Much has been discussed about the significance of Pink Floyd as they appear on the vast canvas that is the history of music, but oftentimes the significance of their formative days gets lost in the discussion. The seed was germinating exactly 55 years ago as the band that people seemed determined to place ‘the’ in front of were working on their debut album, ‘Piper at the Gates of Dawn’. Fittingly, today’s feature will focus on the song that started it all. The ‘big bang’ as it were, ‘Astronomy Domine’ which was the album’s opening track.
It’s hard to say what Syd Barrett saw when he looked out into the great expanse of the universe, but one could surmise that the poem that became ‘Astronomy Domine’ offers some answers. From his earliest days, Barrett was infatuated by outer space and astronomy as a whole. It gave him cause for contemplation. It is out of that complex equation that ‘Astronomy Domine’ was born. Without a doubt Barrett’s experimentation with LSD played a part too, but this suggestion should in no way diminish the lyrics or the concept. There is a depth to the lyrics and the presentation that is deserving of admiration.
To begin, the term ‘domine’ literally has its Latin roots in respect. It then went on to reflect a verbal offering used by Gregorian monks to express allegiance to their deity. Essentially, ‘domine’ is a prayer or repetitive chant. So, what Syd Barrett was expressing was his adulation for the magnificence of everything, while professing his minor role amongst the incomprehensible endlessness of it all. It is an existential journey of the cosmos imagined as a train ride, complete with then Pink Floyd manager Peter Jenner speaking through a megaphone announcing the planets and moons along the way, much like a conductor.
Lime and limpid green, a second scene A fight between the blue you once knew. Floating down, the sound resounds Around the icy waters underground. Jupiter and Saturn, Oberon, Miranda and Titania. Neptune, Titan, Stars can frighten. Lime and limpid green, a second scene A fight between the blue you once knew. Floating down, the sound resounds Around the icy waters underground. Jupiter and Saturn, Oberon, Miranda and Titania. Neptune, Titan, Stars can frighten. Blinding signs flap, Flicker, flicker, flicker blam. Pow, pow. Stairway scare, Dan Dare, who’s there? Lime and limpid green, the sounds around The icy waters under Lime and limpid green, the sounds around The icy waters underground.”
Syd Barrett
Some pretty profound stuff for a band’s debut in the competitive richness of the British arts community in 1967, but Pink Floyd was connected. By late 1966 they were a fascination within the London underground music scene. John Lennon was a huge fan of the band and their experimental sound. As fate would have it, Pink Floyd was signed to a record deal by EMI who had no idea what they were getting into. The label’s response was to give the band free rein to record whatever they wanted with a $5000 pound advance and no royalties. The only stipulation was they had to record at EMI’s Abbey Road studios which was famously home to The Beatles. The band’s definitely crossed paths. Based on accounts, they were introduced by 18 year-old Abbey Road assistant engineer Alan Parsons, and actually sat in on some of The Beatles recording sessions. Parsons would go on to have a massive role in Pink Floyd’s success as the engineer of ‘Dark Side of the Moon’, just a few years later. By May of 1967, ‘Piper at the Gates of Dawn’ was recorded and ready for release. Note the timing. The psychedelic sound, may have predated The Beatles ‘Sgt. Pepper’s Lonely Hearts Club Band’, which was released in late May of 1967. This coincidence has led to debate about a potential symbiotic influence. For the record, Pink Floyd’s debut album was not released until early August.
Truth be told, Ted Tocks Covers feels both bands were on their own trip and were likely fascinated by the possibilities that awaited. One suspects that the perceived potential was both energizing and validating.
Well over five decades later, we can still point to Syd Barrett as the visionary. While his role was soon diminished due to mental health issues and substance abuse, initially, he was the initial mission specialist.
As we move on to the music, we can explore the way the band and the song was perceived upon the release of ‘Piper at the Gates of Dawn’. Here is a BBC performance, including an interview between host Hans Keller and a very patient, respectful and articulate combination of Roger Waters and Syd Barrett. Here is Keller’s assessment.
To my mind there is continuous repetition and proportionately they are a bit boring.”
Syd Barrett
He goes on to say “that perhaps it is his own fault that he doesn’t hear it.”. He comes across as pompous, but the truth is, he allows Roger and Syd to speak to their creativity. The engagement is fascinating. A clash of musical cultures that seems to end in a grudging respect until Keller who gets the last word refers to the band as a “regression to childhood”. Toward the end, Roger Waters appears to be incredulous; barely holding on.
After my initial indoctrination into Pink Floyd which began with ‘Dark Side of the Moon’ and ‘The Wall’, I gravitated to the experimental ‘Ummagumma’, which as a 14 year old, opened the door to a broad range of artists, I can’t begin to list. This version introduces the guitar wizardry of David Gilmour who essentially took over from the declining Syd Barrett. Gilmour modified the chord structure slightly and to the delight of Pink Floyd fans’ the song doubled in length.
As the years went on and Pink Floyd became one of the top selling bands in music history the Syd Barrett influence took a bit of a backseat. After their breakup, following the release of ‘The Final Cut’, Pink Floyd continued to tour and record without Roger Waters. Eventually their setlists offered a tribute to Barrett in the live setting. Here is ‘Astronomy Domine’ from 1994 on their ‘Pulse’ tour. Long time Pink Floyd collaborator Guy Pratt is on bass.
Here is David Gilmour and Richard Wright in 2014, playing ‘Astronomy Domine’ live, back where it all began at the Abbey Road studios. Again, Guy Pratt is on bass and Steve DiStanislao on drums.
Now we move on to the cover versions where we can explore how essential Pink Floyd has remained through over a half century. Check out Canadian heavy metal band Voivod. This is from their 1989 album ‘Nothingface’. I would love to see Hans Keller’s review of this cover. This is awesome.
Enjoy this special performance from Canadian music mainstay Nash the Slash. He takes music experimentation to another level with this live performance.
Six years ago, bassist extraordinaire Les Claypool of Primus (and a whole lot more) joined forces with Sean Lennon to form the Claypool Lennon Delirium along with keyboardist Joao Nogueira of Stone Giant and Paulo Baldi of Cake on drums. This is absolutely stunning. This branch of the Lennon family tree offers a direct line to the Abbey Road studios origin of the song.
Patterns of the universe are difficult to explain, but often they become circular in nature. Speaking to this point, today’s feature will indeed come full circle and present Nick Mason’s Saucerful of Secrets tour in 2019 which focused exclusively on early Pink Floyd. His set opened with ‘Interstellar Overdrive’. Note the voice recording that accompanies the band as they strike the opening notes. It’s Hans Keller, over 50 years later.
Why has it got to be so terribly loud?”
Hans Keller
This set opener was immediately followed by ‘Astronomy Domine’. Incredible stuff that needs to be shared because it demonstrates how complete Pink Floyd was and remains as a band.
For Pink Floyd, so much of their legendary status exists in their reputation as a band that was not afraid to test the limits of sound, both live and in the recording process. Almost immediately, they were labeled ‘psychedelic’ and lumped in with a host of others. In addition to this categorization, the term ‘space rock’ was attached by critics and fans alike. This is a definition that Roger Waters challenged because it was so ridiculously limiting.
(‘Astronomy Domine’ and ‘Interstellar Overdrive’ represented) the sum total” of Barrett’s writing about space, “yet there’s this whole fucking mystique about how he was the father of it all”
Roger Waters
Much like the ‘big bang’ is seen as an expansion of time and space that led to the universe as we presently know it, ‘Astronomy Domine’ and ‘Piper at the Gates of Dawn’ simply began the musical evolution that we know collectively as Pink Floyd.
What a trip. Every album was a musical progression. Always an interplay between the sound you once knew and what you are listening to in the present. Fortunately, we have the benefit of retrospective analysis to reflect on this timeline, and enjoy every note.
Chris Cornell is quite candid about the inspiration for ‘Rusty Cage’. The fascinating combination of sources he drew upon for this definitive song is not only intriguing but, in many ways, it draws a direct line to the artist that opened it up to an even wider audience less than a decade later. Here is the brief story of the vision and the connection.
He felt trapped…
During the early part of 1991, Soundgarden was essentially living on a tour bus and Chris Cornell and his bandmates were busting to get out. The allegory became a man who was imprisoned, and needed to break out. The rusty cage was the tour bus and Cornell began to narrate his plight in the most stark and descriptive way. Here are the lyrics.
Oh, you wired me awake And hit me with a hand of broken nails Yeah, you tied my lead and pulled my chain To watch my blood begin to boil
But I’m gonna break, I’m gonna break my I’m gonna break my rusty cage and run
Yeah, I’m gonna break, I’m gonna break my I’m gonna break my rusty cage and run
Too cold to start a fire I’m burning diesel, burning dinosaur bones Yeah, I’ll take the river down to still water And ride a pack of dogs
But I’m gonna break, I’m gonna break my I’m gonna break my rusty cage and run
Yeah, I’m gonna break, I’m gonna break my I’m gonna break my rusty cage and run
Hit like a Phillips head into my brain It’s gonna be too dark to sleep again Cutting my teeth on bars and rusty chains I’m gonna break my rusty cage and run
When the forest burns along the road Like God’s eyes in my headlights And when the dogs are looking for their bones And it’s raining icepicks on your steel shore
Well, I’m gonna break, I’m gonna break my I’m gonna break my rusty cage and run
Well, I’m gonna break, I’m gonna break my I’m gonna break my rusty cage and run”
Chris Cornell
Here is Chris Cornell’s recollection of how these words came together. The fact that he essentially wrote it in his head and then recalled it all later blows my mind.
I have a vivid memory of staring out the window, looking at the countryside, and feeling pent-up. I never wrote any of the words down, but I somehow remembered them. When we finished the tour and Soundgarden returned home to Seattle, I picked up a guitar and tried to come up with music that I felt matched the essence of that song. I wanted to create this hillbilly Black Sabbath crossover that I’d never heard before. I thought that would be cool and possible. I thought, ‘If anyone can do it, Soundgarden can do it.’ I was listening to a lot of Tom Waits at the time, and I wondered how Soundgarden could approach similar imagery and I wondered what the music would sound like. ‘Rusty Cage’ is what I came up with.”
