What I’ve Been Listening to: Pink Floyd/Obscured by Clouds

Prompted by a recent comment from Graham at Aphoristic Album Reviews that he was happy to see Obscured by Clouds being included in my previous Sunday Six installment, I decided to revisit Pink Floyd’s seventh studio album. Even though its June 1972 release falls between Meddle and The Dark Side of the Moon, two of my favorite Floyd records, Obscured by Clouds was, well, a little obscure to me. After having listened to it again, I agree with Ultimate Classic Rock, which called the album ‘underrated.’ They also said it was “one of rock’s most under-appreciated treasures — and perhaps the most underrated album in Pink Floyd’s impressive discography.” I’m less sure about that statement.

Obscured by Clouds was set in motion when film director Barbet Schroeder approached Pink Floyd to ask whether they could do another soundtrack for his upcoming film project La Vallée. Previously, the British group had written and performed the soundtrack for More, Schroeder’s 1969 theatrical feature film directorial debut. Obscured by Clouds was recorded at Strawberry Studios at Château d’Hérouville close to Paris, France over a span of just six weeks.

The two sessions took place between late February and early April 1972 during two breaks from Pink Floyd’s Japan tour. At the time, the band had already started early work on what would become the brilliant album The Dark Side of the Moon. Quoting from drummer Nick Mason’s autobiography Inside Out: A Personal History of Pink Floyd, Ultimate Classic Rock noted Mason confirmed the group utilized the same methods employed on More, where Pink Floyd could be found “following a rough cut of the film, using stopwatches for specific cues and creating interlinking musical moods that would be cross-faded to suit the final version.”

French TV station ORTF captured a short segment during the first recording session, which featured interviews with Roger Waters (bass, vocals) and David Gilmour (guitar, vocals). After they had completed recording the album, Pink Floyd had a falling out with the film company and decided to release the record under the title Obscured by Clouds rather than La Vallée. As a result, the French film was retitled La Vallée (Obscured by Clouds) when it appeared in July 1972. Time for some music!

Side 1 kicks off with the title track, an instrumental co-written by Gilmour and Waters. The monotonous synthesizer line and drum part combined with Gilmour’s slide guitar give the tune a haunting sound. It has a largely improvisational feel to it.

Burning Bridges, another Waters-Gilmour co-write, is the only song off the album I had been able to name prior to this review and perhaps the most memorable tune. It also features Waters and Gilmour on vocals.

Wot’s… Uh the Deal? is a nice acoustic tune featuring multi-tracked vocals by Gilmour. The lyrics were written by Waters, though the song is credited to both him and Gilmour. According to Wikipedia, the words “Flash the readies, Wot’s…Uh the Deal” is a phrase Floyd roadie Chris Adamson apparently used.

Side 2 kicks off with Childhood’s End. Notably, this was the last Pink Floyd song entirely written by Gilmour until A Momentary Lapse of Reason, the band’s thirteenth studio album from September 1987, and the first without Waters. The tune was named after a 1953 science fiction novel by English sci-fi writer Sir Arthur Charles Clarke. I have to say I really like that track!

Free Four became the record’s only single released in July 1972. Solely written and sung by Waters, it did not chart. Songfacts notes, The lyrics are rather depressing, but the song is very upbeat (including Roger Waters gleefully uttering a line about the angel of death). It’s about how our lives pass by – most of the time with no real effect on the cycle by which we all live and pass. Wikipedia cites a review of the single by music industry trade magazine Cash Box, asking “Would you believe a happy song about death?”

The final track I’d like to call out is the closer Absolutely Curtains. Credited to all four members of the band – Gilmour, Waters, Mason and Richard Wright (keyboards, vocals) – Absolutely Curtains is a largely instrumental tune that ends with a chant of the New Guinea indigenous Mapuga tribe who is also seen in the film. The instrumental section has a cool spacey sound reminiscent of Floyd’s The Dark Side of the Moon and Wish You Were Here albums.

Overall, I think Obscured by Clouds is a pretty solid studio effort by Pink Floyd. Perhaps the problem is that unlike Meddle and The Dark Side of the Moon, it lacks easily memorable tracks like One of These Days or Money. Still, to me, Burning Bridges and Childhood’s End are standout songs.

Remarkably, Obscured by Clouds climbed to no. 6 in the UK on the Official Albums Chart. It also went all the way to no. 1 in France – I assume because of the film – and reached no. 3 in The Netherlands. In the U.S., Obscured by Clouds got to no. 46 on the Billboard 200, marking Pink Floyd’s highest-charting record there at the time. The band’s relative obscurity drastically changed when the clouds were chased away by The Dark Side of the Moon and Wish You Were Here that topped the Billboard 200.

Sources: Wikipedia; Ultimate Classic Rock; Songfacts; Discogs; YouTube


The Sunday Six

Celebrating music with six random tracks at a time

A Sunday morning (at least in my neck of the woods in lovely central New Jersey, U.S.A.) means another Sunday Six is in store. I’m also introducing a new technical feature. Alternatively, you could call it catching up with 21st century technology: Embedded Spotify playlists. Admittedly, I shamefully stole the idea from fellow bloggers like Music Enthusiast, Aphoristic Album Reviews and Eclectic Music Lover, who have been using embedded Spotify playlists forever. With that being said, let’s get to the six random tunes I picked for this installment. Hope you enjoy – and look for the paylist at the end!

