John Bonham – Born May 31,
1948. One of the most influential drummers to have ever sat behind a kit. He
was a combination of several skills; speed, power, and an incredible ability to
blend his off-beat style within the groove of a song. His hand-foot dexterity
is still a marvel to drummers who look back at his career and attempt to
emulate aspects of his technique. Bonham plied his craft with the legendary
hard rock act Led Zeppelin from 1968 through to his shocking and untimely death
in 1980. Today’s feature is one of several examples of John Bonham’s skill;
‘Moby Dick’.
This instrumental piece is
yet another example of a composition that emerged from a ton of in studio
recordings and experimentation. John Bonham was working on drum parts to fit in
this song over a period of time, and on several occasions Jimmy Page would find him…
Over 500 editions of Ted
Tocks Covers there have been several stories that speak to what amount to
‘accidental’ #1 singles. Today’s Ted Tocks is another example.
‘Frankenstein’ by The Edgar
Winter Group hit #1 on this day in 1973. Like it’s literary namesake it was a
monster project that took on a life of its own. Before The Edgar Winter Group,
the essence of this song was actually a jam piece performed live by Edgar along
with his incredibly talented guitar player brother, Johnny Winter. Here is one
of the earliest versions of the jam that would become known as Frankenstein.
The bass player is Tommy Shannon who would go on to become the bass player in
Stevie Ray Vaughan’s Band Double Trouble.
The song’s title was the
idea of The Edgar Winter Group’s drummer Chuck Ruff. It was basically a nod to the fact that the song was…
Fasten your seat belt on this one
because it is an interesting ride and at the end of the road will be great live
version by rock royalty.
‘Hello Mary Lou’ was written by Gene Pitney and first recorded by Johnny Duncan in 1960.
A more famous version was released
by Ricky Nelson in 1961. It was the ‘B’ side to his #1 song ‘Travelin’ Man’ and
went to #9 on the Billboard charts. In the U.K. ‘Hello Mary Lou’ was released
as the ‘A’ side and it went to #1 on this day in 1961. Listening to both Duncan
and Nelson, I admit I prefer Johnny Duncan’s version but to each his own.
Admittedly the solo by James Burton is among the best in the early rock and
roll era.
What I have discussed so far is just the the beginning. We have only pulled out of the driveway.
I can’t believe it was seven years ago. Seven years ago, I was invited to participate in a fundraising event called Grandpa Bob’s 4000 km Walk for Louie. This six-month mission was a massive undertaking conceived by ‘Grandpa’ Bob Facca and his family, for his grandson Louie, who lives with Duchenne muscular dystrophy. Louie was five at the time of the walk which began in mid-May of 2014 in Quebec City. It would then take Grandpa Bob and his crew from Quebec City, Quebec to Winnipeg, Manitoba. The goal was to be done by late November/early December. Here is the story of how I got involved, how much it still means to me and as an added bonus I will weave in today’s feature song. Everything comes together, because over six months there were definitely times when Grandpa Bob was ‘Running on Empty’, but there was no way he was ever going to stop. At the beginning, every step was for Louie. As the walk carried on, he realized he was walking for Duchenne families everywhere. Symbolically, he became ‘Grandpa’ to many.
Grandpa Bob’s 4000 km Walk for Louie was co-sponsored and managed by Jesse’s Journey. This connection was very fitting because Jesse’s Journey was founded by the Davidson family in 1994. It was created as The Foundation for Gene and Cell Therapy, but soon became known as Jesse’s Journey when in 1995, father, John and son, Jesse set out from the Manitoba/Ontario border and made their way across Ontario to Ottawa and the bridge that connects our nations’ capitol with Hull, Quebec. The goal at the time was for John to push Jesse in his wheelchair along the roadside through Ontario’s small towns, and large urban centres in order to create awareness surrounding a disease that very few people were familiar, and at the time even less research was being conducted. This first walk was approximately 3000 kilometers and by the time John and Jesse were finished they had raised approximately $1.5 million for research. This served as the beginning.
Three years later, on April 10, 1998; Jesse’s 18th birthday, John Davidson made his way to St. John’s, Newfoundland and began a cross country trek known as ‘A Father’s Tribute’. This time the goal was to create awareness on a more national level. Less than 300 days later John Davidson dipped his well worn running shoes in the Pacific Ocean at Beacon Hill Park in Victoria B.C. The cross Canada walk for Duchenne raised over $2 million. To this day John Davidson remains in the Guinness Book of World Records for the fastest crossing of Canada on foot.
In 2021 Jesse’s Journey announced that they would be funding four research initiatives, three of them in Canada and one in the United States. Each of these endeavors are aimed at understanding Duchenne with the express purpose of eradicating the disease. The $1.7 million pledged to research in 2021 is testament to the vision of John and Jesse Davidson, mother Sherene and brothers Tim and Tyler. Over 27 years into their mission Jesse’s Journey, a grass roots Canadian charity has funded over $15 million in research, and over 50 research projects worldwide. Best of all, Jesse’s Journey has become a very visible charity across Canada, and they are known worldwide for their commitment to finding a cure for Duchenne. Based on this charity’s humble, yet devoted beginnings those closest to Jesse’s Journey know it as a ‘family of families’. Some of the best people our family knows are connected to this charity. This is where the Davidson’s road connected to ours in 2002.
In November of 2002, my sister in-law Darlene and Mike were told that their 2 year old son Eric had Duchenne muscular dystrophy, a genetic disease that does not allow the body to create dystrophin, the protein that allows muscle tissue to develop. As a result, the muscles weaken as the child grows older. Duchenne occurs almost exclusively in boys. It is thought to affect one in 5000 boys worldwide. Typically, by adolescence a Duchenne boy is confined to a wheelchair and to date, there being no cure as the disease progresses, it becomes fatal. This is the sad reality that our family set out to change within days of Eric’s diagnosis. Heather and I promised Darlene and Mike that we would do everything we can to help. In 2003 we created a fundraiser known as Eric’s Amazing Race Car Rally and Silent Auction. This event had a 15 year run and with the incredible assistance of family and friends, as well as community support beyond our imagination, we raised over $240,000 over the decade and a half that we held the event.
