Aw, The ’80s (Part 2: 1985-1989)

A two-part feature looking back at music of the decade

Advertisements

Here is the second and final installment of my feature looking back at music and some related events in the ’80s. This part is focused on the second half of the decade. As noted in part 1, it isn’t meant to be a comprehensive review but instead a selection of things I find noteworthy.

1985

To me the key music event during this year and perhaps the entire decade was Live Aid. I was watching it on TV from Germany while simultaneously taping it on music cassette from the radio. Organized by Bob Geldorf and Midge Ure as a fundraiser to fight starvation in Ethiopia, Africa, the benefit concert was conducted on July 13 simultaneously in the U.K. at London’s Wembley Stadium and the U.S. at John F. Kennedy Stadium in Philadelphia. Among others, it featured Status Quo, Queen, U2, David Bowie, The Who and Paul McCartney at Wembley, while some of the performers in Philly included Joan Baez, Madonna, Tom Petty, Bob Dylan, Mick Jagger, Tina Turner and, in a less-than-stellar appearance, a reunited Led Zeppelin featuring Phil Collins on drums. The concerts were watched by an estimated global TV audience of 1.9 billion across 150 countries and raised approximately 150 million British pounds.

Live Aid Wembley
The Live Aid concert at London’s Wembley Stadium was attended by 72,000 people

Other events that year included the official launch of VH-1 on cable TV in the U.S. (Jan 1); recording of the charity single for Africa We Are The World (Jan 28), co-written by Michael Jackson and Lionel Ritchie and performed by USA For Africa, who apart from Jackson and Ritchie featured Ray Charles, Billy Joel, Cindy Lauper, Paul Simon, Bruce Springsteen, Stevie Wonder and numerous other top artists; release of Dire Straits’ fifth studio album Brothers In Arms, their best-selling record that among others became known for its exceptional sound quality due to its all-digital recording (May 13); Michael Jackson’s purchase of the publishing rights for most of The Beatles’ catalog for $47 million, out-bidding former artistic collaborator McCartney whose success in music publishing had inspired Jackson to increase his activities in the business (Sep 6); and Roger Waters’ announced intention to leave Pink Floyd, which marked the start of a two-year legal battle over the rights to the band’s name and assets.

The biggest hit singles of 1985 were Shout (Tears For Fears), We Are The World (USA For Africa), Take On Me (a-ha), I Want To Know What Love Is (Foreigner) and Material Girl (Madonna). Following is Money For Nothing, the second single from Dire Straits’ Brothers In Arms album, which they performed at Live Aid. Like on the studio recording, it featured Sting on backing vocals.

1986

On Jan 30, the Rock and Roll Hall of Fame held its first induction ceremony. The first batch of inductees included Chuck Berry, James Brown, Ray Charles, Sam Cooke, Fats Domino, The Everly Brothers, Buddy Holly, Jerry Lee Lewis, Little Richard and Elvis Presley. While over the years since, there has been much debate over who should be in the Rock Hall, the selection process, the award categories, etc., I think there is no doubt that the above artists all well-deserving inductees.

Rock Roll Hall of Fame 1986 Inductees
Rock & Roll Hall of Fame 1986 inductees (left to right): upper row: Chuck Berry, James Brown, Ray Charles, Sam Cooke and Fats Domino; lower row: The Everly Brothers, Buddy Hollie, Jerry Lee Lewis, Little Richard and Elvis Presley

Other events: Bob Geldorf’s knighthood award to recognize his work for Live Aid and other charity concerts for Africa (Jun 10); release of Madonna’s True Blue album, the best-selling record of year (Jun 30); and disbanding of The Clash, Electric Light Orchestra (revived by Jeff Lynne in 2000) and Men At Work.

The top-performing hit singles included Rock Me Amadeus (Falco) – the first German-language song to top the U.S. Billboard Hot 100Papa Don’t Preach (Madonna), The Final Countdown (Europe), Take My Breath Away (Berlin) and West End Girls (Pet Shop Boys). The 1986 tune I’d like to highlight is Sledgehammer by Peter Gabriel, which was first released as a single in April. It also appeared on his fifth studio album So that came out the following month. Here’s the song’s official video, which won multiple accolades in 1987, including a record nine awards at the MTV Music Video Music Awards and “Best British Video” at the Brit Awards. It’s definitely one of the most memorable music videos of the decade.

1987

Some of the events in music during that year included the induction of Aretha Franklin as the first woman into the Rock and Roll Hall of Fame (Jan 3); release of U2’s fifth studio album The Joshua Tree (Mar 9), which topped the charts in 20-plus countries and became one of the world’s most commercially successful records, selling more than 25 million copies; Whitney Houston’s second studio album Whitney, the first record by a female artist to debut at no. 1 on the Billboard 200 (Jun 27); launch of MTV Europe (Aug 1); and release of A Momentary Lapse Of Reason, Pink Floyd’s first studio album after the departure of and legal battle with Roger Waters (Sep 7). Waters finally wrapped up his legal separation from the band later that year.