Chris Cornell
So, to create a checklist of inspiration, we have a combination of folk, bluegrass, country, early heavy metal and grunge.
How can I write a visceral, up-tempo, aggressive, post-punk rock song with screechy vocals, but that’s not a heavy metal song or a retro hard rock song?” It sounds like what we were, which is a band that’s all over the map.”
Chris Cornell
…And man, does it ever work.
‘Rusty Cage’ was released on the Soundgarden album ‘Badmotorfinger’ in October 1991. It was the third single, following ‘Jesus Christ Pose’ and ‘Outshined’. It’s hard to believe the song that still serves to define an era of music is 30 years old.
It just goes to show that when it comes to the creative process in music there are no rules. You just need the words and the music to take you to a better place.
In terms of the writing process, Chris Cornell was never in need of an esthetically pleasing environment to write. In fact, it was quite the opposite.
There’s something in me that gets very active when stimulation is taken away. I understand how someone who isn’t educated and has never really read will write an amazing book in prison. But I’ve never understood people who say some specific country or place inspired them to write an album. The more antiseptic and stark the studio and the writing environment, the better it is for me. I’ve had good luck writing and recording in sterile, blank environments, because there’s nothing going on. It triggers creativity. That vivid imagery will literally come out of my imagination. There’s nothing else to distract you, which includes drugs and partying or being on a beautiful beach. I’ve tried that [writing music on a beach] but I just sit there and think, “Wow, what a beautiful beach” [laughs]. It didn’t make me want to write music. And if I did it would sound… beachy.”
Chris Cornell
Since the time of writing, ‘Rusty Cage’ has become an anthem for anyone who feels trapped, emotionally, physically and figuratively.
Ironically, the focus on the lyrics came about a half decade later and it was another example of key players not being limited by their stylistic surroundings. Enter the great Johnny Cash and the remarkable vision of producer Rick Rubin.
In 1996, Rick Rubin approached Chris Cornell about the project that would become the second in a series of Johnny Cash’s ‘American Recordings’. It literally presented Johnny Cash ‘Unchained’. Rubin’s idea was for Cornell to modify the arrangement of ‘Rusty Cage’ for the country music icon.
“I thought it was a stupid idea. That shows how short sighted I was. I just didn’t hear it. It didn’t make sense to me. Lyrically, it did. But I was hung up on it sonically. I didn’t know how to turn it into a Johnny Cash song. I spent a couple hours trying and thought it was a waste of time, so I declined to do an arrangement. But later, when I heard the arrangement that Rick had somebody work up on the radio, I felt so stupid.”
Chris Cornell
According to the original creator the idea had no legs which is a perception he came to regret, but it taught him a lesson.
It was a big lesson for me. It taught me that songs are a lot more nimble than you think. Two days after Johnny Cash’s version hit the radio, I started getting messages on my answering machine from people who’d heard it.”
Chris Cornell
Through further elaboration Chris Cornell emphasized that he learned that the entire meaning of a song can be altered just by the delivery. In Johnny Cash’s rendition of ‘Rusty Cage’ the song becomes a defiant roots rocker presented in a poetic recitation. The entire song rested on the spoken word and when listeners zeroed in on the message, they became gospel. Johnny Cash broke free from the chains that saw him as a country music star. He became a preacher. Wisdom from the pulpit.
No doubt he had already begun this transformative process in 1994 with ‘American Recordings’.
For the 1996, follow up Johnny Cash was joined by Marty Stuart, as well as Tom Petty and the Heartbreakers who Rubin had created magic with during the acclaimed ‘Wildflowers’ recording process.
For Johnny Cash, ‘Rusty Cage’ went on to be nominated for a Grammy in the category of ‘Best Male Country Vocal Performance.
Here is the definitive version of ‘Rusty Cage’.
Take a moment to read Rick Rubin’s brief assessment of ‘Rusty Cage’ and by extension the entirety of the ‘American Recordings’ series.
After the success of the first record, Johnny was definitely more open to trying new things. The songs just had to be presented in a digestible, reliable version for him.”
Rick Rubin
About the same time as Soundgarden was dissolving as a band in 1997, Johnny Cash was heading to Los Angeles to perform on ‘The Tonight Show with Jay Leno’. Here is that performance.
You see a man whose career was enjoying a resurgence of monumental proportions. It is a triumph and it serves to define the importance of both Johnny Cash and Chris Cornell.
We are now closing in on two full decades since the ‘Man in Black’ left us, but even more significantly, today would have been his 90th birthday.
As we carry on with this day, it seems appropriate that we close with a version of ‘Rusty Cage’ where Chris Cornell delivers the song in the Johnny Cash style. A clear homage to a legend.
While reflecting on the importance of this cover, there is an undeniable link that speaks to how important certain acts are during specific periods. To many from the late ‘50s through the early ‘70s there were few performers bigger than Johnny Cash, especially, in the country music category. Fast forward to the ‘90s which saw the emergence of the grunge movement and a new form of creative expression. The best in that space had an incredible aptitude for blending the best of everything that came before and reimagining it within their art form. Artists like Eddie Vedder, Kurt Cobain and Chris Cornell were and remain vital in this space.
They built a bridge.
All who took the time to walk across were greeted with the possibilities that awaited on the other side.
When The Kinks were inducted into the Rock and Roll Hall of Fame Ray Davies was introduced as rock’s most “literate, witty and insightful songwriter.” Signs of this intelligence could be detected from their earliest hits. Today’s feature is ‘Tired of Waiting for You’ which exists as an example of Davies’ primary song writing expolits. In this case, circumstances resulted in the unveiling taking a little bit of time, but to the world of music, it was worth the wait.
You can call it teen angst if you wish. The essence of ‘Tired of Waiting for You’ was written by Ray Davies while he was a 15 year old student at Hornsey School of Art in London. He combined the classic rock and roll theme of boy meets girl and the frustration of unrequited love. As we all know, the direction of The Kinks self-titled debut album moved toward a raw, riff oriented style (see ‘You Really Got Me’ and ‘All Day and All of the Night’) so ‘Tired of Waiting for You’ was left on the shelf.
During the British Invasion, a band was only as good as their latest hit and the cycle of songs left both the buying public and the musicians churning out the creativity dizzy in an effort to keep up. Only the finest bands were able to succeed over time and clearly The Kinks reside among the finest this era had to offer. Right up there with The Beatles, The Rolling Stones and The Who if you want to list a Big Four. An argument could be made that The Kinks were the most authentic of this quartet of acts, but the price of being genuine for this band was literally, being banned in the United States for a period of time (see ‘Where Have All the Good Times Gone’).
After the success of ‘The Kinks’ the band’s producer Shel Talmy, was looking to Davies for a follow up. The prolific songwriter was stuck for ideas. He wanted to avoid being predictable. It was at this point that he recalled the premise of ‘Tired of Waiting for You’. Day one of the recording involved Ray Davies improvising the words while the rest of the band recorded the backing vocals. As legend has it, he recalled the words and jotted them down while commuting to the London studio by train. The initial recording of ‘Tired of Waiting’ was seen as a gentle, melodic piece and as a result not quite appropriate as a follow up release to the hits from the band’s debut. To coin a phrase, ‘you’ve got to give the people what they want’. It was here, at Talmy’s urging that the band opted to add the distinct guitar style of the riff master Dave Davies. Here is the guitarist’s recollection of the decision to blend his guitar work with the simple contemplation of the lyrics.
The recording went well but there was something missing and it was my raunchy guitar sound. Ray and I were worried that putting that heavy-sounding guitar on top of a ponderous song might ruin it. Luckily it enhanced the recording, giving it a more cutting, emotional edge. In my opinion ‘Tired of Waiting’ was the perfect pop record.”
Dave Davies
The track Shel Talmy was able to produce was a perfect example of what would become The Kinks trademark sound for decades to come. An intellectually and emotionally mature lyric with a melodic song structure, enhanced by the power of Dave Davies adaptable guitar work.
For The Kinks ‘Tired of Waiting for You’ allowed the band to expand. Here is Ray Davies’ assessment.
It was a change of style for us, we got a bit posher! Our material started to get a bit more melodic after that.”
Ray Davies
But, as always with The Kinks there is way more to the picture than initially meets the eye. There is a fascinating subtext to what appears to be simple ‘boy meets girl but can’t take the relationship to a deeper place’ theme. I give credit for the following revelation to Drew Wardle of medium.com/the riff who unveiled this interesting observation.
Wardle suggests that ‘Tired of Waiting for You’ was The Kinks foray into Ray Davies astute political and social observation. Wardle derives his accurate opinion from a fantastic documentary by filmmaker Julien Temple called ‘Imaginary Man’ which chronicles the song writing brilliance of Ray Davies.
In an interview with writer John Robb, Julien Temple made this observation.
That’s one end of the spectrum, and then on the other, there are these incredible social observation songs that just saw English society, you know, class and eccentricity. There are a lot of things about being English that no one has distilled in such clever and devastatingly honest ways as the Kinks. There were coded messages in all of them.
Julien Temple
Here is ‘Imaginary Man’ for your viewing pleasure. This is a phenomenal documentary and a wonderful glimpse into the man who is Ray Davies.
Temple, who had a professional relationship with Ray Davies suggest that at the very same time that Davies was modifying the lyrics he had written as a lovelorn teen, former British Prime Minister Winston Churchill was dealing with failing health. ‘Tired of Waiting for You’ was released three days after Churchill suffered a massive stroke, and the iconic political figure passed away less than two weeks later.
The timing of this series of circumstances has allowed people to surmise that ‘Tired of Waiting of Waiting for You’ was about Winston Churchill on some level.
The song was released in North America on this day in 1965. It soon hit #1in the U.K and South Africa, #3 in Canada and #6 in the United States. The success in the U.S. set their standard in that crucial market. It was matched 18 years later with the nostalgic hit ‘Come Dancing’.