Tangerine Dream/Para Guy

I’d like to kick it off with some electronic music, a genre that with a few exceptions like Jean-Michel Jarre and Klaus Schulze I’ve pretty much ignored in the past. That being said, I’ve always liked spacy music. That’s part of the reason Pink Floyd’s Wish You Were and The Dark Side of the Moon are among my all-time favorite albums. This brings me to electronic music pioneers Tangerine Dream, founded by Edgar Froese in 1967 in Berlin, Germany. According to their website, the group’s fifth studio album Phaedra from February 1974 became a milestone in electronic music and one of more than 100 studio albums they have released over the past 50-plus years. Para Guy is a from Tangerine Dream’s most recent EP Probe 6-8 that appeared a few weeks ago on November 26. The track is credited to band leader Thorsten Quaeschning, co-members Hoshiko Yamane and Paul Frick, as well as Froese who passed away in January 2015. Another current member of Tangerine Dream’s current line-up, which has been in place since Froese’s death, is Ulrich Schnauss.

Bob Dylan/Ballad of a Thin Man

If you asked me about my favorite Bob Dylan record, I’d pick Highway 61 Revisited, his sixth studio album from August 1965. Admittedly, the big caveat is my knowledge of Mr. Zimmerman’s catalog continues to have significant gaps. Regardless, I can’t imagine Dylan connoisseurs would argue over an album packed with gems, such as Like a Rolling Stone, Tombstone Blues, Desolation Row and Ballad of a Thin Man. According to Songfacts, While speculation remains rampant as to who “Mr. Jones” is and what exactly this song is supposed to mean, there is no definitive answer at this time. Shockingly, Dylan hasn’t hepled to clarify things. Asked about Mr. Jones at a press conference in 1965, he reportedly said, “I’m not going to tell you his first name. I’d get sued.” When prompted what the man does for a living, Zimmi answered, “He’s a pinboy. He also wears suspenders.” Frankly, I don’t really care much about any deeper meaning here, I just love everything about this tune: Dylan’s cynically sounding voice; the music, especially the keyboard; and the song’s dark feel!

Blind Melon/No Rain

Next let’s turn to the ’90s and a tune I’ve always found cool: No Rain by Blind Melon. The song is from the American rock band’s eponymous debut album that appeared in September 1992. It became their breakthrough single and biggest hit, climbing to no. 20 on the Billboard Hot 100; topping the charts in Canada; reaching no. 8 and no. 15 in Australia and New Zealand, respectively; and charting in various European countries. The tune is credited to all members of the band at the time: Shannon Hoon (lead vocals, acoustic guitar, percussion), Rogers Stevens (lead guitar), Christopher Thorn (rhythm guitar), Brad Smith (bass, backing vocals) and Glen Graham (drums), as well as producer Rick Parashar. Blind Mellon are still around, though they were inactive between 1999 and 2006 and 2008 and 2010. I guess in part this explains their modest catalog, which to date only includes three studio albums, a live record and a few compilations. That said, Blind Mellon have released four singles since 2019. The band’s current members include Stevens, Thorn and Graham, along with Travis Warren (lead vocals, acoustic guitar) and Nathan Towne (bass, backing vocals).

Pete Townshend/Give Blood

While the massive and monotonous drums on Face the Face, the lead single off Pete Townshend’s White City: A Novel, took a few listens before I found them cool, I immediately dug his fourth solo album when it came out in November 1985. I still do and wrote about it here back in February. Give Blood is the album’s excellent opener and also became its second single. Asked about the tune, following is what Townshend said, according to Wikipedia: Give Blood was one of the tracks I didn’t even play on. I brought in Simon Phillips [dums – CMM], Pino Palladino [bass -CMM] and David Gilmour [guitar – CMM] simply because I wanted to see my three favourite musicians of the time playing on something and, in fact, I didn’t have a song for them to work on, and sat down very, very quickly and rifled threw [sic] a box of stuff, said to Dave, “Do one of those kind of ricky-ticky-ricky-ticky things, and I’ll shout ‘Give Blood!’ in the microphone every five minutes and let’s see what happens.” And that’s what happened. Then I constructed the song around what they did.

Boz Scaggs/I’ve Got Your Love

When my streaming music provider served up I’ve Got Your Love by Boz Scaggs the other day, I immediately loved the tune’s soulful feel. Written solely by Scaggs, this song is from Come On Home, a studio album he released in April 1997. Even though Scaggs has put out records since 1965, sadly, the only tunes I can name are his two biggest hits Lowdown and Lido Shuffle, which were both included on his best-selling album Silk Degrees that came out in February 1976. Scaggs, who also played on the first two albums of Steve Miller Band in 1968, apparently remains active to this day. Damn, I’ve Got Your Love is such a great tune – so glad it was brought to me!

Elton John/Funeral for a Friend/Love Lies Bleeding

For the sixth and final tune of this week’s zig-zag music journey, I picked a real classic off my favorite Elton John album Goodbye Yellow Brick Road from October 1973: Funeral for a Friend/Love Lies Bleeding. Borrowing from a previous post I did in December 2020, here’s what I said about the album’s magnificent opener: The first part is an instrumental of music John felt he’d like to be played at his funeral – one wonders a bit in what state of mind he was! It’s followed by Love Lies Bleeding, which Songfacts describes as an angry song about a broken relationship. Had it not been fused together with Funeral, something producer Gus Dudgeon had come up with, I would have included Love Lies Bleeding in my previous post about great Elton John rockers. While due to the total length of over just 11 minutes the track initially wasn’t released as a single, it became a fan favorite and staple of John’s live set lists. It’s easy to understand why!

And here it is…drum roll…Christian’s Music Musings is embracing 21st-century technology…my first embedded Spotify list. Take that Apple Music, despite my brilliant computer skills, I couldn’t figure out how to embed playlists using your platform so I won’t, at least not for playlist embeds!