The highest-charting hit singles were La Bamba (Los Lobos), Never Gonna Give You Up (Rick Astley); I Wanna Dance With Somebody Who Loves Me (Whitney Houston), It’s A Sin (Pet Shop Boys) and Who’s That Girl (Madonna) – I remember each of these songs like it was yesterday! Here’s Where The Streets Have No Name from my favorite U2 album The Joshua Tree. Credited to the band (music) and Bono (lyrics), the tune was released as the album’s third single in August 1987, five months after the record’s appearance.

1988

Some of the music events that year included the induction of The Beach Boys, The Beatles, The Drifters, Bob Dylan and The Supremes into the Rock and Roll Hall of Fame (Jan 20); near-death experience for Alice Cooper on stage after one of the props, the Gallows, malfunctioned – yikes! (Apr 7); sale of legendary soul label Motown Records to MCA and financial firm Boston Ventures for $61 million (Jun 27); John Fogerty’s win of what sounds like a frivolous self-plagiarism lawsuit Fantasy Records had brought against him, claiming his 1985 comeback tune The Old Man Down The Road was too similar to Run Through The Jungle, which he had recorded with Creedence Clearwater Revival in 1970 (Nov 7); and final concert by Roy Orbison in Akron, Ohio (Dec 4) prior to his death from a heart attack only two days thereafter.

Leading hit singles: A Groovy Kind Of Love (Phil Collins), Don’t Worry Be Happy (Bobby McFerrin), Always On My Mind (Pet Shop Boys),  Heaven Is A Place On Earth (Belinda Carlisle) and Take Me To Your Heart (Rick Astley). One 1988 song I like in particular is Under The Milky Way Tonight by Australian outfit The Church. Co-written by Steve Kilbey and Karin Jansson, it became the lead single to their excellent fifth studio album Starfish. Both were released in February that year. Here’s a clip.

1989

I can’t believe I made it to the last year of the decade! Some of the events I’d like to highlight are criticism of Madonna by religious groups worldwide over alleged blasphemous use of Christian imagery in her music video for Like A Prayer (Feb 23), which had premiered on MTV the day before; release of Bonnie Raitt’s 10th studio album Nick Of Time, one of my favorite records from her (Mar 21); release of Tom Petty’s excellent debut solo album Full Moon Fever (Apr 24); Ringo Starr’s formation of his All-Starr Band (Jul 23); opening of The Rolling Stones’ North American tour in Philadelphia to support their comeback album Steel Wheels (Aug 31), two days after the album had dropped; and release of Neil Young’s 17th studio album Freedom (Oct 2), best known for the epic Rockin’ In The Free World.

Key hit singles were Like A Prayer (Madonna), Eternal Flame (The Bangles), Another Day In Paradise (Phil Collins), The Look (Roxette) and Love Shack (The B-52s). The final ’80s tune I’d like to call out via clip is Down To London by Joe Jackson, an artist I’ve listened to for many years. He recorded the song for his 10th studio release Blaze Of Glory, which appeared in April 1989.

Sources: Wikipedia, YouTube

The Hardware: Vox Continental

Compact keyboard with characteristic sound became hit among touring bands in ’60s

When I listened to Light My Fire by The Doors the other day, I was reminded of Ray Manzarek’s distinct keyboard on that tune, a sound I’ve always loved. It also came to me that I hadn’t done a post on important music hardware in a long time – two good reasons to write about the Vox Continental, a handy and cool-looking organ that became popular in the ’60s and can be heard on many songs released during that decade and thereafter.

For those who are visiting my blog for the first time or haven’t seen one of my previous hardware posts, I’d like to reiterate that I’m not an engineering guy; in fact, having two left hands, it’s more of the opposite! As such, one could say there’s a certain degree of irony that I write about the subject. But while I’m not exactly a techie and therefore don’t go deeply into the technical aspects, music gear can still excite me like a little child, primarily from a sound and visual perspective. With that disclaimer out of the way, let’s get to it.

Thomas Walter Jennings
Jennings Organ Company founder Thomas Walter Jennings at his Dartford factory in Kent, England in 1964

Prior to the Vox Continental’s introduction in England in 1962, the Vox brand name had been synonymous with guitar amplifiers, especially the Vox AC30 used by The Shadows, The Beatles, The Rolling Stones, The Kinks and other ’60s bands. However, as its name already indicates, the company that made the amps, The Jennings Organ Company founded by Thomas Walter Jennings in Kent, England after the Second World War and renamed Jennings Musical Industries (JMI) in 1957, started out as a manufacturer of home and church organs. Their first successful product was the Univox, an electronic keyboard similar to the Clavioline.

The Vox Continental is a so-called combo keyboard. Does it come with French fries and a Coke you might ask? Well, not quite. Combo actually is another (British) term for band. Okay, it’s a keyboard for a band, but so is a Hammond or a regular piano, so what’s the big deal? While pianos were frequently used in the recording studio, amplifying their sound during live performances was tricky. Hammond organs like the mighty B3 certainly could meet volume requirements, but they were pretty clunky. A compact combo keyboard like the Vox Continental offered a great solution. It also looked pretty cool!

Vox Continental Electronics
The electronic inside of a Vox Continental

The Vox Continental was made possible by the invention of transistors that were less heavy and smaller than the electron tubes used in big electronic organs. The handy keyboard came in two basic variations, a single manual and a dual manual. One of the Continental’s distinct visual features is its reversed colored keys: what on a regular keyboard are the white keys are black, while the traditionally black keys are white (see image on top of the post). The top part covering the electronics with its orange or grey finish stands out as well. The curving and removable chrome stand is another distinct feature. Without a bass section, no bass pedals, no percussion, no sustain and only a single-speed vibrato, the Vox Continental was fairly archaic. Yet because of its sound and the aforementioned design features, the instrument became very popular.