Now it’s time to enjoy a series of cover versions. As is often the case with the vast list of hits by The Kinks one could trace renditions of Kinks classic ‘til the end of the day’, but I have narrowed this list down to seven. The first of which is actually a collaboration between Ray Davies and Gary Lightbody on Davies’ 2010 album appropriately called ‘See My Friends’. Davies’ offers several of his hits through the years in tandem with a solid lineup of major artists. This version of ‘Tired of Waiting for You’ allows for a perfect place to start.
For the true cover versions let’s head back to 1977 and an act that resided on the cutting edge of the new wave movement. Here is XTC. I share this because of their importance as a band from that era, but also because it shows a clear example of how important The Kinks are in terms of influence across genres.
Quite frequently, in Ted Tocks Covers Suzi Quatro’s name comes up. You can always count on her for a quality cover version. Just good old fashioned, straight forward rock and roll. Kind of like The Kinks. This is from 1978.
Another group on the cutting edge of greatness who recorded ‘Tired of Waiting for You’ was Green Day in 1994. The importance of The Kinks was visible and audible all over the world.
When you see the name Dwight Yoakam, you think country, but check out this version of The Kinks classic offered in a Vegas lounge act style. This is just one song from Yoakam’s 1996 album ‘Under the Covers’ where he displayed a love for British rock and roll. I like the fact he reinterpreted the song.
From one drastically modified version to another. Here is Nancy Sinatra with Lee Hazlewood presented in a conversational way.
Here is a guy named Dave doing a live version in 1997. What a gem.
We conclude with female vocal legend Ronnie Spector and her 2016 cover of ‘Tired of Waiting for You’ that appeared on her final solo release ‘English Heart’. It consists of 11 tracks that pay homage to a nice compliment of English artists through the decades.
From Ted Tocks Covers perspective, the are a collective of acts and songwriters who can make you listen and reflect on life. The works of The Kinks and the song writing of Ray Davies has a special place on this writer’s list.
The Kinks are like the National Health Service, they remind us of who we are.”
Julien Temple
This is a profound quote from Julien Temple. To this, I would add the fact that for Ray Davies it seems that his writing reminds him of who he is. Music acts as a perpetual soundtrack in his head. He welcomes the songs as his friends and then his friends become his songs. It is a symbiotic relationship.
I have my own soundtrack to my life and it’s going on as we speak.”
Ray Davies
More often than not the songs that unfold tells him more about himself. He is opening the door to his sub-conscience.
It wasn’t until we had out fifth or sixth hit that I thought other people understood what I was singing about ‘cause I thought all of my songs were really private…Some songs just come out of dreams. It’s almost like physics. Two things connect and an idea comes from the past and suddenly I know what I want to write. I’ve been carrying this song around since I was a teenager. But I had a picture in my head…”
Ray Davies
All the way back to his teen years he would just go out and walk. He existed as an observer and the people he saw come through in his songs. Every song represents a character and all tolled they add up to Ray Davies
What’s fantastic about his songs is that millions of other people feel the same way.”
Julien Temple
The finest tribute for Ray Davies is having those words sung back to him by an appreciative audience.
We all know this sentimental song written by John Lennon for his son Sean in 1980. ‘Beautiful Boy (Darling Boy)’ was released as part of the John Lennon and Yoko Ono album ‘Double Fantasy’ on November 17, 1980.
Over forty years later ‘Beautiful Boy’ remains as a song of comfort from a parent to a son. It concludes with these spoken words.
Good night, Sean. See you in the morning. Bright and early.”
John Lennon
These are words of solace, shared in order to talk the darling boy through a nightmare. Three weeks after the song’s release, the world was shattered by John Lennon’s tragic assassination.
Typically, Ted Tocks Covers speaks to a specific song and then shares details of a variety of cover versions. Today’s edition of Ted Tocks will alter the formula slightly in order to celebrate an organization that is dear to our family’s heart, and the ‘beautiful boys’ we are eternally dedicated to support and save.
This is the brief story of Jesse’s Journey which today will evolve into ‘Defeat Duchenne Canada’.
New name – Same mission
Jesse’s Journey began in the mid 1980s. To the Davidson family of London, Ontario it was borne of necessity. John and Sherene Davidson’s son Jesse was five years old, but he was showing signs of struggle when it came to getting up from a sitting position, or climbing stairs. In comparison to other children his age, Jesse was lagging behind in a variety of physical activities. Like any parents would be, John and Sherene were concerned and they took Jesse to their family doctor. After months of tests and referrals to specialists the diagnosis was Duchenne muscular dystrophy (DMD).
The news was devastating. Simply stated, it changed their lives. The resulting story is one of dedication, devotion and resolve. The goal would be to fund research in order to discover a cure for DMD.
Jesse’s Journey first gained prominence in 1995 when John Davidson, who was just shy of his 50th birthday began a mission to push his 15 year old son Jesse, across Ontario in his wheelchair. The ambitious endeavour began at the Manitoba/Ontario border and it concluded at the Alexandra Bridge that connects Ottawa to Hull, Quebec. The journey was 3339 kilometres. The Davidson family and their team of supporters raised $1.5 million dollars for much needed DMD research.
The story continued three years later when John Davidson embarked on a cross country trek. It began on Jesse’s 18th birthday; April 10, 1998 on the shore of the Atlantic Ocean in St. John’s Newfoundland. John dipped his running shoes in the frigid water and then proceeded to walk 30 kilometres a day for 286 days until concluding his journey in February of 1999. Canadians from coast to coast were captured by the Jesse’s Journey story, and they were moved to donate $2 million.
Out of this success, and the national attention that it generated, Jesse’s Journey established the Jesse Davidson Endowment Fund which over the years has funded almost $15 million in research projects and trials conducted by scientists throughout Canada and around the world. The organization is the only Canadian charity whose sole purpose is to fund Duchenne muscular dystrophy research.
This is what attracted our extended family to the Jesse’s Journey mission.
Our nephew Eric was diagnosed with DMD almost exactly 20 years ago (see ‘You Get What You Give’). Since that day we have been committed to do what we can to share in the mission. Part of that support system involved the establishment of Eric’s Amazing Race Car Rally and Silent Auction. From 2003 through 2017 this event was able to raise over $240,000 that was earmarked for Jesse’s Journey and allocated to fund the research initiatives that they identified as most beneficial.
The progress that has been made as a result of this research during our time with this organization has been monumental. John Davidson, who has been by our side since day one of our commitment to be involved with Jesse’s Journey, had an expression that he shared with us when we first met.
We now learn more in a day than we learned in a year, when I first began Jesse’s Journey.”
John Davidson – Defeat Duchenne Canada
I think it is safe to say that presently, we learn more in and hour…
…and the research continues to pay dividends…but the clock is ticking.
This remains a race against time.
Bringing it back to how Jesse’s Journey has benefited Eric; through the years he has been fortunate enough to be a part of several trials aimed at better understanding DMD and hopefully one day leading to a cure. This has involved a degree of commitment from his parents Darlene and Mike and brother Devin. Presently he is studying biology at Carleton University in Ottawa. He is also actively enrolled in a trial based in London, In order to participate in the trial, Eric has to commit to a rigorous regimen of travel from Ottawa to London, undergo the processes involved over the course of a day and then return to his home away from home in Ottawa. This exhaustive process represents at least one lost day of classes but he manages to make it up, because he is doing everything he can to contribute to a broader understanding and a better future for everyone impacted by the ravages of DMD. It is no accident that he is studying biology. Essentially, Eric is a researcher too. He resides on the front line of this fight to ‘Defeat Duchenne’.
Everything I have presented so far only presents our family’s role at the front end. In the background, there is a whole lot more going on. Family members have worked hard to advocate for Eric and the many other boys (young men) who are living with Duchenne. There have been twenty years of Compass Walks, and symbolic Walks Across Canada and Walks to Defeat Duchenne through Springbank Park and Storybook Gardens in London. More recently during COVID-19 these have turned into very successful virtual walks. There have been massive missions like Grandpa Bob’s 4000 Km Walk for Louie in 2014 and Max’s Big Ride from Ottawa to Hamilton. We have created Playoff Hockey Pools with proceeds going to Jesse’s Journey and we have participated in numerous family forums and photo shoots and videos and celebrations of milestones. Through all of this we have met some of the most influential people we have ever known and will likely ever know. It all began with John Davidson, but the staggering resolve continues with people like Rick Moss, Bob Facca, the Sedmihradsky family, the Cavalier family, the Lavery family, the Provenzano family and the Worsfold family (and many, many more), the endlessly devoted office staff and Board members who are presently led by Chief Executive Officer of Jesse’s Journey, Perry Esler who has brought the Jesse’s Journey story to this new chapter.
In his words;
The vision remains our foundation: a future without Duchenne. But now is the time to broaden our reach, engage and support more families across Canada, fund more research, and educate our nation’s leaders to gain the Federal support needed to make even greater progress towards our ultimate goal: to defeat Duchenne muscular dystrophy.
There are numerous charities vying for the hearts and minds of Canadians. It’s imperative that our message is strong and consistent: we are Canada’s only national charity dedicated to ending Duchenne.”
Perry Esler – Defeat Duchenne Canada
Welcome to Defeat Duchenne Canada!
We are a family of families.
We are doing it for the ‘boys’ who live with Duchenne.
The ‘beautiful’ boys.
As we continue to write the evolution of the Canadian Story that is Jesse’s Journey/Defeat Duchenne Canada we do it with ‘Beautiful Boy (Darling Boy)’ as the opening song on the soundtrack.
Please enjoy this series of cover versions and one memorable scene from a movie.
Back in 1991 former member of the Monkees, Micky Dolenz recorded a gender balanced version of ‘Beautiful Boy/Beautiful Girl’ as part of an album hilariously entitled ‘Micky Dolenz Puts You to Sleep’.
Celine Dion partnered with photographer Anne Geddes in 2004 to create a book/album that reflected on the birth of a child. The project offers a gentle, and sentimental approach to the vocals. Fans were greeted with special color photos of newborns by the unique work of Geddes who is world-renowned baby photographer. This struck me as a perfect recording to share in this post.
