For Heart, their biggest break came at virtually the same time as what could have been their most devastating catastrophe. The band was playing a third-rate club in Calgary, Alberta called Lucifer’s when one snide comment too many from the stage, by Ann Wilson resulted in the band getting fired. Apparently, she felt the buffet selections tasted like Pine-sol. As they were packing up their gear and considering their next move a phone call from the band’s Vancouver based record label, Mushroom changed their lives.
Heart, which at the time featured the sister duo Ann and Nancy Wilson along with Roger Fisher and Howard Leese on guitars, Steve Fossen on bass and Mike Derosier on drums had just released their debut album ‘Dreamboat Annie’. To say they were paying their dues would be an understatement. But they were determined.
When the call came, it was in the form of a desperate plea. Rod Stewart was on tour in Canada and the opening act for his show in Montreal was unable to play. Unbeknownst to Heart, ‘Dreamboat Annie’ was getting solid airplay in the Canadian city, so they got the call.
All it took was one big arena show in October of 1975 at the hallowed Montreal Forum to demonstrate the greatness that was to come. In fact, awareness to Heart was so positive that they were greeted by an audience holding up lighters. Members of Heart were stunned that they had come so far, so fast. One gig and widespread word of mouth and the rest was rock and roll history.
I don’t think I ever had goosebumps that heavy. The place just erupted.”
Mike Derosier
Today’s feature is ‘Crazy on You’ but in truth Ted Tocks Covers had its pick of classics. While this blog has featured several high-quality cover versions by Heart, this is the first time they have enjoyed centre stage. Clearly an oversight. Heart’s obvious Led Zeppelin influence saw them build an acoustic foundation and then launch into a full-on heavy rock and roll assault. This became their calling card. They never looked back.
‘Crazy on You’ was released as the third single from the ‘Dreamboat Annie’ album on this day in 1976. The song followed ‘How Deep It Goes’ and ‘Magic Man’. It peaked at #7 on the Billboard Top 200 in the United States and it also made the Top 10 in Australia and the Netherlands.
To this day, ‘Crazy on You’ exists as one of several signature Heart songs. It begins with the beautiful acoustic guitar introduction called ‘Silver Wheels’ and then flows into the driving rocker. Without a doubt, the fact that the core of Heart was the Wilson sisters became a topic of conversation, because it was relatively rare for women to be so salient in this genre. Heart rewrote the book in this sense.
For the inspiration behind ‘Crazy on You’ you can look no further than the Vietnam War and the social unrest and uncertainty that existed both domestically and globally at the time of writing. The song is Ann Wilson’s ode to Mike Fisher who was her boyfriend at the time of writing. Wilson channeled her angst about the future into a reflection on her relationship with Fisher. Essentially it amounted to:
Thank God, I have you.”
Ann Wilson
It was written in an A-frame cottage near the United States/Canada border, that the band shared in order to potentially flee the country in case the guys were drafted.
Here are the lyrics.
We may still have time We might still get by Every time I think about it I wanna cry With bombs and the devil And the kids keep coming No way to breathe easy No time to be young
But I tell myself that I’m doing alright There’s nothing left to do at night But go crazy on you Crazy on you Let me go crazy, crazy on you
My love is the evening breeze touching your skin The gentle sweet singing of leaves in the wind The whisper that calls after you in the night And kisses your ear in the early light
And you don’t need to wonder, you’re doing fine And my love, the pleasure’s mine Let me go crazy on you Crazy on you Let me go crazy, crazy on you
Wild man’s world is crying in pain What you gonna do when everybody’s insane? So afraid of one who’s so afraid of you What you gonna do?
Crazy on you Crazy on you Let me go crazy, crazy on you
I was a willow last night in my dream I bent down over a clear running stream Sang you the song that I heard up above And you kept me alive with your sweet flowing love
Crazy, crazy on you Let me go crazy, crazy on you
Crazy on you Crazy on you Let me go crazy, crazy on you
Crazy on you Crazy on you Let me go crazy, crazy on you
Ann Wilson, Nancy Wilson and Roger Fisher
As much as Led Zeppelin is often noted as the most obvious inspiration for Heart, ‘Crazy on You’ was actually more a reflection on the model created by The Moody Blues and the song ‘Question’.
I remember I had a bad flu and was kind of delirious. The lyric was so great that it kind of lifted me up in my sick bed. Two days later I was better, and we started to set it to music. We were listening to a lot of Moody Blues back then. There was a song called Question that had this fast, fiery guitar rhythm. That was our idea for the groove. Then Roger Fisher came up with the really cool riff over A-minor to F, and that gave it some more beautiful momentum.”