Initially, Vox Continental keyboards were made at two plants in Kent: JMI’s facility in Dartford and the Vox Sound plant in Erith. In 1964, Jennings signed a licensing deal with the Thomas Organ Company in the U.S. JMI and Thomas subsequently also formed EME (Elletronica Musicale Europea), a joint venture with Italian guitar and keyboard manufacturer EKO. With the advent of the Moog and other more elaborate keyboards by the early ’70s, the appeal of Vox Continental organs started to decrease, and production was phased out. While it continued to have a significant following and remains sought-after, it took until September 2017 that Vox revived the Continental with an updated version. Since 1992, the company has been owned by Japanese electronics corporation Korg.

As noted at the outset, the Vox Continental is featured in many songs released during the ’60s and thereafter. This post wouldn’t be complete without some examples.

The House Of The Rising Sun (The Animals)

The version of the traditional by The Animals featuring Alan Price on keys is one of the most compelling showcases of the Vox Continental, in my humble opinion as somebody who isn’t a keyboard player. Sure, the sound isn’t as fat and growling as the Hammond B3; in fact, it’s rather thin by comparison, and yet it still sounds awesome at least to my ears!

Because (The Dave Clark Five)

Written by Dave Clark, Because was recorded for the band’s third U.S. studio album American Tour from August 1964. The song also appeared as a single and became the band’s second most successful hit in the U.S., peaking at no. 3 on the Billboard Hot 100. Here’s a nice clip of an appearance on American music variety TV program Shindig! from 1965. While it is much less dominant than in The House Of The Rising Sun, one can nicely see Mike Smith playing the organ.

I’m A Believer (The Monkees)

I’m A Believer appeared on More Of The Monkees, the band’s second studio album released in January 1967, and as the record’s lead single in November the previous year. Written by Neil Diamond, the song became the band’s most successful hit, topping the charts in many countries, including the U.S., Canada, U.K., Australia and Germany, among others. While Peter Tork had known how to play keyboards, the keyboarder on the studio recording was Stan Free. Initially formed a musical acting quartet for a TV series, all of The Monkees eventually learned how to play their instruments. Here’s a TV clip from 1966, which looks like the guys know how to play for real; if they’re faking, it’s certainly done well!

Light My Fire (The Doors)

Credited to all members of the band, Light My Fire was included on The Doors’ eponymous debut album issued in January 1967. It also became the record’s second single released in April that year. It was the first of their two no. 1 U.S. hits on the Billboard Hot 100. The tune is another great example where the Vox Continental is quite dominant.

In-A-Gadda-Da-Vida (Iron Butterfly)

In-A-Gadda-Da-Vida is the title track of Iron Butterfly’s second studio album from June 1968. It was written by the band’s lead vocalist and keyboarder Doug Ingle. Clocking at more than 17 minutes, the track makes up the record’s entire side B. Iron Butterfly also released a single version, which was shortened to just under three minutes. Here’s a clip of the track in its entire mighty.

Watching The Detectives (Elvis Costello)

After production of Vox Continental keyboards had seized, the combo organs remained popular, as previously noted. One of their champions was Steve Nieve, who among others became known as keyboarder in Elvis Costello’s backing band The Attractions. Here’s a clip of Watching The Detectives from Costello’s debut album My Aim Is True, released in July 1977. Written by Costello, the tune became his first hit, peaking at no. 15 on the U.K. Official Singles Chart.

Don’t Do Me Like That (Tom Petty And The Heartbreakers)

Don’t Do Me Like That, the last song I’d like to highlight in this post, is another post ’60s example featuring a Vox Continental, played by Benmont Tench in this case. It appears on Damn The Torpedoes, the third studio album by Tom Petty And The Heartbreakers from October 1979. In November that year, the song also came out as the record’s lead single. Written by Petty, it became the band’s first top 10 hit in the U.S., reaching no. 10 on the Billboard Hot 100.

Sources: Wikipedia, Engineering And Technology History Wiki (ETHW), Combo Organ Heaven, YouTube

Memorable Rock & Roll Hall Of Fame Induction Performances

Last evening’s HBO broadcast of the 2018 Rock & Roll Hall Of Fame induction ceremony gave me the idea to take a look at previous inductions and highlight some of the performances there. I’m not getting into the nomination and selection process, the judges, which artists who currently aren’t in should be inducted, etc. – topics that undoubtedly will continue to be discussed. This post is about some of the great music that was performed at the induction festivities over the years.

I’d like to start with the 1999 induction ceremony that featured a great performance of In The Midnight Hour by Wilson Pickett and Bruce Springsteen, one of the inductees that year. They were backed by The E Street Band. Springsteen, a huge fan of Pickett, frequently performs some of the soul legend’s tunes during his shows. Recorded at Stax studios in Memphis, the song was initially released in June 1965 and became Pickett’s first hit for Atlantic Records. He co-wrote the tune with Stax session guitarist Steve Cropper.