Sources: Wikipedia; Tangerine Dream website; Songfacts; YouTube

Pink Floyd’s Meddle Turns 50

Today, 50 years ago, Pink Floyd released their sixth studio album Meddle, yet another gem in the treasure trove of 1971 to hit the big milestone. Coming just a little over a year after Atom Heart Mother, Meddle is considered a transitional album that foreshadowed what arguably were the band’s Mount Rushmore releases The Dark Side of the Moon and Wish You Were Here. While the two latter records were always among my favorite Floyd albums, Meddle is a record that grew on me over the years. Nowadays, if I could only pick one, I might actually go with Meddle.

According to Wikipedia, when Pink Floyd went into the studio in January 1971, they had no clear idea what kind of record they wanted to make. Apparently, the work started out with some novel experiments that inspired what would become my favorite Pink Floyd track these days, the mighty Echoes. Unlike the group’s later albums that increasingly were dominated by themes and lyrics devised by Roger Waters, Meddle featured lyrical contributions from each band member.

Meddle inner gatefold (from left): Roger Waters, Nick Mason, David Gilmour and Richard Wright

The recording sessions for Meddle stretched out over eight months from January through August 1970. That’s because Pink Floyd had concert commitments throughout that period, which forced starts and stops. During that same timeframe, the band was also working on Relics, a great compilation album of their early work with Syd Barrett. Considering all these distractions, it’s quite remarkable to me that Meddle turned out to be such a masterpiece.

There were also some technical challenges. At the time Pink Floyd started work on the album at Abbey Road Studios, the facility only had eight-track recording technology, something the band found insufficient for their needs. As such, they ended up working at other smaller studios in London, which already were equipped with 16-track recording technology.

Time for some music! Let’s start with the opening instrumental One of These Days, which is credited to all four members of the band. The dominant pumping bassline was double-tracked, with each Roger Waters and David Gilmour playing one track. The cheerful line, “One of these days I will cut you into little pieces,” was spoken by drummer Nick Mason. Songfacts notes it was “digitally warped to give it an evil sound to it” – mission accomplished!

Fearless is an acoustic tune co-written by Gilmour and Waters. According to Wikipedia, Waters played it in a guitar tuning called open G, which Syd Barrett had taught him. In this tuning, the lower E and A strings and the high e string are each tuned down by one note to D, G and d, respectively, so a G major chord can be played without fretting a string. The crowd of people that can be heard near the beginning and at end of the song is a field recording of Liverpool soccer fans chanting their anthem “You’ll Never Walk Alone.”

The final track on side one is Seamus, a country blues style song credited to all members of the band. The tune was named after a dog that belonged to Steve Marriott, the frontman of Humble Pie at the time. Songfacts notes the dog would bark and howl every time he heard music, or if someone played the guitar. In fact, the dog can be heard barking and howling throughout the entire track. Pink Floyd biographer Nicholas Schaffner dismissed the tune. Gilmour essentially admitted the song wasn’t meant to be taken seriously, saying, “I guess it wasn’t really as funny to everyone else [as] it was to us.”

This brings me to the only tune that makes up the entire side two of the album. While at 23 and a half minutes Echoes is a pretty long track, no post about Meddle would be complete without it. Once again, Echoes was credited to the entire band. The ambient sound effects and musical improvisation resemble what Pink Floyd would take to the next level a few years later on The Dark Side of the Moon and Wish You Were Here. I’ve really come to love this epic track!

Overall, Meddle was well received by music critics when it came out. It also enjoyed significant chart success, especially in Europe where it climbed to no. 3, no. 7, no. 11 and no. 2 in the UK, France, Germany and The Netherlands, respectively. The performance was more moderate in the U.S. and Canada where Meddle reached no. 70 and no. 51, respectively.

Sources: Wikipedia; Songfacts; YouTube

My Top 5 Studio Albums Turning 50

The other day while driving in my car, I caught a cool program on SiriusXM, Classic Vinyl (Ch. 26) titled the “Top 50 Albums Turning 50.” Hosted by former Doors guitarist and drummer Robby Krieger and John Densmore, respectively, it was a countdown of records that came out in 1971, as voted by listeners. Once again, this reminded me what an outstanding period the early ’70s were for music, and I’m not only talking about classic rock. The radio show also triggered the idea for this post. While I don’t want to call this a series, I have a funny feeling I’ll do more about 1971, now that I’ve been bitten by the bug.

The amount of great albums released in 1971 is mind-boggling, especially from today’s perspective. It’s a true gold mine! Some artists and bands like Johnny Cash, Carole King, Faces and Yes released even more than one record. Following are my top five albums turning 50 this year. I’m not great at ranking, so I’m listing my picks in no particular order. Live records and debuts are excluded, since I’m contemplating separate posts for these categories. I guess it’s another way to admit that if you love early ’70s music, summing up 1971 with just five albums is mission impossible!

The Who/Who’s Next

As my favorite album by The Who, including Who’s Next in this short list was a no-brainer. The fifth studio album by the British rockers appeared on August 14, 1971. It came out of Lifehouse, another rock opera Pete Townshend had conceived as a follow-up to Tommy. Eight of the nine songs from Who’s Next had initially been written for Lifehouse. Additional tracks from the abandoned project were subsequently released as singles and appeared on other Who and Townshend (solo) records. Except for My Wife, which was penned by John Entwistle, Townhend wrote all tracks. I pretty much could have highlighted any song from the album. Here’s Bargain, which according to Songfacts is an homage to Indian spiritual master Meher Baba. Townshend believed in his message of enlightenment, which also influenced songs like Baba O’Riley and See Me, Feel Me. “Bargain” refers to losing all material goods for spiritual enlightenment.

Carole King/Tapestry

Folks who follow the blog or know me otherwise won’t be shocked by this pick. When it comes to the singer-songwriter category, Carole King will always remain one of my all-time favorite artists. Tapestry, released on February 10, 1971, is her Mount Rushmore in my book. A couple of months ago, leading up to the 50th anniversary date, I devoted a 10-part series to the album (“Ten Days of Tapestry”, see final part here, which includes links to all previous installments). Therefore, I’m keeping it brief here. Tapestry’s great opener I Feel the Earth Move was solely written by King, like most other tracks on the album.