Eric will be 21 next week and he continues to be a source of hope and perseverance. On many occasions he has been called upon to be a voice for Jesse’s Journey and the Duchenne community, and I know I come across as a proud uncle, but he is a public relations natural. He is extremely well spoken, endlessly engaging and above all eternally optimistic. From my perspective he is the captain of the team. As a ‘player’ I say we our going to win. Leadership matters. Jesse’s Journey is blessed with depth, all across this country thanks to John Davidson and his team that consists of Perry, Rick, Nicola, Rochelle, Alison, Matt, Shelby, Rebekah and Sydney along with their Board of Directors that has members who reside coast to coast. Each and every one of these people will stop at nothing to win this fight.
Now that I have connected Grandpa Bob and Louie’s story with the Jesse’s Journey connection, I will bring it back to how I managed to become a Road Manager for Grandpa Bob’s 4000 km Walk for Louie. In the winter of 2014, I was sitting in my office in Burlington when I received a phone call from Dave, a friend I had met through Jesse’s Journey. We talked about a handful of topical items of the day and then he told me about Grandpa Bob’s goal and the logistics that would have to be tackled before an event of this magnitude could be initiated. Dave was planning on being the full-time road manager, but over the six-month duration of the event he would need personnel to relieve him on occasion between May and November. He asked if I would be interested. After consulting with Heather, we decided that it would be an honour to take on this role. This is how I became Bob’s right-hand guy for four weeks in the summer of 2014. Along the road that would take us from Trenton to Peterborough, Rockwood to Niagara Falls, Kincardine to Meaford, and Midland to Parry Sound I met some of the most generous and supportive people I think I will ever know. Most of them were complete strangers, but they all became friends. Every day, stories were abounding. Individuals offered monetary donations, best wishes and food. Community groups took us in for breakfast, lunch or dinner. Families shared their personal stories. I could go on forever. I still have vivid memories of how Bob’s commitment brought out the best in thousands of people he met along the way. Memories that still move me to tears, quite frankly, like the stranger who left a $20 bill under a rock at the side of Hwy 12 in Orillia with a note that simply said ‘Good Luck! Or the police officer who used his pull and waived local by-laws to allow our entourage to roll through their community and generate hundreds of dollars in donations. Sometimes it was the people who appeared to have the least who gave us ‘the most’. I remember a family who approached us in Owen Sound. They told us they were on their way to do their laundry. When they saw our vans and Winnebago emblazoned with the Grandpa Bob/Jesse’s Journey mission they stopped by to meet Bob and ask some questions. Bob engaged them in conversation, and I grabbed them a brochure, pins and some Grandpa Bob Walk for Louie bracelets that included Louie’s motto ‘No Bad Days’. As we were packing up after our lunch break the family returned and asked if they could make a donation. We welcomed their generosity as they proceeded to dump their jar of loose change into our donation can. It seems this family held a meeting after talking to Bob. They would forego a week of laundry in order to lend support to the cause. As he prepared to set off on the afternoon portion of his daily 20 km walk, Bob wiped away tears and uttered one of his favourite sayings…
Isn’t that something.”
‘Grandpa’ Bob Facca
I heard Bob say this many times while working with him. For me, this walk was life altering. For Bob, it seems to have been a defining event, just behind his commitment as a father, grandfather and friend to many. I saw it all. What a man! Just an impossibly devoted person. He turned 65 years old during this walk. At 65, he walked a minimum of 20 kms a day for over six months. I still marvel at this feat of endurance. Grandpa Bob’s 4000 km Walk for Louie raised approximately $750,000 for Jesse’s Journey and Duchenne muscular dystrophy research.
We have come to the part where I introduce the song. This is a rather unusual version of ‘Ted Tocks’ because until now the song has been a secondary focus. While we were in Owen Sound, Bob and I went over to one of the local radio stations where I had arranged for an interview. I sat off to the side as the DJ interviewed Bob. Again, I marveled as Bob discussed the project, his commitment to his grandson Louie and the many positive stories along the road. When the interview was over, we spoke off air and the conversation briefly turned to music. The DJ told us that he would air the interview the next morning and asked if we had a song that we might like to hear. Without skipping a beat, I blurted out ‘Running on Empty’ by Jackson Browne. Bob was fine with that. He had bigger fish to fry. He also knew that I loved music and on a daily basis while I was with him on the walk, I would share a daily journal of events and tie them into a song that reflected the overall scene. On many occasions, Bob would scan through what I had written and smile. He would then say…
Isn’t that something.”
‘Grandpa’ Bob Facca
Then he would walk some more.
I still recall driving in the Winnebago somewhere outside of Durham listening to the interview with Bob, and then having the DJ send ‘Running on Empty’ out to Grandpa Bob as he offered his best wishes for the remainder of the Walk for Louie.
What a cool feeling. Jackson Browne will never know how much that song meant in the moment as we looked out at the road rushing under our wheels.
For Jackson Browne, ‘Running on Empty’ resides as one of many signature songs from a career that has provided us with a soundtrack of our lives. Jackson Browne is a quality songwriter, and an even better person. When he wrote ‘Running on Empty’ in 1977 he was driving in his car reflecting on both his ability to maintain his demanding rock and roll lifestyle, while literally letting his car run on fumes as he made his way from his house to the studio. Here is a quote from an interview with Rolling Stone Magazine.
I just never bothered to fill up the tank because — how far was it anyway? Just a few blocks.”
Jackson Browne
The song made Rolling Stone’s list of The 500 Greatest Songs of All Time. When it was released on the album of the same name in 1978 ‘Running on Empty’ rose to #11 on the U.S. Billboard Hot 100 and made it to #4 in Canada. The live recording was taped at the Merriweather Post Pavilion in Columbia, Maryland in the summer of 1977. In addition to Jackson Browne’s philosophical and reflective lyrics the song becomes a standout as a result of the musicianship. Beginning with the backing vocals provided by Rosemary Butler and Doug Haywood and supplemented by guitarist Danny Kortchmar, Craig Doerge on piano and Russ Kunkel on drums. No discussion related to ‘Running on Empty’ would be complete without mention of the superlative lap steel guitar work by the great David Lindley. Four decades later and this is still one of the best examples of this instrument on record. Through the years David Lindley and Jackson Browne have been intertwined. An extremely strong musical combination.
Here is Jackson Browne along with David Lindley performing a live acoustic version of ‘Running on Empty’. This is scaled back to the basics, providing a look at the song in a naked form. As always, it is astounding.