In 1993, The Doors were inducted into the Hall. The band’s then-living original members Ray Manzarek (keyboards), Robbie Krieger (guitar) and John Densmore (drums) teamed up with Pearl Jam lead vocalist Eddie Vedder, who did a fine job singing the parts of the charismatic Jim Morrison. Here’s Light My Fire, one of my favorite Doors tunes that appeared on their eponymous debut album from January 1967. Like each of the original songs on the band’s first two records, the tune was credited to all members.

The 1993 inductees also included another legendary band: Cream. Jack Bruce (lead vocals, bass), Eric Clapton (guitar) and Ginger Baker (drums) reunited for the occasion. One of the songs they played was the terrific Sunshine Of Your Love from Cream’s second studio album Disraeli Gears, released in November 1967. The tune was co-written by Bruce, Clapton and Pete Brown. To this day I think Sunshine has one of the coolest guitar riffs in rock.

Among the 2018 inductees were The Moody Blues, a band whose second studio album Days Of Future Passed became one of the first successful concept albums and put them on the map as pioneers of progressive rock. They played the mighty Nights In White Satin from that record, but the first tune they performed was I’m Just A Singer (In A Rock & Roll Band). That song is from their seventh studio album Seventh Sojourn, which appeared in October 1972. It was written by John Lodge (vocals, bass, guitar), who together with Justin Hayward (lead vocals, guitar) and Graeme Edge (drums) is one of the remaining original members who performed at the induction.

Last but not least, here is a clip of what may be the best Rock & Roll Hall Of Fame performance to date: While My Guitar Gently Weeps, played during the induction of George Harrison as a solo artist in 2004. The performance featured Tom Petty, Jeff Lynne, Steve Winwood, Dhani Harrison and Prince, among others. It will forever be remembered for Prince’s incredible guitar solo. While My Guitar Gently Weeps appeared on the “White Album,” the ninth studio album by The Beatles from November 1968.

Source: Wikipedia, Legacy.com, YouTube

Rock & Roll Hall Of Fame Celebrates 2018 Inductees

Bon Jovi, The Cars, Dire Straits, The Moody Blues, Sister Rosetta Tharpe and Nina Simone Join Rock Hall

I know many of the folks who may see this post have strong opinions about the Rock & Roll Hall of Fame. Discussions about inductees and who hasn’t been inducted but should be in there are sure to continue. The selection process certainly looks less than perfect. One could even question the name of the institution. After all, rock & roll certainly doesn’t come to mind when it comes to the amazing Nina Simone, one of the 2018 inductees. So should The Rock & Roll Hall of Fame be renamed to “The Music Hall of Fame?” But if that would be done, wouldn’t this imply such a broad scope that would make it an even more daunting task to identify nominees and select inductees?

While I acknowledge the Rock & Roll Hall of Fame is flawed, I still like the idea of celebrating rock & roll music. And let’s be honest, being in the company of the likes of Chuck Berry, The Beatles, The Rolling Stones, Bruce Springsteen and the Eagles, to name a few, is pretty cool. I think it’s safe to assume that many artists dream about joining such an exclusive club, whether they admit it or not.

Rock & Roll Hall of Fame Plaques

Following are highlights from last night’s induction ceremony in Cleveland, based on Rolling Stone’s reporting. Unfortunately, most of the current clips on YouTube sound distorted. I’m actually wondering whether this is done on purpose, so people don’t widely share the material. Also, keep in mind the HBO broadcast of the festivities is still ahead on May 5. Perhaps, better quality clips will become available thereafter I could use to replace some of the current footage. We shall see.

Interestingly, the night kicked off with Bon Jovi who were inducted by Howard Stern. It’s fair to say the Jersey boys, who by far won the fan vote, were the most anticipated artists of the night. One of the questions was whether former guitarist Richie Sambora would join his former band mates – he did, unlike Mark Knopfler who was a no-show. Since ultimately it’s the fans who have made these bands successful by purchasing their music and going to their shows, it’s unfortunate when artists cannot put aside their reservations at least for one night. Knopfler’s absence meant Dire Straits did not perform, which must have been a real bummer to many of their fans!

Anyway, here is Bon Jovi’s performance of Livin’ On A Prayer from their third studio album Slippery When Wet from 1986, which catapulted them to international super-stardom and more than 130 million albums sold to date.

Next it was the turn for Dire Straits. Three former members showed up, including bassist and co-founder John Illsley, initial keyboarder Alan Clark and the band’s second keyboarder Guy Fletcher. While Knopfler was absent, I still feel somebody should have inducted the band. Here is a clip of their acceptance speech.

One of the artists I was particularly pleased to see inducted is Sister Rosetta Tharpe, a true trailblazer of early rock & roll. She was inducted by Brittany Howard, the lead vocalist of Alabama Shakes. After her speech, Howard grabbed a guitar to perform That’s All, a Tharpe tune from 1938 – that’s 80 years ago! Howard was backed by a band that included Roots drummer Questlove and Paul Shaffer, among others.

Next up were the Cars, an American new wave, power pop rock band that had a string of hits between 1978 and 1988. They were inducted by Brandon Flowers, the lead singer and keyboarder of The Killers. “The Cars were the first band I fell in love with,” he noted. “And you never forget your first…They achieved greatness and left a comet trail behind them, writing and recording songs that have transcended into classics.” Here’s You Might Think, one of the band’s hits from their fifth studio album Heartbeat City, which was released in March 1984.