Led Zeppelin/Led Zeppelin IV

Led Zeppelin IV and Stairway to Heaven marked the start of my Led Zeppelin journey. While they were an acquired taste, Led Zeppelin have become one of my favorite rock bands. To me, their fourth studio album, which came out on November 8, 1971, remains one of the most exciting ’70s rock albums, though I’ve also come to really dig their other records. Instead of the obvious tune Stairway, which I would select if I could only choose one classic rock song, let’s do Rock and Roll. It’s the record’s only tune credited to all four members of the band. In addition to Robert Plant, Jimmy Page, John Paul Jones and John Bonham, Rock and Roll features Rolling Stones co-founder Ian Stewart on keyboards.

The Rolling Stones/Sticky Fingers

Speaking of the Stones, Sticky Fingers is another must-include on my top five short list of the greatest albums released in 1971. You can read more about my favorite Stones album in this recent post I published a few days ahead of the April 23 50th anniversary date. Here I’d like to highlight a track I did not call out in that post: Sway, which also became the b-side of the album’s second single Wild Horses, released on June 12, 1971. The slower blues track features some sweet slide guitar action by Mick Taylor. Another factoid worthwhile noting is the song marked Mick Jagger’s first electric guitar performance on a Stones album. Oh, and there were some notable backing vocalists: Pete Townshend, Ronnie Lane (of Small Faces and Faces) and Billy Nichols, an American guitarist and songwriter who first came to prominence during the ’60s for his work with Motown.

Pink Floyd/Meddle

With so many great albums that were released in 1971, it’s tricky to keep this list to five, but that’s what I set out to do, at least for now. Meddle was the sixth studio album by Pink Floyd, which appeared on October 31, 1971. It foreshadowed the band’s mid ’70s masterpieces The Dark Side of the Moon and Wish You Were Here, especially on the 23-minute-plus track Echoes. While I was tempted to feature this epic track, I think it’s safe to assume very few readers would listen. Instead, let’s go with the opener One of These Days. The characteristic pumping bass line was double-tracked, played by bassist Roger Waters and guitarist David Gilmour. The instrumental is credited to all members of the band, which in addition to Waters and Gilmour included Richard Wright (organ, piano) and Nick Mason (drums, percussion). The only spoken line in the song, the cheerful and digitally warped “One of these days I’m gonna cut you up into little pieces,” was spoken by Mason.

Sources: Wikipedia; Songfacts; YouTube

What I’ve Been Listening to: Bettye LaVette/Interpretations: The British Rock Songbook

One thing I love about music blogging is how much I learn about artists I didn’t know or only had heard of by name. Oftentimes, I find myself stepping through one door only to find many others I’ve yet to open. Frankly, I probably would have run out of ideas a long time ago, if it were any different! Plus, I’d get bored if I only wrote about music and artists I know.

The latest example is Bettye LaVette, a versatile vocalist who has been active since 1962. I included her in two previous posts, most recently on Saturday in a piece about artists who have covered songs by The Rolling Stones. LaVette’s great rendition of Salt of the Earth led me to take a closer look at the album that includes her version of the tune. I was quickly intrigued by what else I found on Interpretations: The British Rock Songbook, which was released in May 2010. Her soulful, at times somewhat fragile voice reminds me a bit of Tina Turner and is right up my alley.

Bettye LaVette - Soulful Detroit

While LaVette enjoyed some chart success early in her career, for decades, she was more of a cult figure in soul circles. At least in part that was due to bad luck with record labels. After LaVette recorded what was supposed to become her first full-length album Child of the Seventies, Atlantic Records decided not to move forward with the project, apparently without giving her any explanation. In 1982, Motown’s Lee Young, Sr. signed LaVette to the storied label, which led to the recording of her first released album Tell Me Lie. However, following a corporate shake-up, Young was removed, the label never promoted LaVette’s record, and it failed to chart.

Fast-forward to 2000 when a French collector and label owner called Gilles Petard discovered the tapes for the aforementioned Child of the Seventies album in Atlantic Records’ vaults. He liked what he heard, licensed the tracks and released them under the title Souvenirs in France on his Art & Soul label. Around the same time, Let Me Down Easy – In Concert, a live recording of LaVette in the Netherlands, appeared on the Dutch label Munich. The two near-simultaneous releases created new interest in LaVette as a recording artist and resulted in a contract with label Blues Express.

Bettye LaVette Interview - Blues Matters Magazine

In January 2003, LaVette released A Woman Like Me, only her third full-length studio album. It won the W.C. Handy Award in 2004 for Comeback Blues Album of the Year and the Living Blues critic pick as Best Female Blues Artist of 2004. LaVette’s recording career was finally going somewhere. She has since released eight other studio albums and won additional awards, including a Pioneer Award from the Rhythm and Blues Foundation (2006), Blues Music Award for Best Contemporary Female Blues Singer (2008), Distinguished Achievement Award from The Detroit Music Society (2015) and Blues Music Award for Best Soul Blues Female Artist from The Blues Foundation (2016). LaVette is also in the Michigan Rock and Roll Legends Hall of Fame and has been nominated three times for a Grammy.

LaVette is an unusual artist. According to her website, she is no mere singer. She is not a song writer, nor is she a “cover” artist. She is an interpreter of the highest order. Bettye is one of very few of her contemporaries who were recording during the birth of soul music in the 60s and is still creating vital recordings today. This certainly becomes obvious when listening to Interpretations: The British Rock Songbook, which brings me back to the album. Let’s get to some intriguing interpretations!