The bassist for today’s feature track is none other than the great Leland Sklar. To many he may not be a familiar name but just know that you have likely been listening to his playing all your life and not even have known. Leland is the credited bassist on over 2000 studio recordings and counting. His body of work is a relatively recent discovery for me, I will admit. My periphery awareness was greatly enhanced by his COVID-19 video project where he offers up frequent YouTube discussions on some of the many recordings he has played on, and artists he has played with. To a music fan like me, these videos are a great way to escape for about half an hour and learn of his fantastic inside stories about some of the greatest artists on record. He speaks with fondness about them all. The impression I get is, the feeling is mutual. Leland Sklar strikes me as an eternally genuine and loving person, who plays his role to a T. A model bass player and an even better human being by all indications.
Leland Sklar’s career as a bass player began in the ‘60s with James Taylor where he initially made a name for himself. He went on to become a highly sought-after session musician in the rock and jazz fusion genre. One of his major contributions exists within an ensemble known as ‘The Section’. This group of players kind of took the baton offered by The Wrecking Crew and became one of the most recorded groups of musicians in whole or in part in music history. Look back on the group that played with Jackson Browne on ‘Running on Empty’ and you have ‘The Section’. On occasion the great Waddy Wachtel worked with this crew too. Greatness begets greatness and these guys have an impressive collection of recordings. Here is a short list of artists Sklar and/or ‘The Section’ have played with over the past fifty years or so:
Hoyt Axton
Roger McGuinn
All three members of Crosby Stills and Nash
Aaron Neville
Randy Newman
Olivia Newton-John
Dolly Parton
Jimmy Buffett
Glen Campbell
David Cassidy
Bonnie Raitt
Joe Cocker
Leonard Cohen
Phil Collins
Neil Diamond
Warren Zevon
And many more…
Here is Leland Sklar talking about his memorable period of time working with Jackson Browne and ‘The Section’ during this tour.
Here are the lyrics to this great song about life:
Looking out at the road rushing under my wheels Looking back at the years gone by like so many summer fields ’65, I was 17 and running up 101 I don’t know where I’m running now, I’m just running on
Running on (running on empty) Running on (running blind) Running on (running into the sun) But I’m running behind
Gotta do what you can just to keep your love alive Trying not to confuse it, with what you do to survive ’69, I was 21 and I called the road my own I don’t know when that road turned into the road I’m on
Running on (running on empty) Running on (running blind) Running on (running into the sun) But I’m running behind
Everyone I know, everywhere I go People need some reason to believe I don’t know about anyone, but me If it takes all night, that’ll be all right If I can get you to smile before I leave
Looking out at the road rushing under my wheels I don’t know how to tell you all just how crazy this life feels Look around for the friends that I used to turn to to pull me through Looking into their eyes, I see them running too
Running on (running on empty) Running on (running blind) Running on (running into the sun) But I’m running behind
Honey, you really tempt me You know the way you look so kind I’d love to stick around, but I’m running behind (Running on) You know I don’t even know what I’m hoping to find (Running blind) Running into the sun, but I’m running behind
Jackson Browne
I should add two things here. It was through my feature on the Jackson Brown’s classic ‘Doctor My Eyes’ that I learned of Leland Sklar’s video series. ‘Doctor My Eyes’ exists as one of my most viewed Ted Tocks. I quickly found out that there are Jackson Browne fans all over the world and they are a passionate and devoted group of fans.
Today just happens to be Leland Sklar’s birthday. So, all of this is a roundabout way of saying happy birthday to another good man who is held in the highest regard among the people closest to him.
Almost done, I promise.
For today’s cover version I have selected a fantastic live version by a couple of rising stars. Here is Billy Strings along with Marcus King performing ‘Runing on Empty’. As a perfect segue they blend this classic with The Allman Brothers signature piece ‘Midnight Rider’. What a musical treat this is. Another magical concert homage about five decades later. I suspect the guitar work would make David Lindley smile and the stand-up bass provides a foundation.
In order to conclude, I will bring it all back around to where it began…Jesse’s Journey. As far back as 2004 our family has taken part in a Jesse’s Journey fundraiser that became known as ‘The Walk Across Canada’. It was designed to be a symbolic event where the ground covered by participants roughly added up to the distance across Canada that John Davidson walked from St. John’s, Newfoundland to Victoria B.C. In the early days, walkers were asked to get pledges for walking 33 kms. But that would eventually be scaled back in order to attract wider involvement. The 33 kms was also symbolic. It reflected the commitment of John Davidson going back to his walk across Ontario with Jesse. Every day he and Jesse would trek this distance. The walk across Canada in 1998/99 saw John Davidson cross the country in 286 days between April and January. Over that period of time, he took exactly one day off for a maintenance day. I am sure that was begrudgingly. I don’t often talk of heroes or idol worship but in my life, I am lucky to know John, and our family is eternally blessed to call him a friend. An endlessly supportive and inspirational man who is still very active in the daily activity of Jesse’s Journey.
Speaking of commitment, I bring it even closer to home where my brother in-law Mike still takes part in the 33 km walk across Canada in its original form. This weekend he will continue the tradition of walking this distance. He has closely measured it out and manages to walk along Lakeshore Road in Oakville from Maple Grove Avenue all the way to the Burlington/Oakville border at Burloak Avenue, and back again. Every year since 2004 he has done this for his son Eric. Every year he says the same thing.
I have no problem walking the 33 kms but I pay for it for about two weeks after.”
Mike Morden
This is a father’s commitment. It will never change. Not until we put an end to Duchenne muscular dystrophy. Over the years Mike has generated thousands of dollars in donations from his personal contacts. All of these contributions have been channeled to Duchenne research through Jesse’s Journey.
So, if you have managed to read through to the end of this admittedly, long post, by all means go to:
Oh Stevie Nicks! She has a way of capturing a moment, so
people can relate forever. I am sure we all have songs that speaks to us
through their lyrics and their poetry. Today’s feature song is ‘Landslide’ by
Fleetwood Mac. It was written by Stevie Nicks during a period of time where she
was contemplating a major change. In 1975 she was involved in a relationship
with Lindsey Buckingham that was also a creative partnership. Buckingham/Nicks
had recorded a self- titled album, but it was dropped by their label before
they could release a follow up. Nicks was contemplating quitting music and
going to school. She wrote ‘Landslide’ while staring out at the Rocky Mountains
from her friend’s living room window in Aspen, Colorado. The beautiful vista
helped her gather thoughts and make sense of things through the written word.