Nina Simone was inducted by Mary J. Blige. “Nina was bold, strong, feisty and fearless, and so vulnerable and transparent all at the same time,” she said. “Her voice was so distinctive and warm and powerful; I never heard anything like it. She knew who she was and she was confident in what she did and why she did it. But it was often the lack of confidence in herself that people could relate to. Nina sang for all her pain, her joy, her confusion, her happiness, her sickness, her fight. She fought through all the stereotypes. She fought for her identity. She fought for her life.”

Simone was honored with a two-part tribute. Part one was performed by the Roots and singer-songwriter Andra Day. For the second part, Lauryn Hill, formerly with the Fugees, took the stage. Here is Hill’s entire set, which consisted of Ne Me Quitte Pas, Black Is the Color of My True Love’s Hair and Feeling Good.

The last honoree of the night were The Moody Blues. They were inducted by Ann Wilson, formerly with Heart. Referring to the band’s iconic second studio album Days Of Future Past, she said, “In 1967, The Moody Blues made a record that changed the face of popular music and influenced an entire generation of progressive musicians, including Yes, Genesis, ELO and many, many others. For the first time, mellotron was introduced to the rock and roll mainstream and rock married classic orchestra. There was no progressive showboating or self-indulgent, mathematical noodling; just great, classy music that expanded your mind, sang to your heart, took you inward and lifted you higher.” Nicely said! Here’s a clip of the band’s best known song from that album: Nights In White Satin.

The evening also included tributes to Tom Petty and Chris Cornell of Soundgarden, performed by The Killers and Wilson and Jerry Cantrell, respectively. Here are The Killers playing  American Girl, throwing in some lyrics of Free Fallin’ at the end – too bad the clip’s sound sucks!

And here are Wilson and Cantrell with their rendition of Black Hole Sun, Soundgarden’s best known song. Written by Cornell, the tune appeared on the Seattle rock band’s fourth studio album Superunknown from March 1994.

Last but not least, Steve Van Zandt came on stage with a surprise announcement. “We all know the history of rock and roll can be changed with just one song, one record,” he noted. “This year, we are introducing a new category to the Rock Hall. We’re calling it The Rock and Roll Singles. It’s a recognition of the singles that shaped rock and roll, a kind of Rock Hall jukebox by artists that aren’t in the Rock Hall, which is not to say these artists won’t ever be in the Rock Hall. They just aren’t at this moment.”

The first six singles in this new category include Rocket 88 (Ike Turner’s King’s of Rhythm), Rumble (Link Wray), The Twist (Chubby Checker), Louie Louie (Kingsmen), A Whiter Shade of Pale (Procul Harum) and Born To Be Wild (Steppenwolf) – cool choices!

Sources: Wikipedia, Rolling Stone, YouTube

 

Tom Petty And The Heartbreakers’ New Live Box Set Showcases Band On Top Of Their Game

“San Francisco Serenades” features hits, covers and rarities from 1997 gig at Fillmore

When chatting about music with a dear friend this morning, he asked me whether I had heard of this 3-CD box live set from Tom Petty and The Heartbreakers, which had come out recently. I had not but was immediately intrigued, especially when my friend added it features numerous great covers, including Satisfaction (The Rolling Stones), You Really Got Me (Kinks) and Louie Louie (The Kingsmen).

He had seen it on Amazon. While still on the phone with him, I searched Apple Music/iTunes and came up empty. Then I started searching the Internet for this box set called San Francisco Serenades. The first hit was the enclosed YouTube clip, which based on its length of more than three hours seems to capture the entire thing! Of course, I realize there is a high likelihood the shelf life of this link is limited, but heck, as long as it works, I’m happy to feature it on the blog.

According to the website of Spin CD, a UK music retailer, the box set captures the last show of a 20-date residency at The Fillmore in San Francisco, which the band had there from January 10 to February 7, 1997. Apparently, that gig was recorded live for FM broadcast. In addition to some Petty gems like I Won’t Back Down, American Girl and Free Fallin’, the set predominantly includes cover versions of tunes by Chuck Berry, JJ Cale, The Rolling Stones and other artists. In addition, John Lee Hooker joined the band to perform three of his tunes.

Tom Petty and The Heartbreakers Filmore West 1997

After having listened to the first two hours in a row and sampled the remainder, I have to say I’m really blown away! The fact that the Heartbreakers were a terrific band wasn’t news to me; what I didn’t fully appreciate is how many covers these guys played, and damn, do they sound great! While taking three hours to listen to the entire clip is a significant time commitment, if you are a Petty fan, you should do it!

Following are some highlights of the covers with time stamps: Around And Around (Chuck Berry; 0.00); Call Me The Breeze (JJ Cale; 17:18 – Petty credited Floridian compatriots Lynyrd Skynyrd, which also covered the tune); With John Lee Hooker: I Found My Baby, It Serves You Right To Suffer & Boogie Chillin’; 50:05 – 1:07:07); Green Onions (Booker T. & The M.G.s; 1:19:40); You Really Got Me (The Kinks; 1:53:55); Shakin’ All Over (Johnny Kidd and The Pirates; 2:09:15); Gloria (Them; 2:38:07); (I Can’t Get No) Satisfaction (The Rolling Stones; 2:52:38); and It’s All Over Now (The Valentinos; 2:59:35).