The opener is a funky version of The Word by The Beatles. While the John LennonPaul McCartney co-write, which was included on the Rubber Soul album from December 1965, is barely recognizable, I find LaVette’s take pretty cool. It’s got a bit of a James Brown vibe, and I can almost hear his “uhs” in the background.

How about some Led Zeppelin reimagined? Here’s All My Love, a song I’ve always dug. Co-written by John Paul Jones and Robert Plant, the tune first appeared on Zep’s eighth and final studio album In Through the Out Door released in August 1979. Check this out – damn!

Let’s move on to Pink Floyd and Wish You Were Here. The title track of their ninth studio album from September 1975 was co-written by David Gilmour and Roger Waters. Who would have thought a Floyd track could ever sound so soulful!

Nights in White Satin is one of my favorite songs by The Moody Blues. Written by Justin Hayward, the track appeared on Days of Future Passed, one of the most beautiful concept albums of the ’60s. Here it is in Bettye LaVette style – amazing!

Let’s do two more. First up is another great funky rendition: Why Does Love Got to be So Sad by Derek and the Dominoes. Co-written by Eric Clapton and Bobby Whitlock, the tune appeared on the band’s sole studio album Layla and Other Assorted Love Songs from November 1970. Groovy!

Last but not least, here is the closer Love, Reign O’er Me, a highlight on the album. It captures LaVette’s unedited live performance during the Kennedy Center Honors in December 2008 in tribute to Roger Daltrey and Pete Townshend, who were among the honorees that year. Townshend wrote the tune for The Who’s sixth studio album Quadrophenia that came out in October 1973. Here’s the actual footage from the Kennedy Center. Messrs. Daltrey and Townshend almost seem to have a Led Zeppelin moment. Check this out. This is friggin’ intense!

Interpretations: The British Rock Songbook, which appeared on U.S. label Anti-, was co-produced by Rob Mathes, Michael Stevens and LaVette. It reached no. 1 on the U.S. Billboard’s Top Blues Albums, staying in that chart for 39 weeks. The album also enjoyed some mainstream success in the U.S., climbing to no. 56 on the Billboard 200. Interpretations: The British Rock Songbook became one of the three aforementioned Grammy nominations for LaVette.

Thanks to great images on Discogs, I was able to look at the album’s liner notes that reveal some interesting things about LaVette’s approach to interpretations. “I never think of a song as a record,” she is quoted. “I think of songs as songs. I don’t think of a Rolling Stones recording. I think of the Rolling Stones singing this song and now I’m going to sing it. That helps me tremendously…There’s no process of ‘how can I make this different.’ I hear it immediately differently. It’s very hard for another singer to satisfy me. No matter where a singer went with the vocal, if I can think of somewhere else to go, then wherever they went no longer interests me.”

In addition to the vocal approach, LaVette also took artistic freedom with the lyrics, which she changed significantly on a number of songs. “I think the most difficult thing about putting the album together was that many of the words didn’t make sense to me,” she said. “These songs belong to white fans who are now in their fifties…The biggest hang-up was I didn’t want to disrespect them because I knew that there are people who have altars built to many of these songs…When I got into them I realized there were things worth saying but I had to make them things I could sing about.”

So what do some of the artists who wrote the original songs think of LaVette’s renditions? Following are some quotes from a sticker on the CD’s jewel case. Again, I have Discogs to thank for featuring some great images. “A great record. Put me in the Bettye LaVette fan club” (Keith Richards). “Bettye is reinventing and reclaiming a soul singing tradition all at once” (Pete Townshend). “Bettye is blessed with an instantly recognizable voice full of power & emotion” (Steve Winwood). “Bettye has recorded an amazing version of ‘Don’t Let the Sun Go Down on Me'” (Elton John).

Sources: Wikipedia; Discogs; YouTube

Bee Gees – Part 4: Downfall, Comeback and Last Man Standing

“We didn’t categorize our songs as disco, but then we weren’t thinking that way at all. We were just thinking about writing songs based on the discovery of this falsetto voice and how well that seemed to work.” (Barry Gibb, The Bee Gees: How Can You Mend a Broken Heart)

By the end of the ’70s, the Bee Gees had become ubiquitous. Saturday Night Fever won Album of the Year at the 1979 Grammy Awards, one of four music awards they scored related to the film. At one point, the Bee Gees and their younger brother Andy Gibb held five of the top 10 spots on the U.S. Billboard Hot 100. Perhaps not surprisingly, what goes up, must come down. Or crashing down in this case.

The Bee Gees Are Disco Icons, but Robin Gibb Was Pure Pop - The Atlantic
Bee Gees in 1979 (from left): Robin Gibb, Barry Gibb and Maurice Gibb

Apart from ubiquity, whether they liked it or not, it was the Bee Gees’ close association with disco that triggered their precipitous downfall when disco rapidly declined in popularity by the end of the ’70s and became the subject of outright backlash. More and more radio stations refused to play disco and Bee Gees music. And it got even worse. In the Broken Heart documentary, Maurice Gibb noted, “We had FBI and Secret Service around the airplane every time we landed in a certain place because of the bomb threats. It was scary stuff.”

Essentially, the situation forced the Bee Gees to stop performing as a group. While for their 1981 album Living Eyes, they stylistically turned away from their ’70s albums that had brought them past fame, it only sold 750,000 copies worldwide – not too shabby on the surface but measly compared to 16 million predecessor Spirits Having Flown had generated. Living Eyes stalled at no. 41 in the U.S. and at no. 73 in the UK. Here’s the title track, a co-write by the three brothers.

For the next six years, the Bee Gees largely focused on writing songs for other artists. Barry Gibb worked with Barbara Streisand on her hugely successful 1980 studio album Guilty, which he co-produced and for which he wrote or co-wrote all songs. This included the ballad Woman in Love, which like the album topped the charts in the U.S., UK and many other countries. The title track, written by the three Gibb brothers, also became a hit. Interestingly, the album cover showed a picture of Streisand and Barry Gibb who also sang backing vocals on Guilty.