Evidently, it has helped thousands of people through personal…
One year ago today George Floyd was murdered by four Minneapolis police officers.
This horrific act inspired The U.S.A. Singer to write ‘The Ballad of George Floyd’. This powerful protest song moved me to the point that I wrote a short review of their creation. It is now the sixth most viewed Ted Tocks ever. Admittedly, it is obviously not a cover. Clearly, it is a subject we all need to become more educated about. ‘The Ballad of George Floyd’ harkens back to a period where what musicians wrote about became transcendent and inspired revolution. Based on the widespread protests following this senseless death, people were finally paying attention. There was revolution in the streets and there is a sense that change is going to come.
The topical content that speaks to systemic racism in the U.S. police and judicial system focused primarily on the circumstances surrounding the death of George Floyd, but it exposed a much larger issue. It also revealed that in the United States and globally there is a groundswell of support for racial equality and a police system that is just and right.
Fortunately, one of George Floyd’s murderers has been found guilty after a trial that was so one sided it was laughable.
Hopefully, the other three perpetrators will be disposed of just as swiftly.
‘The Ballad of George Floyd’ was one of many protest songs written soon after the appalling nine and a half minutes on a Minneapolis street. Here is a song of the same title by Dave Specter and Billy Branch
Here is their brief commentary.
I wrote the song a few days after George Floyd was murdered and the lyrics pretty much wrote themselves. George Floyd didn’t die in vain. He helped spark a worldwide movement for justice and change. I’m proud to collaborate with the great Chicago bluesman Billy Branch on this tune. We share the same vision and are inspired by the words of John Lewis: ‘If it hadn’t been for music, the civil rights movement would’ve been like a bird without wings.'”
I am going to grab a coffee and continue once you have digested this information.
The voice of a generation. An artist for the ages. A lyricist whose words have gone well beyond the grooves of the albums he released and moved into the realm of prophetic. Bob Dylan became a mirror of society through the significance of his songs. He reflected our many vices, sordid political and religious hypocrisy, greed and misplaced adulation. Remarkably, through a career that has spanned sixty years he has managed to remain somewhat of an enigma. Millions think they know him as a result of his lyrical content, but the reality is as you go through his career much of his library speaks to what he was thinking in the moment, so any effort to decipher who the man is by any one song will leave you in a cloud of dust. In truth the Bob Dylan inner circle is very small. So, through it all, Bob Dylan has managed to remain, very much a mystery. No doubt, this is by design.
All of this is a way of saying there will be no major revelation unearthed in this edition of ‘Ted Tocks Covers’. I will not unveil the real Bob Dylan. Nope…I will just feature the classic Bob Dylan track ‘Subterranean Homesick Blues’. Yah! There is not much going on in that song. Should be easy. Kidding…
Here are the iconic lyrics.
Johnny’s in the basement mixin’ up the medicine I’m on the pavement, thinkin’ about the government The man in the trench coat, badge out, laid off Says he’s got a bad cough, wants to get it paid off
Look out, kid, it’s somethin’ you did God knows when, but you’re doin’ it again You better duck down the alleyway, lookin’ for a new friend The man in the coon-skin cap in the big pen Wants 11 dollar bills, you only got ten
Maggie comes fleet foot, face full of black soot Talkin’ that the heat put plants in the bed book The phone’s tapped anyway, Maggie says, “The man, he say They must bust in early May, orders from the D.A.”
Look out, kid, don’t matter what you did Walk on your tip toes, don’t tie no bows Better stay away from those that carry around a fire hose Keep a clean nose, watch the plainclothes You don’t need a weatherman to know which way the wind blows
Oh, get sick, get well, hang around a ink well Hang bail, hard to tell if anything is goin’ to sell Try hard, get barred, get back, write braille Get jailed, jump bail, join the army if you fail
Look out, kid, you’re gonna get hit By losers, cheaters, six-time users Hangin’ ’round the theaters Girl by the whirlpool’s lookin’ for a new fool Don’t follow leaders, watch the parkin’ meters
Ah, get born, keep warm, short pants, romance Learn to dance, get dressed, get blessed, try to be a success Please her, please him, buy gifts, don’t steal, don’t lift 20 years of schoolin’ and they put you on the day shift
Look out, kid, they keep it all hid Better jump down a manhole, light yourself a candle Don’t wear sandals, try to avoid the scandals Don’t want to be a bum, you better chew gum The pump don’t work ’cause the vandals took the handles
Bob Dylan
Well over five decades later and this composition still resides as one of Dylan’s finest creations. Rather than try to dissect the lyrical content I will attempt to speak to how Bob Dylan was influenced. Yes, even Bob Dylan has influences. The most immediate inspiration for Bob Dylan on ‘Subterranean Homesick Blues’ was the great Chuck Berry.
“It’s from Chuck Berry, a bit of ‘Too Much Monkey Business’ and some of the scat songs of the ’40s.”
Bob Dylan
Specifically, if you listen to ‘Too Much Monkey Business’ and pay close attention to the lyrics you catch a very clear adaptation of the 1956 Berry classic.
Needless to say, this influence is not unique in the world of classic rock. Just ask John Lennon. (See ‘Come Together’). The truth is, both Lennon and for the purpose of today’s post Dylan, managed to take things to unimaginable heights. This speaks to their lyrical genius. Here are a couple of examples.
By 1965 when Bob Dylan wrote ‘Subterranean Homesick Blues’ the Vietnam war was just beginning to become topical. It had definitely hit Dylan’s radar though. He took this passage from ‘Too Much Monkey Business’;
Army bunk – army chow – army clothes – army car, aah! Too much monkey business. too much monkey business. Too much monkey business for me to be involved in!
Chuck Berry
And he responded with…
Get sick, get well Hang around a ink well Ring bell, hard to tell If anything is goin’ to sell Try hard, get barred Get back, write braille Get jailed, jump bail Join the army, if you fail
Bob Dylan
No doubt, the experiences of Berry, a black man, and Dylan were very different, but the threat of being sent to war if you were not a person of some sort of privilege was definitely a concern. Things progress from there in terms of the sociological and class-based nature of the Dylan song.