Here is the full set list.

Disc: 1
  1. Around And Around 2:48
  2. Jammin’ Me 4:41
  3. Runnin’ Down A Dream 5:05
  4. Time Is On My Side 4:28
  5. Call Me The Breeze 5:54
  6. Cabin Down Below 2:48
  7. Diddy Wah Diddy 3:51
  8. Slaughter On 10th Ave 3:46
  9. Listen To Her Heart 4:10
  10. I Won’t Back Down 3:56
  11. The Date I Had With That Ugly Homecoming Queen 8:10
  12. Find My Baby (featuring John Lee Hooker) 5:03
  13. It Serve You Right To Suffer (featuring John Lee Hooker) 4:21
  14. Boogie Chillun’ (featuring John Lee Hooker) 8:39
Disc: 2
  1. It’s Good To Be King 12:05
  2. Green Onions 4:54
  3. You Are My Sunshine 2:07
  4. Ain’t No Sunshine 3:32
  5. On The Street 3:28
  6. I Want You Back Again 3:37
  7. Little Maggie 3:38
  8. Walls (Circus) 3:45
  9. Angel Dream 2:53
  10. Guitar Boogie Shuffle 3:44
  11. Even The Losers 3:12
  12. American Girl 2:33
  13. You Really Got Me 2:51
  14. County Farm 8:38
  15. You Wreck Me 4:18
Disc: 3
  1. Shakin’ All Over 2:44
  2. Mary Jane’s Last Dance 10:21
  3. You Don’t Know How It Feels 7:08
  4. I Got A Woman 3:00
  5. Free Fallin’ 5:20
  6. Gloria 10:46
  7. Bye Bye Johnny 4:06
  8. Satisfaction 3:02
  9. Louie Louie 3:51
  10. It’s All Over Now 4:54
  11. Alright For Now 3:17

 

What’s a bit of a mystery is when exactly the box set appeared. Leeway’s Homegrown Music Network, which describes itself as “independent bands, representatives, venues, stores, fans and people like you all working together to improve our world through good music,” indicates February 9, 2018 as the release date. AllMusic notes the box set is available on Amazon with a date of December 1, 2017. Amazon simply indicates 2018 as the release time. I suppose, it matters less when the bloody box set came out than the fact that it is outstanding.

Sources: Spin CD, Leeway’s Homegrown Music Network, AllMusic, YouTube

My Take On 2017 In Rock Music: Part IV

Some of the great artists who passed away

In the last installment of this year-in-review feature, I’d like to honor some of the great artists we lost in 2017. With most of my rock & roll heroes having gotten into music during the ’60s and ’70s, decades that ween’t exactly known for a healthy lifestyle, perhaps not surprisingly it has been another rough year for artists from the older generation.

Chuck Berry

Chuck Berry’s influence on rock & roll music cannot be overstated. There was simply no known guitarist at the time who could play the electric guitar “like a ringing bell.” In addition to popularizing a signature guitar sound The Rolling Stones, The Beatles, The Yardbirds and many other artists embraced in the ’60s, Berry was an incredible showman. To me his “duckwalk” was an equivalent to Michael Jackson’s “moonwalk.”

And then there are of course all the iconic tunes Berry wrote. They read like a greatest hits of classic rock & roll. From Roll Over BeethovenToo Much Monkey Business and  Sweet Little Sixteen to Johnny B. GoodeCarol and Little Queenie – and the list goes on! For additional thoughts on Berry, who passed away in March at the age of 90, you can read this. Here is one of my favorite clips showing Berry perform the iconic Johnny B. Goode with Bruce Springsteen and The E Street Band.

J. Geils

J. Geils led what Rolling Stone once called the “world’s greatest party band.” The J. Geils Band emerged in 1968 when Snoopy and the Sopwith Camels, an acoustic blues trio Geils had co-founded with bassist Danny Klein and blues harpist Richard “Magic Dick” Salwitz in 1965, added singer Peter Wolf and drummer Stephen Bladd, and later that year keyboarder Seth Justman. Initially, they called the new band The J. Geils Blues Band. Prior to the release of their eponymous 1970 debut album, they dropped “Blues” from their name.

Justman and Wolf wrote most of band’s original material. Geils only has writing credits on their debut album, for which he wrote the instrumental Ice Breaker and co-wrote Hard Drivin’ Man together with Wolf, which I think is the best original tune of the album. Read here for more about J. Geils, who died in April at the age of 71. Below is a clip of Hard Drivin’ Man from the band’s excellent 1972 album Live Full House.

Gregg Allman

Even though I had known Gregg Allman was not in good health, his death in May at age 69 still hit me. From today’s perspective, it’s hard to believe that he and The Allman Brothers Band were late discoveries in my rock & roll journey. I thought a Rolling Stone obituary hit the nail on the head: “Gregg Allman was blessed with one of blues-rock’s great growling voices and, along with his Hammond B-3 organ playing (beholden to Booker T. Jones), had a deep emotional power.”