Nancy Wilson
Here is ‘Question’ for comparison.
As much as Heart has producing some incredible material, there were several obstacles. They began in the form of politics within their own record label, and unfortunately this gave way to how they were perceived as a musical entity. This confusion created a couple of major crises.
The first issue stemmed from the album’s success. Heart attempted to renegotiate their royalty rate when ‘Dreamboat Annie’ went platinum. During the process Mike Fisher, who was acting as the band’s manager moved aside for Ken Kinnear, who took on the negotiations. Mushroom took a tough stance which essentially determined that Heart would be a one hit wonder. This resulted in producer Mike Flicker, leaving the label, although he did stay on to produce future Heart records. Flicker was the brother of Heart guitarist Roger Flicker.
Things totally disintegrated when Mushroom Records bought a full-page ad in Rolling Stone Magazine that simulated a National Enquirer front page. It depicted Ann and Nancy Wilson back-to-back with bare shoulders, similar to the ‘Dreamboat Annie’ cover, accompanied by the headline, ‘It Was Only Our First Time. Neither the Wilson sisters, nor the band had been consulted about the suggestive ad and they were enraged by the sexual connotation. During one interview a radio promoter asked Ann Wilson to comment on her lover, from the magazine ad, thus implying that the sisters were involved in an incestuous lesbian affair. Wilson became so outraged that she went back to her hotel room and wrote ‘Barracuda’ in response to the fallout of this period of their lives, taking direct aim at the misguided publicity effort.
And if the real thing don’t do the trick You better make up something quick”
Ann Wilson
While researching the evolution of ‘Crazy on You’ I discovered this candid footage of Heart back stage. This is really interesting. Not only do you get a sense of how tight the band was in the early days, you see how ‘Crazy on You’ and its classic introduction known as ‘Silver Wheels’ has become an improvisational piece over the years. This is where it really shines.
Here is a classic clip from Burt Sugarman’s ‘Midnight Special’ in 1977.
Moving ahead to the next century, check out country singer Gretchen Wilson (no relation) featuring Ann and Nancy Wilson in 2005. Gretchen does a commendable job, but the song goes to another level when Ann joins in.
‘Crazy on You’ definitely enjoys a cross genre appeal. Here it is being sampled in Eminem’s song ‘Crazy in Love’ in 2004.
Enjoy this quality cover by The Decemberists from a live performance in 2009.
I felt this piece was extremely important. During this Rock and Roll Hall of Fame Induction speech by Chris Cornell the band’s importance as trailblazers for both the Seattle music scene and for the women of rock and roll is discussed.
Somehow it never occurred to us that Ann and Nancy Wilson were women, existing authentically in a world dominated by men. Heart with two Joan of Arcs, standing up front kicking total ass, backed by a totally powerful and unique band blasted down any sexist barriers in front of them, armed with pure ballsy power of rock and roll.”
Chris Cornell
All of this leads to the final cover by another sister act. Here is Sweden’s First Aid Kit consisting of Johanna and Klara Söderberg in 2018. A great cover by another favourite here at Ted Tocks Covers. Enjoy!
To quote Ann Wilson,
Music makes us all equal and perfectly human.”
Ann Wilson
The sooner people heed this fact, the world will be a better place. We need to continue to share this message. If you feel people are not listening.
This is a post about how a song with a plea for peace got very complicated.
Everybody get on the ‘Peace Train’ and together we can look forward to the good things to come.
‘Peace Train’ was written by Cat Stevens aka ‘Yusuf Islam’ just over fifty years ago. He wrote it while riding on a train. His mind wandered to Alfred Hitchcock movies and how they frequently had scenes that took place on a train. The moment made him consider his present position in life. He was content. He took note of the fact that this contradicted what was going on in the world.
How could the two things be so incongruent?
For Cat Stevens the idea took form as a song aimed to unify everyone. Here are the lyrics to ‘Peace Train’.