Same thing every day – gettin’ up, goin’ to school No need for me to complain – my objection’s overruled, ahh! Too much monkey business, too much monkey business”
Chuck Berry
Dylan responds with the classic passage:
Please her, please him buy her gifts Don’t steal, don’t lift Twenty years of schoolin’ And they put you on the day shift”
Bob Dylan
Society’s expectations weighed like a ton of bricks on the shoulders of youth during this era, and the punishment for failure was daunting to say the least. Bob Dylan is able to summarize the neurosis of a generation in this two minutes of rapid- fire prose. It remains a marvelous piece of writing.
The internet is full of phenomenal articles about how Bob Dylan adapted the words of ‘Too Much Monkey Business’. Have a look, but I warn you; you will be sent down a rabbit hole of fascinating origins and interesting perspectives. Here is one:
Beyond the obvious Chuck Berry modification, Bob Dylan was also very open about two other major sources of creative inspiration. Much of his writing in the early ‘60s was derived from the free- flowing presentation of his mentor Woody Guthrie. In an interview in the early 2000s, bassist for The Animals, Chas Chandler recalled ‘Subterranean Homesick Blues’ in its earliest incarnation. During a night of partying at Dylan’s apartment the singer brought the song out and introduced it as ‘Those Old Subterranean Blues’. He told The Animals that it was about people living ‘after the bomb exploded’. Life after annihilation plays a prominent part in this song by Woody Guthrie.
This influence has been explored by Ted Tocks Covers on more than one occasion (see ‘Song to Woody’) so I won’t get into it again, but out of the Guthrie presence the ‘Subterranean’ theme conjures up another. It was out of that shadow that Bob Dylan moved toward another significant source of expressiveness and vision. Enter the ‘beat generation’.
For this source we can begin with none other than Jack Kerouac. In 1958 this father of ‘beat’ writing wrote ‘The Subterraneans’. There is the influence right in the title. Let it be stated that I am no detective. It is pretty obvious. ‘Subterranean Homesick Blues’ manages to bring Kerouac’s style forward and express the anguish to the mainstream, and Bob Dylan’s followers took it and ran, to some degree (that little move to ‘electric’ controversy aside – see ‘Maggie’s Farm’). Part of me wonders what it would have been like for a Bob Dylan disciple in 1965 to set the needle on side one of ‘Bringing it All Back Home’ and hearing ‘Subterranean Homesick Blues’.
If Jack Kerouac introduced Bob Dylan to the ‘beat scene’ then there is no doubt his spiritual guide became Allen Ginsberg. This is a unique relationship. It all started at about the same time as ‘The Subterraneans’ came out.
I didn’t start writing poetry until I was out of high school. I was eighteen or so when I first discovered Ginsberg, Gary Snyder, Philip Whalen, Frank O’Hara and those guys.”
Bob Dylan
From here, Bob Dylan met Allen Ginsberg in the early ‘60s after he had settled in Greenwich Village in New York City. As much as Bob Dylan was transformed by writers such as Ginsberg and other writers of the Beat Generation’, Ginsberg was equally enthralled by the Dylan mystique. He is quoted as saying his writing was equivalent to “chains of flashing images”.
Bob Dylan was so taken by Ginsberg, that he invited him to go on tour with him. This was an invitation that was initially declined, but it did occur on subsequent occasions during the iconic 1975 Rolling Thunder Revue, and for the purposes of today’s post he was an ever present figure in 1965, while film director D.A. Pennebaker was filming the documentary ‘Don’t Look Back’. If you watch the video at the beginning of today’s post, you can see Allen Ginsberg on the left side of the screen talking to Dylan’s friend, singer/songwriter Bob Neuwirth. As the video concludes the pair walk away from the camera. The video is shot in a back alley near the Savoy Hotel in London, England.
Here is a solid observation by David S. Willis in his blog site:
If Dylan was beginning to provide the soundtrack for the counter-culture, Ginsberg gave it both a face and the networks which were essential in sustaining its momentum.”
David S. Willis
Before I move on from the obvious ‘beat’ connection, here is an interesting alternative take of the ‘Subterranean Homesick Blues’ video. In the first part of the song a frustrated Bob Dylan struggles with the cue cards while standing on a rooftop on a windy day. That’s producer Tom Wilson standing with Bob Neuwirth. As the song progresses the group moves to Victoria Embankment Gardens where Neuwirth is joined by Allen Ginsberg and someone who by all indications remains unidentified.
The famous cue card prompt in these videos is thought to have been a spontaneous idea, and they were written complete with purposeful misspellings by a combination of Bob Dylan, Joan Baez, Allen Ginsberg, Bob Neuwirth and Donovan.
It was Dylan’s idea. In a bar, he asked me, and I said I thought it was terrific. We took along hundreds of shirt cardboards on the trip, and we sat down with Donovan and Joan (Baez), and just did different signs. I did some too, but I can’t remember which ones I did.”
D. A. Pennebaker.”
In a word, this song is transformative. It marked the beginning of many changes. It brought added context to the civil rights movement, it gave voice to the emerging anti-war sentiment and it definitely provided a backdrop for the woke public’s anxiety when it came to their concern over social and geo-political issues. With lines like “better keep away from those that carry ‘round a firehose” it is very clear that there are direct allusions to the civil rights protests in the United States.
Music journalist Andy Gill summarizes it effectively in this quote:
An entire generation recognized the zeitgeist in the verbal whirlwind of ‘Subterranean Homesick Blues’.”
Andy Gill
A couple of other famous anecdotes related to ‘Subterranean Homesick Blues’ is the line referring to “you don’t need a weatherman to know which way the wind blows.”
While this line speaks to Bob Dylan’s urging of others to learn to think for themselves it also served as a prompt for a subversive anti-establishment group known as ‘The Weather Underground’. This group of radical left-wing militants formed on the Ann Arbor campus of the University of Michigan in 1969. They were initially known as ‘the weathermen’’ and existed as a faction of ‘Students for a Democratic Society’ Their express political goal was to create a revolutionary party to overthrow American imperialism. This speaks to their attacks on banks and government offices. All of this was intended to lead to a ‘classless communist world’.
One final anecdote involves the personnel on ‘Subterranean Homesick Blues’. The bass player on this track is Bill Lee. Bill is Spike Lee’s father. Kind of an interesting connection, and a story unto itself.