Allman’s voice and emotional power are also omnipresent on his final studio album Southern Blood, which was released postmortem in September and is among my favorite new records this year. More thoughts on his death and the album are here and here. Following is one of my favorite clips of Allman performing Just Another Rider with his great band from his excellent 2011 album Low Country Blues.

Walter Becker

Walter Becker was best known as Donald Fagen’s longtime partner in Steely Dan, which is hands down one of coolest bands I know. The two met in 1967 at Bard College in Annandale-on-Hudson, N.Y., where they both studied at the time. Steely Dan’s first lineup was assembled in December 1971, after Becker, Fagen and guitarist Danny Dias had moved to Los Angeles. The additional members included Jeff “Skunk” Baxter  (guitar), Jim Hodder (drums) and David Palmer (vocals). In November 1972, Steely Dan released their excellent debut studio album Can’t Buy a Thrill. And the rest is history.

For more thoughts on Becker’s untimely death in September at the age of 67, which I learned only recently was caused by esophageal cancer, read this. Here is a great clip of what is perhaps my most favorite Steely Dan tune: Deacon Blues, from their sixth studio album Aja, which was released in 1977. Not sure when that life performance was captured.

Tom Petty

The sudden death of Tom Petty on October 2 at just 66 years was a true shocker. Barely a week earlier, he had wrapped up a successful 40th anniversary tour with The Heartbreakers at the legendary Hollywood Bowl in Los Angeles. Petty founded The Heartbreakers in 1976, together with guitarist Mike Campbell and keyboarder Benmont Tench from his previous band Mudcrutch, as well as Ron Blair (bass) and Stan Lynch (drums).

The Heartbreakers released their eponymous debut album in November 1976. Over the next 38 years, the band put out 12 additional studio records, the last of which was 2014’s Hypnotic Eye. Petty’s impressive studio catalog also encompasses three solo records, two albums with Mudcrutch and two releases with the Traveling Wilburys, the “super group” that in addition to him included Bob Dylan, George Harrison, Jeff Lynne and Ray Orbison. More thoughts on Petty’s death are here. Following is how I prefer to remember him – through his great music. Here’s great clip of Refugee, which has always been one of my favorite Petty tunes.

Other music artists we lost in 2017

Some of the other artists who passed away this year include early rock & roller Fats Domino (89), AC/DC co-founder and rhythm guitarist Malcolm Young (64), country singer and guitarist Glen Campbell (81), Soundgarden co-founder and lead vocalist Chris Cornell (52), Allman Brothers co-founder and drummer Butch Trucks (69), and jazz, R&B and soul singer Al Jarreau (76).

Sources: Rolling Stone, Wikipedia, YouTube

In Memoriam of Tom Petty

Music has lost another great artist way too early

I still cannot believe that Tom Petty, one of my long-time favorite music artists, is gone. At 66 years, he was even younger than Walter Becker and Gregg Allman, two other giants who recently passed away at 67 and 69 years, respectively. Sure, let’s be honest here – all of these guys did drugs at some time in their lives, but as far as I know, they all had become sober long before they died. I also believe it is not known whether drugs may have had any role in Petty’s cardiac arrest, which preceded his untimely death.

Sadly, Petty’s death also illustrates the frenzy of today’s media world. TMZ broke the news Monday afternoon that Petty was taken to UCLA Santa Monica Hospital on Sunday night after he had been found unconscious and in full cardiac arrest at his Malibu, Calif. home. CBS News prematurely reported his death Monday evening, hours before he actually passed, apparently based on wrong information from the Los Angeles Police Department. E! News, Rolling Stone and other media outlets promptly picked up the story. This triggered immediate condolences from Bob Dylan and others from the entertainment world. It also reportedly prompted a blistering Instagram post from AnnaKim Violet Petty, one of Petty’s surviving three children. Very sad.

Tom Petty and The Heartbreakers

Thomas Earl Petty was born on October 20, 1950 in Gainesville, Fla. He had a difficult childhood with an apparently abusive father. School wasn’t his thing, but he discovered his love for music early on and got his first guitar at the age of 12. One of his first guitar teachers was then-fellow Gainesville resident Don Felder, who later became a member of the Eagles. In the mid-’60s, Petty joined his first band, the Sundowners, playing local shows in the Gainesville area.

In 1970, Petty co-founded Mudcrutch together with guitarist and vocalist Tom Leaden. Among the other members of the line-up were Mike Campbell (guitar) and starting from 1972 Benmont Tench (keyboards), who together with Campbell later became part of Petty’s longtime band The Heartbreakers. Originally, The Heartbreakers, which Petty formed in 1976, also included Ron Blair (bass) and Stan Lynch (drums). Petty who had played bass and was the backing vocalist in Mudcrutch switched to guitar and lead vocals.

Tom Petty & The Heartbreakers released their eponymous debut album in November 1976. At first, the record received little attention in the U.S. That changed when it entered the U.K. charts in the wake of a British tour. Breakdown became a top 40 single in the U.S. The album also included American Girl, one of my favorite early Petty tunes that became a staple on rock radio. Here’s a cool clip from the Heartbreakers’ 2002 Rock & Roll Hall of Fame induction performance. I love Petty’s Rickenbacker guitar!