Now I’ve been happy lately, thinking about the good things to come And I believe it could be, something good has begun
Oh I’ve been smiling lately, dreaming about the world as one And I believe it could be, someday it’s going to come
Cause out on the edge of darkness, there rides a peace train Oh peace train take this country, come take me home again
Now I’ve been smiling lately, thinking about the good things to come And I believe it could be, something good has begun
Oh peace train sounding louder Glide on the peace train Come on now peace train Yes, peace train holy roller
Everyone jump upon the peace train Come on now peace train
Get your bags together, go bring your good friends too Cause it’s getting nearer, it soon will be with you
Now come and join the living, it’s not so far from you And it’s getting nearer, soon it will all be true
Now I’ve been crying lately, thinking about the world as it is Why must we go on hating, why can’t we live in bliss
Cause out on the edge of darkness, there rides a peace train Oh peace train take this country, come take me home again”
Cat Stevens
You will notice that Cat Stevens begins the song with the line
I’ve been happy lately, thinking about the good things to come.“
Cat Stevens
As the song unfolds, he continues with the theme of gratification by also indicating that he is ‘smiling’ and ‘hopeful’, but the thought process moves to a state of darkness. At the next station he offers to bring everyone together and live as one. He senses a universal pessimism on the edge, which he perceives as a resistance.
In the final verse Stevens appears in a state of melancholy. His initial hope turns to fear as he considers the state of a world divided by hate and mistrust. He cries out.
Now I’ve been crying lately, thinking about the world as it is
Why must we go on hating, why can’t we live in bliss”
Cat Stevens
That’s a good question.
Much like Cat Stevens in the early ‘70s, I recently found myself riding a train in a figurative sense. Unfortunately, it also turned into a train of negativity, so I made the decision to get off and hop on a new one. Major life decisions are never easy. I am not one to make radical adjustments. Any personality index makes it pretty clear that I am not a risk taker. Nevertheless, I made the change because I knew it was right for me, and everyone around me. Much like Cat Stevens, I was happy and I was smiling.
I notified my previous employer that I was leaving in early January and worked for the rest of the month. By month end, I was ‘retired’ at least for the moment. My retirement lasted exactly one month because I received a new opportunity, almost instantly, that was way too good to pass up.
On a national and global level, the month I was retired was likely the most turbulent month in my recollection. It began with the ‘Trucker’s Convoy’ which consisted of a bunch of half-wit morons draped in Canadian flags pretending to be patriots. Something about freedom, because that catch phrase sells to the uneducated imbeciles who don’t have the attention span to read more than a headline. These fools managed to take over our nation’s capital for three weeks while Ottawa police stood idly by. I suppose they were paralyzed by the fact many of the protesters were aligned with their misguided thinking.
Ottawa police chief Peter Sloly said his force decided to avoid ticketing and towing vehicles “so as not to instigate confrontations”.
Try that the next time you are pulled over for a traffic violation.
Officer, I advise you not to give me a ticket because I will ‘instigate confrontation’.”
Random Thought
By the middle of the month the feckless Sloly had resigned. There is no truth to the rumour that he has opened a Bouncy Castle party rental outlet in Stittsville
Consider this quote from Jeffrey Monaghan, associate professor at Carleton University’s Institute for Criminology and Criminal Justice. He feels the police response to the convoy flipped the typical approach to protest policing on its head. Normally, police spend weeks ahead of major demonstrations warning about potential violence, aiming to delegitimise the movements ahead of time.
The typical relationship between police and protesters isn’t welcoming, it’s often warning. It’s often creating a public narrative that attempts to undermine political messages by tasking them as violent, especially when you’re talking about indigenous protestors and Black Lives Matter protests, but with the ‘convoy’ there was kind of a deliberate structure to the narrative that this was a legitimate protest – even though there’s all kinds of evidence that it was going to be a complete shit-show beforehand.”
Jeffrey Monaghan
Monaghan went on to say;
There are only two possible reasons for that stark difference: gross incompetence on the part of the police, or police did not want to treat the convoy movement the way they do others because they share sympathies, and they share similar cultural and political values. Either of those options are really not good for advocates of incremental change for policing. It means that there’s a lot of problems institutionally and structurally with policing.”
Jeffrey Monaghan
Mi’kmaq lawyer and chair in Indigenous governance at Ryerson University in Toronto, Pam Palmater suggested that the deeper concerning than the lack of immediate action to end the protest within two days, was the support members of various police forces and the Canadian military pledged.
This is a huge wake-up call … that white hate groups have become more empowered,”
Pam Palmater
Palmater added that the police response indicated that decisions over who is policed, and how, are not equitable.
It’s a huge double-standard, and double-standard doesn’t cut it; it’s direct and blatant racism.”
Pam Palmater
These observations speak to the difference in tactics used against the convoy protesters – who were predominantly white – versus those used against protesters of colour. Recent examples in this country are plentiful.