To many people ‘Subterranean Homesick Blues’ resides as one of music’s first examples of the ‘video’ as we now know it. Several years ahead of its time. It definitely speaks to the vision of D.A. Pennebaker and his projects that ultimately became known as ‘Don’t Look Back’ and ‘No Direction Home’. The images and style remain, and they have served as an influence for many artists who followed. Rolling Stone Magazine lists the video for ‘Subterranean Homesick Blues’ as the #7 video of all time.
Here are just a handful of interesting cover versions of Subterranean Homesick Blues’.
An early cover of ‘Subterranean Homesick Blues’ was offered by Harry Nilsson in 1974. It was produced by John Lennon on Nilsson’s album called ‘Pussy Cats’. This is intriguing on several levels because a decade earlier when Lennon first heard this song, he openly wondered how he could ever compete with such profound lyrics.
In the early days of the Red Hot Chili Peppers ascent to the top of the music world they dabbled in a little Dylan, and this was the funky groove that resulted. This cover was originally released on their album ‘The Uplift Mofo Party Plan’. I opted for the energy of their live performance from 2001’s ‘Off the Map’. This won’t be for everyone but, count me among the ‘yay’ side.
In an effort to mix up the styles a little bit, I am going to present a reggae version featuring Gregory Isaacs and Toots Hibbert. This is from Isaacs’s album ‘Is It Rolling Bob’. That’s Bunny Wailer off to the left playing the role of Allen Ginsberg. Pretty cool stuff.
This cover is so ‘Bob Dylan’. In 2005 Alanis Morissette performed this version live at Bob Dylan’s induction into the U.K Music Hall of Fame. Dylan asked Alanis Morissette to ‘stand in’ for him for the ceremony. Priceless.
This one is fascinating. The Lumineers with Andrew Bird released this version on an album known as ‘Echoes of Vietnam’. The album features notable artists of the present era as they recreate versions of iconic songs from the Vietnam era. Another album I highly recommend.
Here are the Stereophonics performing live on a Virgin Radio Breakfast show hosted by Chris Evans. This has a fun vibe, so It had to be included.
As I continued to scan the internet for intriguing cover versions, I found another cool performance by Todd Snider. I learned of Todd a few years ago through my love of John Prine. This guy is a combination of funny, unique and good.
When Bob Dylan received the Nobel Peace Prize for Literature in 2016 it sent a ripple through the arts and literary world. The debate began to surface questioning whether a ‘songwriter’ should receive such an honour. Naturally, Dylan offered no apology. In fact, he didn’t even attend the ceremony in person. To his credit, he did send his regrets and a concise and thoughtful speech. He draws an interesting analogy to his writing and the great William Shakespeare.
I began to think about William Shakespeare, the great literary figure. I would reckon he thought of himself as a dramatist. The thought that he was writing literature couldn’t have entered his head. His words were written for the stage. Meant to be spoken not read. When he was writing Hamlet, I’m sure he was thinking about a lot of different things: “Who’re the right actors for these roles?” “How should this be staged?” “Do I really want to set this in Denmark?” His creative vision and ambitions were no doubt at the forefront of his mind, but there were also more mundane matters to consider and deal with. “Is the financing in place?” “Are there enough good seats for my patrons?” “Where am I going to get a human skull?” I would bet that the farthest thing from Shakespeare’s mind was the question “Is this literature?”
Bob Dylan
As his address concludes Dylan ties in the importance of his connection with his audience on a micro level. He described them as separate identities and a world unto themselves. Through the years he managed to accomplish this feat at an extraordinary level. All the way to the audience of 50 or so representatives on the Nobel committee.
Here, he summarizes his genuine purpose.
But, like Shakespeare, I too am often occupied with the pursuit of my creative endeavors and dealing with all aspects of life’s mundane matters. “Who are the best musicians for these songs?” “Am I recording in the right studio?” “Is this song in the right key?” Some things never change, even in 400 years.Not once have I ever had the time to ask myself, “Are my songs literature?”
Bob Dylan
It was never about the commercial accolades.
This too, reflects the Bob Dylan mystique.
In 2020 he released ‘Rough and Rowdy Ways’ which included the song which has become somewhat of a recent self portrait.
Pink petal-pushers, red blue jeans All the pretty maids, and all the old queens All the old queens from all my past lives I carry four pistols and two large knives I’m a man of contradictions, I’m a man of many moods I contain multitudes”
Bob Dylan
The line referencing himself as “a man of contradictions…a man of many moods” speaks to the persona many have attempted to penetrate for 60 years. The truth is it is ever evolving. It is and it always will be. He has said it himself.
I think one thing today and I think another thing tomorrow. I change during the course of a day.”
Bob Dylan
That is exactly why his words and music will remain relevant for decades to come. It is simply because his writing speaks to a specific time and place. It takes us back, but if we are really paying attention, it has the capacity to lift us in the present. This is the mark of greatness.
In many ways ‘Listen to the Music’ by The Doobie Brothers was a product of the times. The beauty of music is, so often the message lasts. As a result, this song sounds as uplifting today as the day The Doobie Brothers songwriter Tom Johnston heard it come across the radio waves while he was driving his Volkswagen down a down a road near San Jose. Here is the story of how ‘Listen to the Music’ found its way to our ears.
It all began with the riff. From the moment he strummed the chord structure and wrote the upbeat lyrics he felt he was on to something.
The chord structure of it made me think of something positive, so the lyrics that came out of that were based on this utopian idea that if the leaders of the world got together on some grassy hill somewhere and either smoked enough dope or just sat down and just listened to the music and forgot about all this other bullshit, the world would be a much better place. It was very utopian and very unrealistic (laughs). It seemed like a good idea at the time.”
Tom Johnston
It was about 3:00 am when he reached out to his producer Ted Templeman and excitedly proclaimed that he was working on a hit.
You gotta hear this. This song is a hit. It’s the only one I’ve ever been right about. That one I flat said, “This is a single.”