The band’s third record Damn the Torpedoes, which appeared in October 1979, brought significant commercial success in the U.S., reaching Triple Platinum certification and peaking at no. 2 on the Billboard albums chart. Among others, it included the Petty tune Don’t Do Me Like That, as well as Refugee and Here Comes My Girl, both co-written by Petty and Campbell. All three tracks were also released separately as singles and charted in the Billboard Hot 100. Here’s a nice clip of Refuge from Farm Aid 1985.

In November 1982, Tom Petty & The Heartbreakers released their fifth album Long After Dark. It featured another Petty-Campbell co-write that is one of my favorites: You Got Lucky. The song also became the album’s lead single and climbed to no. 20 on the Billboard Hot 100. Here is a clip recorded in Newark, N.J. in June this year during the band’s 40th anniversary tour, which only concluded last week in Los Angeles. I saw the band twice, once in the late ’80s in Germany, and a second time in September 2014 at PNC Bank Arts Center in Holmdel, N.J. I had thought about catching them a third time during the 40th anniversary tour – now I wish I would have done it!

Another highlight in the Heartbreakers’ discography is Southern Accents, the follow-on to Long After Dark, which appeared in March 1985. The album generated three singles: Don’t Come Around Here No More, Rebels and Make It Better (Forget About Me). The first was co-written by Petty and the Eurhythmics’ Dave Stewart, while the last two were penned by Petty only. Rebels is my favorite of the three tunes. Here’s a clip of the studio version.

In 1988, Petty joined George Harrison, Jeff Lynne, Roy Orbison and Bob Dylan in The Traveling Wilburys, a true “supergroup” that was initiated by Harrison. They released their debut album Traveling Wilburys Vol. 1 in October 1988. In December that year, Orbison passed away. The remaining four members recorded a follow-on album, Traveling Wilburys Vol. 3, which appeared in October 1990. Here is a clip of Last Night, which was included on the first album and featured Petty and Orbison on vocals.

Petty also released three solo albums, the first which of which came out in April 1989. Recorded with members of both The Heartbreakers (Campbell, Tench and bassist Howie Epstein) and The Traveling Wilburys (Lynne, Orbison and Harrison), Full Moon Fever became Petty’s most popular record in the U.S. It reached no. 3 on the Billboard 200 and was certified five times platinum. The album spawned various singles, including the hits I Won’t Back Down and Free Fallin’. Both songs were co-written by Petty and Lynne. Here’s clip of Free Fallin’.

In 2007, Petty convened his former Mudcrutch bandmates to record their belated debut album. The furthest the band had gotten in the ’70s was to tape some demos. Mudcrutch was released in April 2008 and entered the Billboard 200 at no. 8. A second Mudcrutch record, Mudcrutch 2, came out in April last year. Petty supported both albums with tours. Here is a live clip of Scare Easy from the first album, which was captured during the band’s tour in Nashville last May.

Petty’s 13th and last studio album with The Heartbreakers Hypnotic Eye appeared in July 2014. Here is a clip of Red River, which was written by Petty and became the record’s second single. It was released on June 10 that year, ahead of the album.

Over his 40-year-plus career, Petty was nominated for multiple awards and won various of them. Among others, he won Grammy awards in 1990 (Best Rock Vocal Performance by a Duo or Group; with Traveling Wilburys for Traveling Wilburys Vol. 1), 1996 (Best Rock Album; for Wildflowers solo album) and 2009 (Best Music Video, Long Form; with The Heartbreakers for Runnin’ Down a Dream). In 2002, Petty and The Heartbreakers were inducted into the Rock & Roll Hall of Fame.

Following are some reactions from other music artists to Petty’s death. “It’s shocking, crushing news,” Dylan told Rolling Stone. “I thought the world of Tom. He was a great performer, full of the light, a friend, and I’ll never forget him.”

Separately in Rolling Stone, long-time J. Geils Band lead singer Peter Wolf wrote in an exclusive remembrance: “I first met Tom when he and the Heartbreakers were the opening act on a J. Geils tour back in 1977. It was a full circle honor for me to be his opening act on the 2017 Heartbreakers’ 40th anniversary tour…he worked very hard at everything he did and always with a deep passion and a great sense of dignity. He certainly carved his own way and always stayed one of the good guys!”

Various artists also took to Twitter:

Bon Jovi: “I’m crushed… Praying for all those affected by Vegas last night. And now the loss of one of my great influences Tom Petty today.”

Ringo Starr: “God bless Tom Petty peace and love to his family I’m sure going to miss you Tom.”

Peter Gabriel: “Very sad to say goodbye to Tom Petty, he was a kind and generous man, an excellent musician…”

Steven Van Zandt: “Man this cannot be happening. Not Tom Petty please. Our deepest love and condolences to his family and band. A brother and true believer.”

The last word of this post shall belong to Petty. “Music is a real magic,” he told NPR’s All Things Considered in 2014. “It affects human beings, it can heal, it can do wonderful things. I’ve had two people contact me in my life about coming out of comas to their family playing a song to them of mine, that they had liked before they were injured. They credited the song having something to do with that. I find that fascinating. A lot of people have told me, ‘This music got me through a really hard time,’ and I can relate to that.”

Sources: Wikipedia, The New York Times, NPR, Rolling Stone Fox News, YouTube