Additional examples of Bee Gees songs performed by other artists in the 80s include Heartbreaker (Dionne Warwick), Islands in the Stream (Dolly Parton & Kenny Rodgers) and the Diana Ross album Eaten Alive. The Gibb brothers also did some solo work during that period. Robin Gibb enjoyed some success with his solo music in Germany.

In 1987, the Bee Gees decided to record a new album, E.S.P., six years after their last unsuccessful studio release. For the first time in 12 years, they also worked again with Arif Mardin, who had produced their mid-’70s album Main Course, the career-defining record that previously revived the group, introducing their R&B-driven dance pop and Barry’s falsetto.

While I’m not sure Mardin had a comparable influence on E.S.P., the album launched another comeback for the Bee Gees. It performed particularly well in Europe, reaching no. 1 in Germany and Switzerland, no. 2 in Austria and no. 5 in the UK. In the U.S., it barely cracked the top 100, stalling at no. 96 on the Billboard 200. Here’s the lead single You Win Again, co-written by all three Gibb brothers like all other tracks on the album.

Then fate hit again. Andy Gibb, who like his older brothers was a music artist and had enjoyed some success in the late ’70s, passed away on March 10, 1988 from myocarditis, an inflammation of the heart muscle caused by years of cocaine abuse that had fatally weakened his heart. He was only 30 years old. In addition to drug addiction, Andy had struggled with depression.

Andy’s death delayed the Bee Gees’ next album One. After taking an eight-month break, Barry, Maurice and Robin returned to the studio to finish the album. It appeared in April 1989 and was dedicated to Andy. Here’s the moving tribute Wish You Were Here.

The Bee Gees went on to release four additional studio albums between March 1991 and April 2001. Still Waters, which appeared in March 1997, marked their last triumph. In spite of lukewarm reviews, it became their best-selling album in almost 20 years. Here’s opener Alone, co-written by Barry, Maurice and Robin, which also became the lead single.

The remaining story of the Bee Gees is sad. On January 12, 2003, Maurice Gibb unexpectedly died at the age of 53 due to complications from a twisted intestine, which caused cardiac arrest. While Barry and Robin occasionally performed together thereafter, Maurice’s death ended the Bee Gees. In November 2011, it was announced Robin had been diagnosed with liver cancer. Six months later on May 20, 2012, he passed away. Robin was only 62 years old. Barry Gibb had lost all of his brothers.

In February 2013, Barry kicked off his first solo tour in Australia “in honour of his brothers and a lifetime of music,” as he told British newspaper Express in April 2013. Performing without any of his brothers was extremely challenging, as he noted in the aforementioned article. In the end, things worked out well. “The Australian leg of this tour was a great test of my self-doubt because even though I’ve done solo performances before it wasn’t going to be the same without Robin and Mo,” Barry said. “The opening night in Sydney was incredible. That’s where we grew up so to go back and see people that we knew was therapeutic.”

HOROSCOPE: Sept. 1, 2020
Barry Gibb, September 2020

Gibb has continued to tour over the years. In October 2016, he released his second solo album In the Now, together with his sons Stephen Gibb and Ashley Gibb. Last month, he announced a new solo album Greenfields: The Gibb Brothers Songbook, Vol 1, which is scheduled to appear on January 8, 2021, as reported by JamBase. It includes new recordings of Bee Gees songs like I’ve Gotta Get a Message to You, Lonely Days and Jive Talkin’, featuring many guests, such as Jason Isbell, Alison Krauss and Cheryl Crow.

“I think everything we set out to do, we did against all odds. I can’t honestly come to terms with the fact they’re not here anymore. Never been able to do that. I’m always reliving it. It’s always, ‘what would Robin think’, ‘what would Maurice think’ – and Andy. It never goes away. And, what I wanted to say earlier is that I’ve rather have them all back here and no hits at all.” (Barry Gibb, The Bee Gees: How Can You Mend a Broken Heart)

Sources: Wikipedia; The Bee Gees: How Can You Mend a Broken Heartdocumentary directed by Frank Marshall; Express; JamBase; YouTube

On Occasions When I’m Up For Heavy Action

A collection of favorite hard rock tunes

My recent “desert island” collection of 10 studio albums included Deep Purple’s Machine 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.

SteppenwolfBorn 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 ZeppelinWhole 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 PurpleSpeed 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 SabbathParanoid

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 HeepBird 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’s Tapestry, CSNY’s Déjà Vu and Pink Floyd’s Wish 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!

RainbowLong 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 MooreVictims 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’ RosesSweet 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!

ScorpionsRaised 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/DCPlay 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’s Dee Snider, who apparently is close to AC/DC. According to this NME story 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…

Sources: Wikipedia; Scorpions website; NME; YouTube

When the Music Does the Singing

A collection of guitar-driven instrumentals

Frequent visitors of the blog and others who have a good idea about my music taste know I really dig vocals, especially multi-part harmony singing. In fact, when it comes to artists like The Temptations, I could even do without any backing music. That’s why felt like shaking things up a little and putting together this collection of tracks that shockingly don’t have any vocals. Once I started to reflect, it was surprisingly easy to find instrumentals I really like – yes, they do exist and, no, I don’t miss the vocals!

Since I still play guitar occasionally (only to realize how rusty I’ve become!), I decided to focus on primarily guitar-driven tracks. While I’m sure you could point me to jazz instrumentals I also find attractive, the reality is I’m much more familiar with other genres, especially in the rock and blues arena. Most of the tracks in this post came to my mind pretty quickly. The John Mayall and the Blues Breakers and Steve Vai tunes were the only ones I picked from a list Guitar World put together.