Tom Johnston
From the original idea to what ultimately became the song we all know; a debt of gratitude needs to be paid to Ted Templeman. To many music aficionados, Templeman is known for his production work with The Doobie Brothers, Van Halen, Little Feat, Van Morrison, Eric Clapton and many more. His life in music went back to the mid ‘60s where he was a member of a band called the Tikis. This act had a record deal with Warner Brothers. At the suggestion of the great Warner producer, Lenny Waronker, the band changed their name to Harpers Bazaar. While that act was relatively short-lived Ted Templeman became well known for developing his ear for good music in order to create unique recordings. Here is Templeman as part of an act known as The Templeton Twins – Teddy Turners Bunsen Burners. This is their rendition of ‘Light My Fire’ by The Doors done in a 1920s style.
If you like this, try ‘Hey Jude’.
I said unique…
The point is Templeman had an ability to take a song from its basic form and then add an unexpected hook. This talent continued for several decades. The example in ‘Listen to the Music’ was adding guitarist Patrick Simmons voice to the track as part of the famous bridge. You know the part…
Like a lazy flowing river Surrounding castles in the sky And the crowd is growing bigger List’nin’ for the happy sounds And I got to let them fly”
Tom Johnston
Tom Johnston summarizes this contribution by saying;
We tried that, and it worked really well. So, these are the kinds of things that Ted was good for, helping make a song more than it was when he walked in the door.”
Tom Johnston
As an added bonus you get Patrick Simmons on the banjo, playing through the outro and the flange effect during the bridge. This is all Ted Templeman.
His philosophy was definitely “let the music play” but if you were going to play it needed to have a memorable hook.
From Tom Johnston’s perspective, he attributes the success of ‘Listen to the Music’ to the groove and the fact people can sing along.
People can very easily sing along with it. And do. We can play that song anywhere, anyplace, any country, and people sing along with the chorus. Even if they don’t speak English, doesn’t matter. In the old days, you had to have a hook, which was “Wo, wo, listen to the music,” as simple as that sounds. And you had to have either a chord change or a groove or both that would grab people. The rhythm pattern was new at that time, not now obviously, but I think that’s one of the things that set it aside.”
Tom Johnston
This brings us to the present, where everything has changed and at the same time nothing has changed. Remember my opening line?
‘Listen to the Music’ was written as a hopeful extension of positivity during a time that was mired with war, famine, civil rights issues and political corruption. When Tom Johnston wrote that riff and took it to The Doobie Brothers and Ted Templeman he wanted to channel this uplifting message and get the people to sing. Needless to say, it worked. ‘Listen to the Music’ went all the way to #11 and became the first of many hits for this highly regarded classic rock band. Nearly 50 years later ‘Listen to the Music’ still brings people together.
Like Tom Johnston said;
What the people need is a way to make them smile.”
Tom Johnston
Or as he allows in this deeper explanation of the song’s popularity:
In the era we’re livin’ in, there’s not a lot of positive things goin’ on, so I have to say that that’s probably one of the things too. Anything that’s positive, people gravitate to. It’s a feel good song. You can play it anywhere and people are gonna respond to it, ‘cause it got all the sunshine. That’s the one that people all know.”
Tom Johnston
It is worth noting that several of these quotes from Tom Johnston were taken from a 2012 interview where he was reflecting on 40 years of ‘Listen to the Music’ and its continuing popularity. Part of the reason why I chose to feature this song, which is long overdue I must add, is because I recalled the following two recordings from the recent past.
Here is Tom Johnston as he contributes to a video for the popular feature called ‘Playing for Change’. The idea that music brings people together is on full display here when you consider it involves 30 musicians from 12 countries. This 2018 video also includes Doobie Brothers members Patrick Simmons and John McFee playing from a park in San Diego. This is magical.
It gets better. While the world was working through the ravages of the Covid-19 pandemic The Doobie Brothers offered this production known as Music in Isolation. I love this version because the banjo really comes through.
Here is a nice clip from ‘The Story Behind the Song’. I include it for the brief story it shares. Patrick Simmons explains the phasor sound. It also serves to present its popularity so many years later. It has become a traditional encore for this Rock and Roll Hall of Fame act.
Now we move onto the cover versions. Here is Sonny and Cher. To be clear I was expecting something better. If you can get through this whole cover version, you have my utmost respect. This is an abomination.
Call the Isley Brothers to bring things back. This has a funk groove that was a sign of things to come in music. The Isley Brothers are a very important act in music history and this cover puts their creative and stylistic vision on full display.
While searching for quality covers, I discovered this Nashville based act known as Brother Maven. This is really good. The reproduction is fantastic, but what really grabbed me was the Dickey Betts style solo by J.P. Presley.
Finally, I am bringing it all back to my hometown of Burlington, Ontario. Here is Burlington’s own Freedom Train. This popular local act pulls this song out on a regular basis and they never disappoint. I would be hard-pressed to think of another area band as good, with as diverse a setlist that keeps the audience rocking from the opening chord to the final crash cymbal flurry.
This is all a way of saying that I can’t wait until the day when we can get live music back.
Well I know, you know better Everything I say Meet me in the country for a day We’ll be happy And we’ll dance Oh, we’re gonna dance our blues away And if I’m feelin’ good to you And you’re feelin’ good to me There ain’t nothin’ we can’t do or say Feelin’ good, feeling fine Oh, baby, let the music play”
‘Levon’ by Elton John is one of my favourite songs. I can’t begin to account for the fact that it has taken me well over three years to feature it in a Ted Tocks, but as they say, “it is what it is.” It’s not because I haven’t featured Elton John or songs written by Bernie Taupin on many occasions, because I have. As I glance back through these posts, I think it is mostly to do with the significance of the actual song on the days they were featured. Either that, or the ability to tie in the cover artist of the Elton John/Bernie Taupin creation. Nevertheless, here I am featuring ‘Levon’ as we mark Bernie Taupin’s birthday. Before I begin, here are the links to the other features I have written that include Taupin lyrics.
‘Levon’ is yet another amazing song from the vast catalogue of music released in 1971. The hits just keep on coming. It was recorded in February of that year and released on the brilliant ‘Madman Across the Water’ album in early November. Today’s feature was the first single. It went to #24 in the United States and #6 in Canada.
Typical of many of Bernie Taupin lyrics ‘Levon’ has been scrutinized. People have attempted to dissect elements of the song for clues as to what Taupin was writing about. As fascinating as the piece remains the prolific songwriter remains adamant that,
It was a free-form writing. It was just lines that came out that were interesting.”
