ball and chain/There’s a long road to travel/For justice to make its crane/Let’s bring down the gavel/Let the prisoner say his name…
And here’s I Don’t Wanna Get Wise and yet another lyrics excerpt, which may be an eye-opener to some folks: …That the crap that we did/Brought us money, God bless/And those snotty young kids/Were a standing success/ Helped us conquer and rise/And we learned in this hell/We didn’t wanna get wise/(I don’t wanna get wise/I don’t wanna get wise)/Life teaches us well…
While I’ll Be Back, one of the quieter songs on the album, may not be among the best tunes, it proves that Townshend still has a decent voice – and that Daltrey is a credible harmonica player.
The last track I’d like to highlight is another standout: Rockin’ In Rage, which has a bit of theatrical/musical vibe to it. Daltrey is on fire here vocally, while Townshend throws in some nice rock guitar chops.
“I think we’ve made our best album since Quadrophenia in 1973,” said Daltrey in a statement. “Pete hasn’t lost it, he’s still a fabulous songwriter, and he’s still got that cutting edge”. While Quadrophenia dates back a mighty 46 years, that statement rings true to me.
Added Townshend: “There is no theme, no concept, no story, just a set of songs that I (and my brother Simon) wrote to give Roger Daltrey some inspiration, challenges and scope for his newly revived singing voice. Roger and I are both old men now, by any measure, so I’ve tried to stay away from romance, but also from nostalgia if I can.”
Without meaning to be Debbie Downer here, unless Messrs. Townshend and Daltrey rapidly accelerate their rate of releasing new records, it’s safe to assume WHO is the band’s final album. Well, if it is, I think they are going out on a high note!
Sources: Wikipedia; Rolling Stone; UNCUT; NME; USA Today; The Who website; YouTube