Just a few years later Ben Harper covered ‘Beautiful Boy’ as part of a project that celebrated the music of John Lennon. The 2007 album was called ‘Instant Karma: The Amnesty International Campaign to Save Darfur’.
Now it’s time for an emotional movie moment. This is a powerful scene from ‘Mr. Holland’s Opus’ featuring Richard Dreyfuss.
As I recall, the first time I watched this, the tears flowed. As I watch now, I am once again reminded of the words of John Davidson, the first time I met him. He was speaking to how his priorities changed when he and Sherene first received the news about Jesse.
Ask yourself what really matters.”
John Davidson – Defeat Duchenne Canada
His entire outlook on life changed, and he set out to make a difference one step at a time.
Figuratively, he is still walking, but over three decades later whenever he looks over his shoulder there are literally thousands of people right there with him.
Joined by one important mission.
To ‘Defeat Duchenne’…Canada.
This is a story of national unity that our family always has, and always will get behind…because it REALLY MATTERS.
If this edition of Ted Tocks Covers moves you, I would recommend visiting the Defeat Duchenne Canada website in order to learn more about the amazing work that this organization does. Here is a link that will help you begin your journey to understanding and support our cause.
Today’s feature is the 1982 classic by The Jam, ‘A Town Called Malice’. This edgy song was written by Paul Weller and released on The Jam’s 1982 album ‘The Gift’. It reached #1 in the U.K. on this day forty years ago.
The beauty of ‘A Town Called Malice’ is it remains as fresh and hard hitting today as the day it was released. The message is direct. It reflects a certain anger, and the tirade becomes the appeal.
While writing the song, the words ‘a town called malice’ came to Weller in what can only be seen as an unconscious recollection of a novel called ‘A Town Like Alice’ by Nevil Shute which Weller is on record as saying he was aware of, but had not read at the time. The inevitable connection between the two goes on because Weller is very open about the fact ‘A Town Called Malice’ was written about his hometown of Woking in northwest Surrey, England, which is just a short commute to central London. While the song reflects Weller’s disdain of the suburban experience, it became an anthem for a generation, not only in the U.K., but throughout Europe and in North America.
I was taking note of what was going on in our country. When you’re touring, you’re often in your own bubble, but we were going around the country seeing firsthand what was happening. It was the start of the hardline [prime minister] Margaret Thatcher years … I was a young man taking it all in and thinking about it.”
Paul Weller
Weller took note of a sage piece of song writing advice that has been passed on through the generations. You need to write about what you know.
I had most of the lyrics before we started the song, but they were just words written down in a book at that point. They’re partly about Woking, where I grew up, which had always been a depressed place in a way. That line rows and rows of empty milk floats dying in the dairy yard was directly influenced by Woking, where there was a milk yard. The ghost of a steam train is about my childhood, because we lived close to the station, and I could always hear the trains shunting about at night. Those suburban images were very strong in my mind and a lot of people connected with it. Cut down the beer or the kids’ new gear was about how people were struggling and had to make decisions about what to buy. Even before the ‘80s, a lot of people were living hand to mouth.”
Paul Weller
In addition to being an astute observation of British society at the time, ‘A Town Called Malice’ also served as an evolution in song writing and composition for The Jam. The introduction of keyboards and brass instruments lend themselves to the groove listeners continue to enjoy four decades later.
Perhaps the greatest attribute of ‘A Town Called Malice’ is its ability to be adapted to many styles. Here is a quote from Paul Weller where he speaks to this quality.
It’s one of my best songs, lyrically and in terms of what it means to people. I think it’s still relevant. I don’t think things have moved on too much since. I started playing it again because it’s a great song – it’s also entered the realms of being a great folk song. When we play the opening bars, you can’t help being swept along.”
Paul Weller
Speaking to its current relevance and potential as a folk song, here is Paul Weller doing an acoustic version. Have a listen and sing along with the lyrics below.
Better stop dreaming of the quiet life, ’cause it’s the one we’ll never know And quit running for the runaway bus ’cause those rosy days are few And stop apologizing for the things you’ve never done ‘Cause time is short and life is cruel but it’s up to us to change This town called malice
Rows and rows of disused milk floats stand dying in the dairy yard And a hundred lonely housewives clutch empty milk bottles to their hearts Hanging out their old love letters on the line to dry It’s enough to make you stop believing when tears come fast and furious In a town called malice, yeah
Struggle after struggle, year after year The atmosphere’s a fine blend of ice, I’m almost stone cold dead In a town called malice, ooh yeah
A whole street’s belief in Sunday’s roast beef Gets dashed against the Co-op To either cut down on beer or the kid’s new gear It’s a big decision in a town called malice, ooh yeah
The ghost of a steam train, echoes down my track It’s at the moment bound for nowhere Just going round and round, oh Playground kids and creaking swings Lost laughter in the breeze I could go on for hours and I probably will But I’d sooner put some joy back In this town called malice, yeah
In this town called malice, yeah In this town called malice, ooh yeah
Paul Weller
Through the years ‘A Town Called Malice’ has become a significant reference in pop culture. The attraction is clear due to the fact it conveys an air of societal discontent. Who doesn’t remember this brilliant scene from Billy Elliot in 2000?
It was also included in the 1985 movie ‘National Lampoon’s European Vacation’, as well as being featured as the opening track in the 2005 film ‘The Matador’. More recently it was included on the soundtrack for the 2019 ‘Spiderman: Far from Home’ and in the popular series ‘The Walking Dead’.
My quest to find quality covers of ‘A Town Called Malice’ was a fun listening experience. I narrowed it down to two versions.
Here is a solid take by Rude Boy George which is effectively done in their style. The beauty of this cover is the fulfillment of their mission to bring both professional and amateur musicians together to raise funds for cancer research. This is from their album ‘The Gifted’ which saw proceeds go to The Teenage Cancer Trust and The National Foundation for Youth Music.
Enjoy this very true cover by Gentlemen of Few. Nicely done.
As I write, our country is ‘under siege’ by a group of people posing as unemployed truckers claiming to be speaking out against government mandates. They suggest their freedom has been violated as they advocate for their cause. They were able to literally drive across the country and occupy the nation’s capital, then Ontario’s capital in Toronto while simultaneously creating blockades at Ontario, Manitoba and Alberta border crossings. All of this is happening with impunity. The police seemed to be on the side of the protestors. In Ontario, the Premier was snowmobiling and the Prime Minister went missing for a period of time while battling COVID-19 himself and commiserating with his Cabinet.
Meanwhile, I was left to wonder where these ‘freedom fighters’ were/are when people are advocating for Indigenous issues like clean drinking water, mass graves at residential schools or land claims? Where were they when Black Lives Matter were speaking out against very clear race related issues and systemic racism; which was on full display during these occupations, I might add. Do these same protestors stand with those advocating for the LGBTQ2S+ community when all they seek are the most basic of human rights? Do they stand with women when they advocate for equality themselves and future generations?
The answer is no, of course.
These people are a combination representing a minority view. They claim to be comprised of ‘truckers’ but the truth is they are a bunch of malcontents who refuse to follow a very simple request that would allow them to enjoy the freedom they claim to have been denied. They had the freedom to make a decision. They made their decision and now they are facing the consequences of their actions. I watch in amazement as they park their trucks on the streets, or along a border blockade for two weeks or more. They have brought their children (human shields) on this all expenses paid vacation (not really…they are unemployed after all). I suspect they are not taking part in on line education so a new generation of uneducated nitwits is being raised. But, we can all take solace in knowing that they are being occupied by bouncy castles of the grandest scale, while Mom and Dad wave upside down Canadian flags, honk their horns or yell ‘Fuck Trudeau’ until they are hoarse. I can only sit and laugh as they complain that their leaders have not given them gas money, or better yet paid their hotel bill. If this was simply a grass roots protest, they would have left by now or they would have been forced out. Many members of this cabal seem to be paid actors. Their arguments are deeply flawed. The object of their vitriol is often misguided or simply incorrect, which makes one thing extremely clear.
This is a movement funded by a radical right-wing contingent, fueled and funded by white nationalist doctrines aimed at displacing our present federal Liberal government and replacing them with an increasing Conservative/Republican style doctrine. The people on the ground are being used as pawns in a much wider movement.
I could go on for hours and I probably will But I’d sooner put some joy back In this town called malice,
Paul Weller
Trumpian style alt/right politics picked a scab. People of this ilk lifted a rock and gave permission to about 20% of the population to be overtly racist, uneducated, misguided morons who have blindly agreed to carry the torch for self-centred, egomaniacal 1%ers who continue to exploit the masses.
They are being played. We are all being played. There are much greater forces at work here. Make no mistake. This is not a ‘truckers’ protest.
This is a carefully orchestrated movement. It is a trial run for something much bigger.
I continue to be shocked by the people I know, who seem to stand on the side of these fools. All you have to do is follow the money and see where the support is coming from to understand the motives. The line that defines right and wrong here is obvious.
Neil Young’s ‘Harvest’ album was released 50 years ago this month. The essential recording opened Young up to the mainstream, topping the Billboard album chart. ‘Heart of Gold’ becoming a cross genre #1 hit and ‘Old Man’ made the top 40. Remarkably, it was the top selling album in the United States in 1972.
And for a man who always did things his way, Neil Young became uncomfortable with the acclaim. He famously stated that ‘Harvest’,
…put me in the middle of the road. Travelling there soon became a bore so I headed for the ditch. A rougher ride but I saw more interesting people there.”
Neil Young
Just because the people were more interesting did not mean they did not have their struggles.
As an astute observer of the world around him, Neil Young focused on the troubling issue of drug addiction that was prevalent in his circle and society at large. It was this concern that led to him writing today’s feature song ‘The Needle and the Damage Done’.