The Shadows/Apache

I’ve always thought Hank Marvin had a really cool sound. Here’s Apache, which was written by English composer Jerry Lordan and first recorded by Bert Weedon in 1960, but it was the version by The Shadows released in July of the same year, which became a major hit that topped the UK Singles Chart for five weeks.

John Mayall and the Blues Breakers/Steppin’ Out

Steppin’ Out is a great cover of a Memphis Slim tune from the debut studio album by John Mayall and the Blues Breakers from July 1966. It was titled Blues Breakers with Clapton featuring, you guessed it, Eric Clapton, who had become the band’s lead guitarist following the release of their first live album John Mayall Plays John Mayall that appeared in March 1965.

Pink Floyd/Interstellar Overdrive

My Pink Floyd journey began with their ’70s classics Wish You Were Here and The Dark Side of the Moon. Much of their early phase with Syd Barrett was an acquired taste, especially experimental tunes like Interstellar Overdrive from Floyd’s debut The Piper at the Gates of Dawn released in August 1967. It’s one of only two tracks on the album credited to all members of the band at the time: Barrett, Roger Waters, Richard Wright and Nick Mason.

Deep Purple/Wring That Neck

Wring That Neck is a kick-ass tune from Deep Purple’s sophomore album The Book of Taliesyn that appeared in October 1968. As was quite common for the band, Jon Lord’s mighty Hammond organ pretty much had equal weight to Ritchie Blackmore’s guitar. That’s always something I’ve loved about Deep Purple, as much as I dig guitar-driven rock. Wring That Neck was co-written Blackmore, Lord, bassist Nick Semper and drummer Ian Paice.

Fleetwood Mac/Albatross

Yes, I know, I featured this gem only recently on July 25 when Peter Green sadly passed away at the age of 73. I’m also still planning to do a follow-up on this extraordinary guitarist. But I just couldn’t skip Albatross in this collection, which Green wrote and recorded with Fleetwood Mac in October 1968. The track was released as a non-album single the following month. It’s a perfect example of Green’s style that emphasized feeling over showing off complexity, speed and other guitar skills. With it’s exceptionally beautiful tone, I would rate Albatross as one of the best instrumentals, perhaps even my all-time favorite, together with another track that’s still coming up.

The Allman Brothers Band/Jessica

Jessica first appeared on The Allman Brothers Band’s fourth studio album Brothers and Sisters from August 1973. It also became the record’s second single in December that year. Written by lead guitarist Dickey Betts, the tune was a tribute to jazz guitar virtuoso Django Reinhardt. Betts named the tune after his daughter Jessica Betts who was an infant at the time. When you have such beautiful instrumental harmonies, who needs harmony vocals? Yes, I just wrote that! 🙂

Santana/Europa (Earth’s Cry Heaven’s Smile)

Santana’s Europa (Earth’s Cry Heaven’s Smile) is the other above noted tune, which together with Albatross I would perhaps call my all-time favorite guitar-driven instrumental. In particular, it’s the electric guitar tone that stands out to me in both of these tracks. Co-written by Carlos Santana and his longtime backing musician Tom Coster who provided keyboards, Europa was first recorded for Santana’s seventh studio album Amigos from March 1976. It also appeared separately as a single and was also one of the live tracks on the Moonflower album released in October 1977.

Steve Vai/The Attitude Song

When it comes to guitarists and their playing, I’m generally in the less-is-more camp. That’s why I really must further explore Peter Green whose style should be up right up my alley. Sometimes though shredding is okay. I was going to include Eddie Van Halen’s Eruption, but it’s really more an over-the-top guitar solo than an instrumental. So I went with Steve Vai and The Attitude Song, a track from his solo debut album Flex-Able from January 1984. I definitely couldn’t take this kind of music at all times. In fact, as I’m listening to the tune while writing this, it’s actually making me somewhat anxious. While the harmony guitar and bass action sound cool, like most things, I feel it should be enjoyed in moderation! 🙂

Stevie Ray Vaughan/Scuttle Buttin

Scuttle Buttin’ by Stevie Ray Vaughan isn’t exactly restrained guitar playing either. But while like The Attitude Song it’s a shredder, the tune has never made me anxious. I think that’s largely because I really dig Vaughan’s sound. Yes, he’s playing very fast and many notes, yet to me, it comes across as less aggressive than Vai who uses more distortion. Written by Vaughan, Scuttle Buttin’ appeared on his excellent second studio album Couldn’t Stand the Weather released in May 1984.

Jeff Beck/A Day in the Life

The last artist I’d like to feature in this collection is another extraordinary guitarist with an amazing tone: Jeff Beck. His unique technique that relies on using his thumb to pick the guitar strings, the ring finger to control the volume knob and his pinkie to work the vibrato bar of his Fender Stratocaster creates a unique sound no other guitar player I’ve heard has. Here’s Beck’s beautiful rendition of The Beatles tune A Day in the Life. It was included on In My Life, an album of Fab Four covers compiled and produced by George Martin, which appeared in October 1998.

Sources: Wikipedia; Guitar World; YouTube

In Appreciation of German Radio and TV Personality Frank Laufenberg

Moderator, journalist and author is a distinguished rock and pop expert who has influenced my music journey

This post was inspired by fellow blogger msjadeli who writes the Tao Talk blog. Msjadeli is a true music lover who frequently likes to discuss the subject. She also writes about it. Just yesterday, she published this post about “the Friday Song”, played on 97 WLAV FM, a Grand Rapids, Mich. radio station that became part of her music journey. This led to a discussion about radio DJs and how they can impact us. It reminded me of my radio days while growing up back in Germany in the ’70s and ’80s and one host, a pop and rock connoisseur who introduced me to lots of music from the ’50s and ’60s: Frank Laufenberg.