Bernie Taupin
While he has been pressed to some extent over the years, he has gone on to say,
It’s about a guy who just gets bored doing the same thing. It’s just somebody who gets bored with blowing up balloons and he just wants to get away from it, but he can’t because it’s the family ritual.”
Bernie Taupin
I guess to some degree we are all bound by expectations, and limited due to the constraints we perceive based on those expectations. In a sense, we are all here on Earth, but many of us would love ‘to go to Venus’.
It is at this point that the curiosity begins. There are three elements of ‘Levon’ that project a combination of interesting themes, powerful allusions, and provocative statements. It is my contention that these qualities combine with Elton John’s performance to make it much larger than the sum of its parts.
A very unscientific analysis of Bernie Taupin’s writing at the time notes instances of intergenerational conflict due to expectations. This theme emerges to some degree in ‘Madman Across the Water’ too. The idea that ‘Levon’ is a war vet who clearly became a man of means in his community suggests a level of affluence that his son was expected to live up to. For his part, ‘Jesus’ is rather underwhelmed by both his father’s material wealth and the potential of taking over the family business. This clash represents the generational divide that became very apparent in the ‘60s. It was certainly felt by both Bernie Taupin and Elton John due to their rather unconventional career direction. Fortunately for us all, they did thrive.
The line referring to Alvin Tostig having a son today has also created endless speculation. According to Bernie Taupin, it is just a name that sounded good at the time of writing. The fact that some analysts on Elton John fan websites have gone back in history and found a ‘Tostig’ who was the Earl of Wessex in the 1040s has added to the debate. Maybe Bernie Taupin, who is clearly well read grabbed this name from the recesses of his mind? It just seems as though he created the line “because he liked the name.” Just an interesting anecdote.
From my perspective, I have always loved the “New York Times said God is Dead” line. I was not surprised to find that some fans managed to break this point down to an actual article that appeared in the New York Times on March 24, 1968. The headline was actually “’God is Dead Doctrine Losing Ground to Theology of Hope’.” Not quite Christmas day, but it does lend itself to allowing us to build on the theme. Perhaps ‘Levon’ as a character in this song, is an allegory for ‘God’. By extension, the son, ‘Jesus’, who is struggling to live up to his father’s expectations represents Taupin’s own questions about this place in the family structure, and religion itself. These concepts were certainly prevalent at the time. For many, they continue to be fifty years later. From an existential point of view, the fact Jesus just wants to escape by going to Venus, indicates a willingness to sever the ties, and overwhelming expectations.
“He shall be Levon” becomes a collective cry at this point.
From a musical standpoint, one cannot discuss ‘Levon’ without addressing the powerful orchestral arrangement written and directed by Paul Buckmaster. It is worth noting that if you have enjoyed songs like ‘Space Oddity’ by David Bowie, ‘Without You’ by Harry Nilsson, Leonard Cohen’s ‘Songs of Love and Hate’ album, ‘Moonlight Mile’ and ‘Sway’ by the Rolling Stones, ‘You’re So Vain’ by Carly Simon, ‘Terrapin Station’ by the Grateful Dead, the orchestral arrangements were written and directed by Paul Buckmaster. The list I have provided barely scratches the surface of his contribution to the world of music from 1969 until his death in 2017. Another artist worth exploring.
For today’s cover version, I have opted for a very noteworthy rendition by Jon Bon Jovi from the 1991 tribute album known as ‘Two Rooms: Celebrating the Songs of Elton John and Bernie Taupin’. While I have never been a fan of Bon Jovi, I acknowledge this is a good cover. It had to be included.
I was able to dig a little bit deeper and managed to find three interesting performances. The first is by Jerry Cantrell from Alice in Chains along with Somar Macek. This is a solid performance that is enhanced by the Synergia Northwest Orchestra. Really good.
Here is a very honest delivery by Myles Kennedy.
As I continued to explore, I found this solo cover by Eric Henry Andersen. My vote for the best cover. Another positive personal discovery that I urge you to explore.
This post would be incomplete without sharing Bernie Taupin’s provocative lyrics.
Levon wears his war wound like a crown He calls his child Jesus ‘Cause he likes the name And he sends him to the finest school in town
Levon, Levon likes his money He makes a lot they say Spends his days counting In a garage by the motorway
He was born a pauper to a pawn on a Christmas day When the New York Times said God is dead And the war’s begun Alvin Tostig has a son today
And he shall be Levon And he shall be a good man And he shall be Levon In tradition with the family plan And he shall be Levon And he shall be a good man He shall be Levon
Levon sells cartoon balloons in town His family business thrives Jesus blows up balloons all day Sits on the porch swing watching them fly
And Jesus he wants to go to Venus Leave, Levon far behind Take a balloon and go sailing While Levon, Levon slowly dies
He was born a pauper to a pawn on a Christmas day When the New York times said God is dead And the war’s begun Alvin Tostig has a son today
And he shall be Levon And he shall be a good man And he shall be Levon In tradition with the family plan, woo And he shall be Levon And he shall be a good man He shall be Levon And he shall be Levon And he shall be a good man And he shall be Levon In tradition with the family plan, woo And he shall be Levon And he shall be a good man He shall be Levon
Bernie Taupin
Let me know your thoughts on the meaning or do you think it is simply ‘words that just came’ together nicely?
Personally, I think that it is somewhere between where he was in the moment and being a genius wordsmith. It reminds me of quote I read recently:
How do I know what I think, until I see what I say.”
E.M. Forster
Sometimes the words just spill out. When you get really lucky, you write something that people hold onto for over half a century.
Bernie Taupin will forever reside as one of the finest lyricists. For this statement, there is no debate.
I just want to ask the question. Who really cares, to save a world in despair.”
Marvin Gaye
If this video and song doesn’t make you stop and think, maybe you are part of the problem.
When Renaldo ‘Obie’ Benson wrote ‘What’s Going On’ in 1970 he was responding to the war in Vietnam, police brutality and civil unrest. As a member of The Four Tops he was sitting on a tour bus outside a venue at Berkeley when he witnessed police beating protesters during an anti-war protest in the city’s People’s Park. The event that became known as ‘Bloody Thursday’ forced Benson to ask himself some hard questions. In turn, Benson felt he needed to write a song and ask the world those same questions.
What is happening here?’ One question led to another. Why are they sending kids so far away from their families overseas? Why are they…
Ted Tocks Covers 
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