Perhaps the most proximate driving force in writing ‘The Needle and the Damage Done’ was Neil Young’s talented friend, guitarist Danny Whitten (see ‘I Don’t Want to Talk About It’). He watched helplessly as Whitten’s addiction spiraled out of control. His feelings are captured in this heartfelt introduction to ‘The Needle and the Damage Done’ at his Massey Hall homecoming concert in January of 1971. He speaks of Janis Joplin and Jimi Hendrix when referring to those who ‘became really famous’. Danny Whitten and to a lesser extent Bruce Berry who was a roadie for Crazy Horse reside in the ‘real good ones that you never got to see’category.
Ever since I left Canada about five years ago or so and moved down south, I found out a lot of things that I didn’t know when I left. Some of ’em are good, and some of ’em are bad. Got to see a lot of great musicians before they happened, before they became famous, y’know, when they were just gigging, five and six sets a night… things like that. And I got to see a lot of great musicians who nobody ever got to see for one reason or another. But, strangely enough, the real good ones that you never got to see was… ’cause of heroin. And that started happening over and over. Then it happened to someone that everyone knew about. So I just wrote a little song.”
Neil Young
You can feel the anguish. At the time of singing, Whitten was in the throes of addiction. Shortly after ‘Harvest’ was released in early 1972 the talented guitarist and songwriter was dismissed from Crazy Horse by members Billy Talbot and Ralph Molina. Neil Young was hoping that additional opportunities would channel Whitten’s focus back to music, so he offered him a gig as a member of his band, The Stray Gators which would form the backing band on his ‘Harvest’ tour. While Neil and his band worked on the arrangements for the live setting, they noticed Danny was struggling with the most basic song structures. The friend in Neil was distraught, but the business side knew that he was just not up to the task. On November 18, 1972, Danny Whitten was fired. Upon his dismissal he was given $50 and a plane ticket back to Los Angeles. He died later that night as a result of a lethal combination of diazepam and alcohol.
In an interview in a January 1973 edition of Rolling Stone, Neil Young communicated his devastation while attempting to cope with the senseless loss.
We were rehearsing with him and he just couldn’t cut it. He couldn’t remember anything. He was too out of it. Too far gone. I had to tell him to go back to L.A. ‘It’s not happening, man. You’re not together enough.’ He just said, ‘I’ve got nowhere else to go, man. How am I gonna tell my friends?’ And he split. That night the coroner called me and told me he’d died. That blew my mind. Fucking blew my mind. I loved Danny. I felt responsible. And from there, I had to go right out on this huge tour of huge arenas. I was very nervous and … insecure.”
Neil Young
For a period of time, Neil Young was overcome with guilt. He felt responsible for his friend and questioned whether he had done enough. Gradually he came to terms with the loss through expressing himself verbally…
Danny just wasn’t happy. It just all came down on him. He was engulfed by this drug. That was too bad. Because Danny had a lot to give, boy. He was really good.”
Neil Young
And through music. Much of the next three years saw Neil Young deliver some of the most raw and honest music of his career. Here is ‘Tonight’s the Night’ in its entirety.
‘Tonight’s the Night’ resides as one-third of what became known as ‘The Ditch Trilogy’. To many Neil Young fans these albums define him as an artist of uncompromising integrity. The other two albums in this package are ‘Time Fades Away’ and ‘On the Beach’. The ditch reference relates to the quote shared earlier in this post.
Neil Young has always been more comfortable charting his own course. In a career that has seen six decades of success, hit songs, critical acclaim and throngs of fans, his independent approach has allowed him to be an essential artist. There is definitely power in integrity.
I direct you to an eclectic array of prominent artists who have covered ‘The Needle and the Damage Done’, each for their own reason, but at the root is a reverence to the greatness of the man who wrote the song.
They literally “sing the song because they love the man.”
Let’s begin the covers portion of today’s post with an amazing version of ‘The Needle and the Damage Done’ by Duran Duran in 1993 as part of their release ‘The Singles – 1985-1996’. This is really good.
Enjoy this alt rock version of ‘The Needle and the Damage Done’ by Canada’s Our Lady Peace. I love Raine Maida’s vocals in this and the hard-edged delivery is very distinct to O.L.P.’s style. A fantastic cover, although I admit it would not be for Neil Young traditionalists.
I just love this contemplative delivery by Chrissie Hynde and The Pretenders in 1999. It builds as it moves along and the guitar soars in perfect tandem with Chrissie Hynde’s vocals. For Hynde, this also comes from a personal place. She is telling a story. This is a very important cover.
Two years later in 2001, Simple Minds released an album of covers called ‘Neon Lights’. It features a fascinating compliment of their interpretations of some interesting artists. It is worth checking out.
A little while back I opened my mind to Tori Amos and I was blown away. Here is her solo cover of ‘The Needle and the Damage Done’ from a show in Boston in 2003. Just her and a piano. I love it, but why do people talk during these performances? Honestly! SHUT UP!
Once again, I am drawn to Howard Stern and his love of music. He is an important advocate for the medium and artists who have something to say. Here he is in conversation with Jewel in 2010. A standing ovation for both the host and the performer. Jewel’s vocals…WOW!
Still in 2010, here is another heartfelt delivery from a female artist. Enjoy Laura Marling. It is a contemplative and subdued performance that reflects the original. Very well done.
I hope you are enjoying this as much as I am.
Here is an awesome combination. Watch as Warren Haynes, Derek Trucks and the legendary Gregg Allman deliver ‘The Needle and the Damage Done’ during the 2013 Crossroads Festival at Madison Square Garden in New York City. Gregg Allman definitely saw ‘the needle and the damage done’. An extremely important rendition of this beautiful song.
Over four plus years I have made my feelings known about Eddie Vedder. I love the guy. In this wine fueled, but genuine preamble, he expresses his love to an appreciative audience for the man he affectionately refers to as ‘Uncle Neil’. This is from a concert in Vienna, Austria in 2014.
Now, let me get a few things off my chest.
In recent weeks Neil Young has found himself in the midst of a controversy. He called out the streaming site Spotify for its role in allowing a host to share misinformation related to the COVID-19 pandemic and forms of treatment. He delivered an ultimatum to Spotify through his management team and record label. Either remove the offending episodes or remove his music.
They can have Rogan or Young. Not both.”
Neil Young
The crux of his argument was that ‘Spotify’ was being irresponsible in not monitoring and effectively adding disclaimers to the baseless claims Rogan was propagating through the content often shared during his popular show.
By allowing the propagation of false and societally harmful assertions, Spotify is enabling its hosted media to damage public trust in scientific research and sow doubt in the credibility of data-driven guidance offered by medical professionals.”
Neil Young
To be clear, Neil Young never expected that Spotify would remove Joe Rogan. He knew the end result would be the removal of his solo catalogue from the streaming site. Again, it comes down to integrity. He didn’t want his material associated with a site that took little responsibility for the material they were sharing. What Neil Young did hope, and this came to fruition, was that his respected voice in the world of music would have an impact on both other artists and consumers of music. Several artists followed, like long-time friends and associates Joni Mitchell, Nils Lofgren and David Crosby, Stephen Stills and Graham Nash among others. The broader fallout was the financial hit Spotify took as a significant portion of music streamers canceled their subscriptions. It is estimated that the initial financial impact of this calculated battle was Spotify losing anywhere between two and four billion dollars in market value.
Conversely, Neil Young and Joni Mitchell’s streaming on line showed massive upticks in the days following the sparring match and their decision to remove their content from the site. At the end of the day, it came down to this point.
Spotify has a responsibility to mitigate the spread of misinformation on its platform, though the company presently has no misinformation policy.”
Neil Young
Neil Young could not reconcile the fact that his music was on the same site.
Spotify has recently become a very damaging force via its public misinformation and lies about COVID. Most of the listeners hearing the unfactual, misleading and false COVID information on Spotify are 24 years old (?), impressionable and easy to swing to the wrong side of the truth.”
Neil Young
Since this battle began Spotify has announced it will include a content advisory for any ‘Joe Rogan Experience’ episode that discusses COVID-19. In addition, more than 70 episodes have been removed entirely.
Spotify CEO Daniel Ek went on to say,
We should have clear lines around content and take action when they are crossed, but canceling voices is a slippery slope. Looking at the issue more broadly, it’s critical thinking and open debate that powers real and necessary progress.”
Daniel Ek – CEO, Spotify
So, there you have it.
It really comes down to education and where one is getting their information. In today’s world, too often this begins and ends with dubious sources like Joe Rogan. I shudder. He claims to only offer different perspectives, but he does a haphazard job of truly challenging his guests. It mostly comes down to the fact that his shows tend to be meandering trails of idle banter, where the host simply reflects the rhetoric of the people he brings on. It is difficult to deny this point when this was his (alleged) stance just two years ago.
I hope this wakes people up to the value of vaccines too. There’s so many people out there that think that vaccines are a scam or they’re dangerous.”
Joe Rogan
Rogan went on to express this sentiment after guest Michael Osterholm complimented him on his ability to reach people such an important message.
People are so paranoid and delusional. They want it all to be a conspiracy. There’s been an amazing medical innovation in human culture. It’s amazing what it’s done. Have there been adverse effects on people? Of course. Everything that people do, there are some people that are going to react in a bad way. It doesn’t mean that it’s not a positive thing.”
Joe Rogan
This is typical. His approach is most often about simply regurgitating his guest thoughts and opinions.
I must stress that I have tried listening, and am most often left incredulous at how someone with so little to offer generates in excess of 10 million listeners per episode.
Recently, in an effort to defend his own approach to his ‘Experience’, Rogan issued a statement where on more than one occasion he admitted to not really vetting his guests or unbelievably, he admitted that he does not specifically prepare (his word) for his show. He prefers to let the shows happen and follow the course of the conversation. Laughably, in his effort to defend, he claimed to be a fan of Neil Young and Joni Mitchell. He cited his love for Joni Mitchell’s song ‘Chuck E’s in Love’ which of course is a Ricki Lee Jones song. Again, no preparation, which in a more discriminating world should lead to zero credibility. This is where Joe resides with me. He has very little to offer. I refer to him as ‘Vapid Joe’.
Vapid – Offering nothing that is stimulating or challenging.”
Oxford Dictionary
Perfect description.
Here’s a thought.