In previous posts, I acknowledged several people who had a major influence on my music journey, sometimes unknowingly: my six-year-older sister and her vinyl collection that, among others, included timeless gems like Carole King’s Tapestry, Pink Floyd’s Wish You Were Here and Crosby, Stills, Nash & Young’s Déjà Vu, all albums I love to this day; my grandfather, a music professor and piano teacher who was thrilled when I told my parents I wanted to learn the guitar, and payed for most of my instruments; and my guitar and bass teacher who really got me into The Beatles and, of course, taught me how to play both instruments. Yesterday’s discussion made me realize the one person that’s missing is Laufenberg. Acknowledging him is overdue.

Frank Laufenberg in his home studio

Frank Laufenberg was born on January 2, 1945 in the East German small town of Lebus. He grew up in Cologne where he started his professional career at record label EMI Electrola, working in A&R from 1967 to 1970. In 1970, while accompanying an artist to an interview at SWF3, he met Walther Krause, who created and oversaw a then-new radio show called Pop-Shop and offered Laufenberg a trial period as moderator. It would turn out to be a career-changing encounter.

The artist (I don’t remember who it was) did the interview,” recalls Laufenberg in this short online background section on the website of Internet radio station PopStop, one of his current professional homes. “Afterwards, I went to the boss of Pop-Shop, to Walther Krause, to politely thank him, and he asked me how I thought the interview went. ‘If I had recorded it with the artist, it would have been better for him, for me and the listeners’, I replied. And Krause went: ‘If you feel you could do better than the current moderator, why don’t you give a try for a week?’ Evidently, Laufenberg didn’t lack confidence!

Frank Laufenberg’s Rock and Pop Almanach

A week turned into many years, and Laufenberg became a key moderator at SWF3, a popular mainstream radio station on regional TV and radio network Südwestfunk. In addition to Pop-Shop, one of the other shows Laufenberg moderated at SWF3 was Oldies on Sunday nights. To the best of my recollection, the program aired from 9:00 pm to 11:00 pm. That’s the show through which Laufenberg introduced me to a lot of ’50s and ’60s music, really helping me establish a deeper appreciation for music from these decades. I’ll get back to that later.

In the ’80s, Laufenberg also moderated various television shows for regional networks Westdeutscher Rundfunk (WDR), Bayerischer Rundfunk (BR) and Südwestfunk. On the latter, this included an excellent live music program called Ohne Filter (literal translation: without filter). In September 1990, Laufenberg started moderating programs on privately owned channel Sat1. Idiotically, this led SWF3 to terminate him with the stupid explanation Laufenberg could not work for public broadcast while also moderating programs for a private channel. Subsequently, he worked at various other private and public channels.

Some of my old music cassettes with music taped from SWF3 Oldies show

In 2013, Laufenberg founded the above mentioned internet radio station PopStop, where he is a moderator to this day. Since April 2018, he also hosts two shows on SR 3 Saarlandwelle, a radio channel on regional broadcast network Saarländischer Rundfunk. In addition to having worked as a radio and TV moderator, Laufenberg has published various music-related books, perhaps most notably Frank Laufenbergs Rock- und Pop Lexikon, which also has been published in English as Rock und Pop Diary.

Now it’s time for some music. Let’s start with the above noted SWF3 Oldies show. Obviously, I don’t have YouTube clips from actual program episodes. But, as you can see in the above photo, I still have music cassettes with songs I taped from the program. So I guess the closest I can offer is YouTube clips of some of the songs that are on these tapes. Unfortunately, when I started taping music on MCs, I didn’t note dates. This tells me these MCs must be from the late ’70s/early ’80s. Here’s a tune from the earliest SWF3 Oldies MC I could find: I’m Into Something Good, co-written by Gerry Goffin and Carole King, and popularized by Herman’s Hermits in 1964 – a tune I’ve always dug.

I’m fairly certain the first time I heard Chuck Berry’s Memphis, Tennessee was on Laufenberg’s SWF3 Oldies. The classic was released as a single in 1959.

Here’s another track that has become one of my all-time favorite ’60s tune with a killer guitar riff: Oh, Pretty Woman by Roy Orbison, the rocker with an opera voice. Co-written by him and Bill Dees, the song first appeared as a single in 1964. It was also included on the compilation album Orbisongs (clever title!) from November 1965.

Here’s one more tune I taped from the show: The Rolling Stones’ version of Under the Boardwalk. The song was co-written by Kenny Young and Arthur Resnick and first recorded by The Drifters in 1964. The Stones included their rendition, the first version of the song I heard, on their sophomore studio album 12 X 5, which appeared in October 1964.

The last clip I’d like to feature is from the above noted Ohne Filter TV show Laufenberg moderated: Excellent English guitarist Chris Rea and his tune Josephine, which received lots of radio play on (radio station) SWF3 when it came out. The song is from Rea’s seventh studio album Shamrock Diaries, which was released in December 1984. The footage is from a 1986 episode of Ohne Filter Extra I watched at the time.

The last word shall belong to Frank Laufenberg. Here’s a translation of what he says on the PopStop website about the internet radio station: PopStop – das Musikradio’ wants to bring back variety to radio, variety that’s not only missing to me. We can’t reinvent radio – but we can bring back the good aspects it had. Content that predated the days of “Radio GaGa.” As Queen correctly warned in 1984: ‘Radio – don’t become some background noise’. That’s what it unfortunately has become. But Queen also sing: ‘Radio what’s new? Radio, someone still loves you’. ‘PopStop’ will appeal to exactly these lovers of radio and those who are interested in music. We’re always happy about new listeners and would appreciate if you could recommend us.

Yours Frank Laufenberg

Sources: Wikipedia; PopStop website; YouTube