Perhaps Joe Rogan could bring Neil Young on his show? Neil might bring up the fact that when he was five, he contracted polio and nearly died. He was afflicted with the disease too early to benefit from the vaccine that would ultimately eradicate the disease. I suspect within this context Neil might emphasize the value a vaccine has on the global community.
Do you know who else had polio and survived? Again…too early to benefit from the vaccine.
Joni Mitchell.
And while some people take this time to mock Neil Young for his stance, perhaps they might consider the fact that two of his now middle-aged sons live with varying forms of cerebral palsy. The threat of COVID-19 and its variants are very real. It is widely thought by medical experts that individuals with cerebral palsy, at whatever age should be considered at higher risk of respiratory complications should they be exposed to the virus. Infection would be catastrophic because of the inherent impairment of neuromotor control.
Many other people are vulnerable due to either age, pre-existing medical conditions or simply living or working in a space that makes them susceptible to contracting the potentially fatal virus. While the vaccine is not a guarantee to immunity it certainly puts everyone in a better place. It was never about YOU. It was always about the collective WE. Those who choose to break the chain are the most culpable in the fact we are rapidly approaching two years of the dreaded ‘mandates’.
So, to summarize in this area, Neil Young is not some crazy old man or washed-up rock star shouting at clouds. His points are well thought out and deeply personal.
Let me check that. It goes beyond personal. Neil Young has always backed up his beliefs with action and words.
Here is just one example:
The Bridge School was founded by his second wife Pegi (Young) Morton in 1987, along with Jim Forderer and speech and language pathologist Dr. Marilyn Buzolich. The inspiration for this initiative was based on Pegi and Neil’s concerns that suitable schooling for their non-verbal son Ben, and others like him, was impossible to find. For Neil’s part he began the annual Bridge School Benefit concerts in 1986 and they ran through 2016. The concert and other fundraising initiatives raised millions of dollars through the years and the Bridge School continues to flourish.
This shows the value of combined effort to fight against challenges rather than opposing people whose goal it is to eliminate a threat; and please don’t spew nonsensical rhetoric about freedom.
With this, we move back to COVID-19 and the vaccine issue; are the Moderna and Pfizer vaccines perfect?
No, but the sheer numbers reflect the fact that they have been extremely effective. Here are some numbers in Ontario as of February 7, 2022.
The estimated number of cases per day – 2824
Covid-19 hospital occupancy – 2523
Covid-19 ICU occupancy – 486
Covid-19 deaths per day – 56
Covid-19 cases per 1 million per day – 191.7
Among unvaccinated people – 380.4
Among vaccinated people with at least 2 doses – 154.4 (59.4% less likely.)
Covid-19 hospital occupancy per 1 million – 171.2
Among unvaccinated people – 757.1
Among vaccinated people with at least 2 doses – 125.4 (83.5% less likely.)
Covid-19 ICU occupancy per 1 million – 33
Among unvaccinated people – 230.8
Among vaccinated people with at least 2 doses – 18.6 (91.9% less likely.)
Simply based on the numbers of infections, January 2022 had the highest death rate we’ve encountered since last January when we did not have any vaccines.
If you are vaccinated with at least two doses of the vaccine, you are:
59.4% less likely to get Covid – even Omicron.
83.5% less likely to be hospitalized with Covid.
91.9% less likely to end up in the ICU with Covid.
Numbers don’t lie. Science is not perfect. It is ever-evolving. So are the variants. The best way to combat COVID-19 is to get vaccinated and follow the protocols. Look out for each other. The ‘me first’ approach is counterproductive.
Have government responses been perfect?
No, but I will side with the ones that put a value on human life and safety over the ones who placed the economy as the only priority and watched thousands of people die. The data supports this. As I write, over 5.8 million people have died globally. Over 940,000 Americans have died, the majority of whom could have been saved if they had accepted the vaccine. In Canada, over 35,000 people have died.
Certainly, issues have arisen as a result of several variants which have reduced the efficacy, but this is not meant to be a condemnation of the vaccines on the whole. Not in the slightest. The vaccines have saved lives. End of story.
Yet people still fight vaccines, mandates and preventative protocols.
By the end of this month the world will have over 6 million COVID-19 fatalities. 1/6 (Interesting numerology) of those will be American. The (supposed) most powerful country in the world?
There is no excuse.
And this is how we got to this place. Theoretically, Joe Rogan’s approach could lead to interesting dialogue, but it requires a degree of intelligence, and again, preparedness. If you are not prepared to counter or truly challenge your guests’ stance you have failed your audience.
As I write, Rogan is yet again, falling all over himself to apologize for egregious statements on his show, this time in reference to African Americans. Seemingly, he just can’t help himself. The truth is, Joe Rogan is not an intellect. He openly admits this fact. He is a personality…an ego. He is an entertainer. He is not equipped to share any form of deep knowledge or offer a road to understanding on complex issues. Yet, so many people do look to him for his opinion and come away grossly unequipped on important matters. It really comes down to one thing. We need to be more discriminating and we need to educate ourselves.
The truth is, people like Joe Rogan, Ben Shapiro and the talking heads at Fox News are simply following the money. They are paid to espouse a point of view that a percentage of the marketplace are willing to accept. There is no room for them to the left of centre, and there is no value in centrism any more so they are taking the massive payout offered from corporate interests who benefit from propagating their agenda to a receptive throng of people who willfully accept without question.
This represents a road that is seemingly paved with gold. It is a road that will lead to destruction. It is a path that I, for one am not willing to follow.
As a culture, we need to stop making stupid people famous. There are countless examples of people who offer unique, challenging and intellectually valid arguments related to contemporary issues. We need to dig deeper.
We really need to stand for something, because sadly, as is so often demonstrated, we fall for anything.
This all leads to my final cover from Dave Matthews. This is from late last summer.
He’s too good to be true and he don’t take shit from nobody, which is a great quality for the most part”
Dave Matthews
Give me more ‘Uncle Neil’ and less ‘Vapid Joe’ any day.
It’s hard to believe that twenty years have passed since the death of country music legend Waylon Jennings. To honour one of the pioneers of the ‘outlaw country’ movement today’s Ted Tocks feature will be ‘Luckenbach, Texas (Back to the Basics of Love)’.
There is a certain irony to the fact that ‘Luckenbach, Texas’ became known as one of Jennings’ signature songs, because he didn’t like it. However, this was not a slight against songwriters Chips Moman and Bobby Emmons; it was more a matter of lack of ego. According to Waylon’s son Shooter, he didn’t like the idea that he would be referring to himself in the song’s chorus.
Let’s go to Luckenbach, Texas With Waylon and Willie and the boys This successful life we’re livin’ Got us feuding like the Hatfields and McCoys Between Hank Williams’ pain songs and Newbury’s train songs and “Blue Eyes Cryin’ in the Rain” Out in Luckenbach, Texas, ain’t nobody feelin’ no pain”
Chips Moman and Bobby Emmons
This presented a bit of a quandary to Waylon because in his own words,
I knew it was a hit song, even though I didn’t like it, and still don’t.”
Waylon Jennings
This is a line from his autobiography ‘Waylon’, written with Lenny Kaye in 1996. As much as Waylon Jennings had some personal issues with the country classic, he did recognize its quality as a fan favourite. This is a sentiment he shared with the songwriters who approached Jennings to record it simply because they added his name to the lyrical content. The names just flowed. It forever connected Waylon Jennings and Willie Nelson who were long-time friends.
Their first major collaboration can be traced to 1969 when Waylon saw an ad promoting Tina Turner, describing her as a “Good hearted woman in love with a two-timing man.” This reference to Turner’s husband Ike inspired Waylon to write the song ‘Good Hearted Woman’. When he discussed the idea with Willie Nelson during a poker game, Nelson added the line, “through teardrops and laughter they’ll pass through this world hand in hand.” Willie’s wife Connie was on hand to write it all down.
Jennings released this version of ‘Good Hearted Woman’ as the title track to his 1972 album of the same name.
The pair later released a duet on the 1976 album ‘Wanted: The Outlaws’. Unfortunately, this version included the tacky audience applause.
Let’s move on a quarter of a century when the pair share ‘Luckenbach, Texas’ with ‘the boys’ known as The Highwaymen; Johnny Cash and Kris Kristofferson.
Unfortunately, you can sense that the delivery is rather uninspired.
Perhaps the continued popularity of ‘Luckenbach Texas’ is the fact that it represents a who’s who of the country music genre. This is an important tour for those who are interested in understanding how outlaw country evolved. It is all juxtaposed as a reference to a couple whose upper-class lifestyle is placing strains on their marital happiness. The remedy according to Moman and Emmons and delivered by Waylon Jennings is that the couple ‘get back to the basics of love’.
Just for fun, here is a quick guide to the names cleverly referenced by Chips Moman and Bobby Emmons.
Hatfields and McCoys – These two feuding families have become synonymous with neighbourly discord in American folklore. The family feud actually took place over a 28-year period in the latter half of the 1800s. The issues stemmed from a combination of factors that included social status, political affiliation, land claims, money and livestock. Geographically speaking, the families lived along the Kentucky/West Virginia state lines which were defined by the Tug Fork and Big Sandy Rivers. The Hatfields mostly lived on the West Virginia side and the McCoys lived on the Kentucky side. During the Civil War all of the Hatfield men fought for the Confederacy, as did all of the McCoys, but one. Asa Harmon McCoy fought for the Union and it was his murder in early January of 1865 that allegedly set off the lengthy feud. The perpetrator is thought to have been an uncle related to the Hatfield family known as Jim Vance. The fascinating accounts of this story goes on and involves disputes over the ownership of a pig, inter-family relationships, unending mayhem, violence and murder. All tolled the feud resulted in more than a dozen family members killed. The ongoing battle took a more significant toll on the Hatfield family who saw nine of their family members imprisoned, seven for life. Another received 14 years, while Ellison ’Cottontop’ Mounts was sentenced to be hanged. His final words were,
The Hatfields made me do it.”
Ellison Mounts
In the category of ‘only in America’ the two families appeared on the television game show ‘Family Feud’ in 1979. Note the pig at centre stage.
Yep! If there is an angle to market something, thy will be done.
Hank Williams – Considered to be the father of country music. He recorded 55 singles that hit the Billboard Country and Western top 10. Twelve of which hit #1. His legacy remains as one of the most popular country music performers of all time and part of that legacy resides in what are referred to as his gut-wrenching pain songs.
Mickey Newbury – Perhaps the least known among the powerful references offered by Moman and Emmons, Mickey Newbury was among the first to branch out from straight forward country and create a satisfying blend of hippie and cowboy styles. The lineage draws a straight line to artists like Roger Miller, Waylon Jennings, Willie Nelson, Townes Van Zandt, Guy Clark and Jerry Jeff Walker.
Jerry Jeff Walker – Another brilliant connection by Emmons and Moman. Best known for writing ‘Mr. Bojangles’, Jerry Jeff Walker’s inspiration can still be felt. Among the names listed above you can add Steve Earle, Todd Snider and Jason Isbell. The man was a legend. In 1977 he had been reduced to a footnote, but as a result of his far-ranging influence and this song, he has taken his rightful place in country music lore.
‘Blue Eyes Crying in the Rain’ – A 1947 Country music classic written by Fred Rose and originally performed by Roy Acuff. It went on to be recorded by Hank Williams Sr., Willie Nelson and about 200 more popular musicians of varied styles.
Ultimately, the resulting chart success of ‘Luckenbach, Texas’ saw the song spend a month at #1 in the middle part of 1977. It also represented a cross genre hit, reaching #25 on the pop charts. The 1977 Waylon Jennings album ‘Ol Waylon’ went to the top of the Country charts and #15 on the Billboard top album chart.
So, what was the attraction to Luckenbach, Texas specifically? Waylon Jennings summarized it as,
Every state has a Luckenbach; a place to get away from things.”
Waylon Jennings
While this speaks to how the song relates to the general populace, the interesting thing about Luckenbach, Texas is it is an unincorporated community in Texas. An example of another unincorporated town in the Southern United States that was made into a song was Nutbush, Tennessee (see ‘Nutbush City Limits’) by Ike and Tina Turner.
Luckenbach was named for the German nobleman Jakob Luckenbach who was among the first settlers in the speck on the map that exists in Gillespie County,Texas. Its roots go back to 1845 when it was named Grape Creek. This is thought to be the incorrect spelling of Gap Creek which is the literal German translation of Luckenbach. The community was essentially a trading post that served as both a saloon and a general store. Luckenbach has the distinction of being one of very few trade centres that did not break a peace treaty with the Comanche Indians. The community trading post was a major source of village commerce. At its peak, Luckenbach claimed 492 residents, but by the late ‘60s it had been reduced to a population of exactly 3. In 1970 Luckenbach was put up for sale for the grand sum of $30,000. It was purchased by actor Guich Koock and Texas rancher and folklorist John ‘Hondo’ Crouch. The pair partnered with Kathy Morgan. The truth is Koock and Crouch were backed by their wives Patricia and Shatzi who assisted in funding the operation and worked as the saloon bartender and bookkeeper respectively. The fact that Luckenbach remained as a sovereign municipality allowed them to govern their own dance hall independently. Since that time Luckenbach became known for their unique events and festivals including Willie Nelson’s Fourth of July Picnics in the ‘90s. Through the years Luckenbach still presents a ghost town feel and the saloon/general store and the dance hall remain as the primary features. The town’s motto tells the story.
Everybody’s Somebody in Luckenbach.”
Luckenbach, Texas – Motto
It was the perceived independence and ability to isolate from society that drew the attention of Bobby Emmons and Chips Moman. Waylon Jennings delivered the message with the help of his friend Willie Nelson in the final chorus.
For Heather and I ‘Luckenbach, Texas’ was a karaoke favourite and every time we channeled our inner Willie Nelson and Waylon Jennings.
On this day we remember Waylon and his contribution to the rebellious side of the country music genre. None of that cookie cutter stuff that poses as country music today.
In addition to the Highwaymen cover I was able to find this version by ‘The Dukes of Hazzard’, Tom Wopat and John Schneider, in 2014. It is cut off at the beginning, but the fun comes through. A nice throwback to the late ‘70s when both these actors were at the top of TV land and ‘Luckenbach, Texas’ was a cross genre hit.
From a completely different perspective here is Alvin and the Chipmunks from the 1981 album ‘Urban Chipmunk’. Alvin, Simon and Theodore never missed a trick.
Everybody got into the act.
Where do we go from here?
Maybe it is time for all of us to get back to the basics…
Listening to the Allman Brothers Band is therapeutic. One can get lost in their finely woven compositions. The musicianship is astounding, offering layers of brilliance. In short, songs like ‘Blue Sky’ provide comfort. When you immerse yourself in their music you can convince yourself that all is right with the world. The sun is always shining. It is a fine escape.
Fans of great music have Dickey Betts to thank for ‘Blue Sky’ but there were a few assists that need to mentioned. Here is the brief story and more appropriately, a whole lotta music because few bands jam better than the Allman Brothers Band.
Dickey Betts wrote ‘Blue Sky’ for his girlfriend at the time, Sandy ‘Bluesky’ Wabegijig. Sandy was a Canadian of Indigenous heritage. Betts wrote the song in the first half of 1971 and the band recorded it in September for its ultimate release on the classic album ‘Eat a Peach’. Betts and ‘Bluesky married in 1973, but divorced two years later. Their marriage produced a daughter named ‘Jessica’.
While writing ‘Blue Sky’ Betts opted to leave out any references to gender, because he felt it gave the song a spiritual depth.
Once I got into the song I realized how nice it would be to keep the vernaculars—he and she—out and make it like you’re thinking of the spirit, like I was giving thanks for a beautiful day. I think that made it broader and more relatable to anyone and everyone.”
Dickey Betts
Initially, the song was intended for Gregg Allman to sing, but fortunately Duane Allman was around to suggest that Dickey take the reins. As Betts recalls, the legendary guitarist said,
Man, this is your song and it sounds like you and you need to sing it.”
Duane Allman
That encouragement was all Dickey Betts needed to take the next step.
Through the years, fans of the Allman Brothers Band have been blessed with several alternate recordings, live performances, outtakes and rehearsals. Here is a very early version of ‘Blue Sky’ from what fans have labeled ‘The Gatlinburg Tapes’.
The ultimate studio version of ‘Blue Sky’ offers one of many stunning examples of the interplay between Dickey Betts and Duane Allman. The incredible guitar tandem alternate playing the song’s lead and it weaves its way through. If you close your eyes, you are taken away to a glorious sunny day, anywhere you would rather be. It is simply transcendent.
If there is a sad note to relate regarding ‘Blu Sky’ it is that it resides as one of the last songs ever recorded by Duane Allman with the Allman Brothers Band. The band played it during several live sets in September of 1971. Here, is perhaps the best-known live version of ‘Blue Sky’ with Duane and Dickey putting their brilliance on full display. This is from State University of New York at Stony Brook on September 19th.
The recording I shared at the outset of today’s post was recorded about a week later at Criteria Studios in Miami, Florida which was the studio where Duane Allman played on all but three tracks of Derek and the Dominos classic ‘Layla and Other Assorted Love Songs’ about one year earlier. The recording process for ‘Eat a Peach’ was a disjointed affair. They wrote and debuted songs on the road in order to save money. There was also a period of time where band members checked into rehab for what had become debilitating drug dependencies. Then, as we all know, Duane Allman tragically lost his life on October 29, 1971. The band was faced with a decision about their future. In the words of drummer Butch Trucks,
We thought about quitting because how could we go on without Duane? But then we realized: how could we stop?… We all had this thing in us and Duane put it there. He was the teacher and he gave something to us—his disciples—that we had to play out.”
Butch Trucks
The significance of ‘Blue Sky’ was not lost on the group. Duane Allman’s guitar contribution on this song and beautiful pieces like ‘Little Martha’ exist as a swan song. Here is engineer Johnny Sandlin.
As I mixed songs like “Blue Sky,” I knew, of course, that I was listening to the last things that Duane ever played and there was just such a mix of beauty and sadness, knowing there’s not going to be any more from him.”
Johnny Sandlin
The album ‘Eat a Peach’ remains as a tribute to Duane Allman by his band of brothers. Even the album title was a nod to a response Allman gave a writer when he was asked about the state of global politics at the time.
I’m hitting a lick for peace—and every time I’m in Georgia, I eat a peach for peace. But you can’t help the revolution, because there’s just evolution. I understand the need for a lot of changes in the country, but I believe that as soon as everybody can just see a little bit better, and get a little hipper to what’s going on, they’re going to change it. Everybody will—not just the young people. Everybody is going to say, ‘Man. This stinks! I cannot tolerate the smell of this thing anymore. Let’s eliminate it and get straight with ourselves.’ I believe if everybody does it for themselves, it’ll take care of itself.”
Duane Allman
Eat a peach for peace, was shortened to ‘Eat a Peach’. In addition to his unrivalled guitar work, it became Duane Allman’s lasting message to the universe. The album was an immediate success upon its release on this day in 1972. It peaked at #4 and it is considered a classic album from this era of music. Fans of the Allman Brothers Band have placed it on a pedestal.
Together, the Allman Brothers Band decided to soldier on. Dickey Betts became the de-facto leader. As part of the transition the group brought in the piano prowess of Chuck Leavell. Here is an example of how effectively Leavell’s talent blended with the Allman Brothers Band’s unique combination of musicians from New Year’s Eve 1973.
For a very different take on ‘Blue Sky’ please enjoy the wonderful voice of Joan Baez. This is from her 1975 album ‘Diamonds and Rust’.
Over the years ‘Blue Sky’ became a set standard for Dickey Betts with the exception of a period of time in the mid ‘70s where he refused to play it following his divorce from Sandy. Here is Dickey Betts and the Great Southern from 1978 at the famous Capitol Theatre in Port Chester, New York.
Like a family heirloom, ‘Blue Sky’ was passed down to the next generation. Here is Gregg Allman’s son Devon, along with Dickey’s son Duane, who was named after Duane Allman. As an added bonus you get the infinite piano talent of the great Chuck Leavell.
Even following the departure of Dickey Betts from the Allman Brothers Band lineup ‘Blue Sky’ remained a set list favourite. Here is Warren Haynes and Derek Trucks in 2013 from the Beacon Theatre.
One last cover to share that offers a continuation of the family lineage associated with ‘Blue Sky’ we have Frank Hannon, the vocalist for the heavy metal band Tesla doing a quality cover. Hannon married Dickey Betts’ daughter Christy. His brother-in-law, Duane joins him, playing a fantastic lead guitar track. I love this version. The admiration of the men who brought it their way shines through.
The world of music is a tightly woven quilt it seems. Very much like the Allman Brothers Band musical family tree.
It was the early fall of 2012, about a year after the new concert venue in Burlington, known as the Burlington Performing Arts Centre opened. When they announced the lineup for the second season one name stood out. Arlo Guthrie was coming to town. The opportunity to see him in an intimate 750 seat venue was too much for me to pass up. I mentioned it to Heather when I got home and she wasn’t really interested, but she suggested I take Sebastian who was 18 at the time. Another great idea by Heather. From the time Sebastian began to take an interest in music at about the age of 11 he enjoyed watching the Woodstock documentary, which opened the door to his love of Arlo Guthrie. He was intrigued by the music and his storytelling. As soon as tickets went on sale, I was on-line and managed to get front row centre seats. We couldn’t wait for the show which would take place in late October. But then tragedy struck the Guthrie family.
Arlo Guthrie’s wife of 43 years was diagnosed with inoperable liver cancer, and passed away in mid-October. I let Sebastian know that in all likelihood the show would be cancelled, or at the very least postponed.
Somehow, to Arlo Guthrie’s credit he managed to fulfill a series of tour dates on his tour which included Brampton, St. Catharines and Burlington, while postponing others. Remarkably, we would see him perform, less than two weeks after his tragic loss. I wasn’t sure what to expect. For 45 years Arlo had developed a reputation for being an engaging artist, regaling audiences the world over with his funny stories. His shows were as much about his storytelling as they were about the music. His calling card was his audience rapport. Would this approach be impacted by his grief? Only time would tell.
To end the suspense, the answer is no. His set list on that evening included a combination of his songs, classics written by his legendary father Woody Guthrie, and of course ‘City of New Orleans’ by Steve Goodman. One of many standout songs on this night was ‘Highway in the Wind’ from his acclaimed debut album ‘Alice’s Restaurant’. It was a moving moment. While this story is well rehearsed, he got through it and introduced the song that Jackie (Hyde) Guthrie inspired. It still chokes me up to listen because it was clear that she was Arlo’s soul mate and friend, and a wonderful mother to their four children. I will let Arlo tell the story. This is from a show in early 2013, but the essence is identical.
As Arlo Guthrie says,
I remember I woke up the next morning and wrote this song.”
Arlo Guthrie
Here are the words so you can follow along:
Sail with me into the unknown void That has no end Swept along the open road That don’t seem to begin Come with me and love me, Babe I may be back again Meantime I’ll keep sailing down My highway in the wind
Evenings just begin the days And follows with the night To love you and to be with you And say that it’s all right Love me while you have me, Babe I may be back again Meantime I’ll keep sailing down This highway in the wind
There’s times I feel like going And there’s times I want to stay Times that I ain’t feeling well And times I feel ok Now you have time to love me, Babe And I may have time again Meantime I’ll keep sailing down This highway in the wind
The fortune teller tells me That I have somewhere to go I look and try to understand And wonder how she knows So I must be going now I’m losing time my friend Looking for a rainbow Down this highway in the wind”
Arlo Guthrie
Since that night almost ten years ago I have often reflected on how fortunate I was to see Arlo Guthrie from this vantage point, at such an emotional time in his life. For him to deliver his songs and stories with such and impact was inspiring beyond words. To have Sebastian by my side, made it even more special.
Yes, I was deeply moved. Music does that to me and as Ted Tocks Covers often relates, the stories behind songs often cause me to reflect on my life and people who inspire me. So, like Arlo Guthrie, the next morning I woke up and wrote this song. It was written for a wonderful friend to Heather and I. This is for Grace who always saw the beautiful side of everything she experienced in life.
Gaze upon a sunny day and take solace in the light Never curse the darkness Embrace the miracle of night Hope is found in simple things Like a babies cry Our future can be brighter When all we do is try
Inspire me to be someone Inspire me to be Inspire me to live my friend Inspire me to see Inspire me to take the time To really understand That when you say you love me I should hold your hand
Autumn winds bring cold rain The winter chill is near But with a warm fire close at hand There is nothing left to fear Icy days will give their way To the beauty of spring and hope Flowers bloom in bright sunshine Birds cheer allows us to cope
Inspire me to be someone Inspire me to be Inspire me to live my friend Inspire me to see Inspire me to take the time To really understand That when you say you love me I should hold your hand
Don’t go chasing rainbows Looking for a pot of gold You may not understand why Hardships leave you feeling cold The strength you find in friendships Can never be replaced So gather strength in numbers and your struggles can be faced
Inspire me to be someone Inspire me to be Inspire me to live my friend Inspire me to see Inspire me to take the time To really understand That when you say you love me I should hold your hand
Ted Lindsay
Just one more reflection on the power of music. It remains as a tribute to everyone in my life who has inspired me. I am fortunate to be able to say that there are many people who qualify for this dedication, but it all stems from one person.
I must be going now. I’m losing time my friend.”
Arlo Guthrie
But not before I share one other live version of ‘Highway in the Wind’ from 2004 in Sydney, Australia. Listen to the message in this preamble.
Two decades later we should all heed these words. Somewhere along the way we have become so grossly divided…lost. We need to get it back. There are forces at work that feed the divide. If we remain true to ourselves, we can bridge the gap. If we don’t the result could be catastrophic.
Enjoy this cover version by Kate Wolf from her 2014 album ‘Carry it On’.
To send you down this highway in the wind here is a beautiful cover by A.J. Lee and Blue Summit from the Kate Wolf Music Festival in 2019.
Have a great day. Find someone who inspires you and tell them how you feel.
This T. Rex classic turned 50 years old in January when it was released as a single well ahead of the album ‘The Slider’.
Come on in and I will introduce you to the carefully crafted ‘Telegram Sam’ and all of its intriguing characters.
Telegram Sam Telegram Sam You’re my main man
Golden Nose Slim Golden Nose Slim I know’s where you’ve been Purple Pie Pete Purple Pie Pete Your lips are like lightning Girls melt in the heat
Telegram Sam You’re my main man Telegram Sam You’re my main man
Bobby’s alright Bobby’s alright He’s a natural born poet He’s just outta sight Jungle faced Jake Jungle faced Jake I say make no mistake About Jungle faced Jake
Automatic shoes Automatic shoes Give me three D vision And the California blues Me I funk but I don’t care I ain’t no square with my corkscrew hair
Telegram Sam, Telegram Sam
Marc Bolan
T. Rex was at the edge of the glam rock era. They made the transition from the psychedelic folk rock style with such ease, people just thought the party moved to another house. This is where those attending were greeted by Marc Bolan who was waiting for his ‘main man’ ‘Telegram Sam’. This description helped to popularize the term ‘my main man’ through the ‘70s. The inspiration for ‘Telegram Sam’ was Bolan’s manager Tony Secunda. He was the charismatic singer’s main man in more ways than one. Not only was he T Rex’s manager, he was also Bolan’s drug supplier.
Although Marc Bolan’s main interest was ‘Telegram Sam’ he did have his eye on ‘Golden Nose Slim’ with the accusatory line ‘I know where you’ve been’. Some form of nefarious activity, no doubt. Then you get ‘Purple Pie Pete’ and his lips like lightning that cause girls to melt in the heat. The use of alliteration is effective here but the thought of having such an attribute gives pause for thought.
When it comes to Bobby, I can’t help but agree that he is alright, and I am left wondering if this is a refence to Bob Dylan?
Moving right along, we run into ‘Jungle Faced Jake’ and I am not sure whether being told not to make a mistake about my judgement of him is a warning or a recommendation. Time will tell I suppose.
When it all comes down to it, Marc Bolan leaves you feeling pretty comfortable. He just has a way as he glides around in his automatic shoes and his 3D glasses, it’s almost like he can predict the future. It seems bright.
With lines like, “Me I funk but I don’t care, I ain’t no square with my corkscrew hair”, he definitely attracts attention, but he has got to go away for a while.
It seems, ‘Telegram Sam’ has arrived.
The line ‘Me I Funk’ also became influential in the days ahead, as it inspired the industrial rock band KMFDM to write their song ‘Me I Funk’ in 2006. Here it is.
KMFDM is a fascinating band who established themselves as a force in the heavy, electronic, metal scene. The German based act has always been very vocal about their political concerns. This quote caught my eye.
Fundamentalist forces are undermining the integrity of liberal and democratic political structures”
KMFDM
Can’t argue with this astute observation. I love these guys. It is not for everyone, but their message is strong and articulate, delivered with an edge that commands attention.
Getting back to ‘Telegram Sam’, there is no doubt that the driving riff is similar to ‘Get it On (Bang a Gong)’ which was written in the key of E rather than A. On this day, a half century ago ‘Telegram Sam’ went to #1 in the U.K, which was a major achievement for Marc Bolan as the song represented the first release on his new T. Rex Co. label.
As we move on to the covers it strikes me that the transition to punk/new wave was seamless. This is a true evolution of the glam rock style.
Check out Bauhaus in 1980. A combination of gothic rock, funk, punk and glam rock. This is a fun cover.
Let’s trek on through Europe and check out Croatian punk band. Psihomodo Pop. This is another band I really got into while writing this post. A fantastic cover delivered with a ton of energy.
I guess the message from today’s post is if your main man asks you to step outside your comfort zone, take him up on the offer. Good things may come.
Ted Tocks Covers 
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