When Prime Minister Justin Trudeau made it clear that he was not going to speak to the urban terrorists, who based on the statements of their leaders weren’t even sure what country they lived in, he implored them to vacate, or drastic measures would be taken. Ontario Premier Doug Ford went snowmobiling, because the Ontario ‘folks’ taking part in the ‘Freedumb’ protest were clearly his supporters. Doug delivered his speeches with a mouth full of egg salad sandwiches which served to garble his messaging to the point he was rendered useless. Basically, this resides as a permanent state for ‘Boss Hogg’. Ottawa police managed to do little more than take selfies and carry gas cans for the unemployed truckers. The Mayor of Ottawa was perplexed. After three weeks, it became clear that the homeless truckers, who could not afford to pay their hotel bills and opted to bully homeless shelter operators for food, had nowhere to go. Prime Minister Trudeau invoked the ‘Emergency Measures Act’ much to the horror of radical right CONservative politicians and their gullible followers. The squatters were forced out within three days, once appropriate action was taken. Several trucks rolled out of the city with their flags waving proudly. They thought they had won. Some guy named Jonker from the Niagara area seemed to have a whole fleet of trucks on site. Apparently, this holy roller is a big deal in Lincoln, where he serves as a Town Councilor. His Facebook page reads like a Jim and Tammy Faye Bakker sermon on a Sunday morning in 1987. For some reason ol’ Jonker faced no consequences.
Man, this country would be in a bad place if people like Doug Fraud, Tamara Lich, Candice Bergen and that twirp Pierre Pollievre ever took over. Lunatics. Republican- style numbskulls. I am not kidding. It turns out this caravan of fools was funded by the American right Q-Anon conspiracy theorists led by the current king of cuckoos Tucker ‘Slack Jaw’ Carlson. Preying on the fears and insecurities of people in order to grab power. It is such a tired playbook.
Now we prepare for a Provincial election. ‘God’ help us all. Maybe Jonker has a prayer?
As the party was ending at the ‘Ram Ranch’, Russian President Vladimir Putin was beginning his assault on a defiant Ukraine. It’s almost like the distractions created while tail gaiters in Ottawa searched for freedom they had never lost, was set up so we would not focus on a very real problem. By February 24, Putin had announced that he was initiating a ‘special military operation’ in Ukraine. It was all sold to his woefully misinformed citizens as a ‘demilitization and denazification’. As a result, according to the evil Putin, any bloodshed would be the fault of the people of Ukraine, who would need to cooperate in full, or face the wrath of his army, navy and air force.
Well, the people of Ukraine have stood tall. Under the leadership of Volodymyr Zelensky and the resistance of his army and citizens the surprisingly disorganized Russian forces have faced losses that have been estimated at 15,000 troops. Some suggest that this kind of losses are not sustainable, while others share deep concerns that Putin may escalate the war in order to expedite his ultimate goal. He wants to take over Ukraine for its riches in natural resources, specifically uranium. If you read between the lines, you will note that Putin has no intention of stopping at the Ukraine border. Recent history will demonstrate this fact.
Russia has been buoyed by victories in Chechnya, Georgia, Ukraine in 2014 and Syria. This advancement met with little in the way of international response. Financial sanctions have been instituted to some effect but these measures only impact a fraction of the country’s top end wealth. It mostly effects the citizens. Some have taken to the streets in protest, only to be swiftly silenced. The vast majority choose to be compliant. They buy into the propaganda that is actually being spewed by…
…the likes of Tucker Carlson and his foolish cronies at FOX News. You can’t make this stuff up.
The mental gymnastics required to understand how the American right could support Putin is a feat of contortion that rival Olympic proportions. Yet, millions of uneducated, right leaning idiots blindly accept the ridiculous partisan rhetoric.
The world is watching, only hoping that it does not escalate into World War III. Some experts believe we are already there.
Meanwhile
Out on the edge of darkness, there rides a peace train. Oh, peace train take this country, come take me home again”
Cat Stevens
What I am trying to say is, I spent my brief retirement going for long walks and reflecting on the state of virtually everything and not liking much of what I saw. Regrettably, people I know (or thought I knew) seem to be fine with the tactics shared above. To me, it remains unfathomable. If you are in a fight, take a look at who you stand with from a moral standpoint. If you are sharing space with liars, cheaters, con artists, manipulative career politicians who have only their own self-interest at heart, accused rapists, murderers, and open Islamophopbes, homophobes and obvious racists, you are on the wrong side. Shockingly, it seems to me that for many it takes years of convincing to realize they are being duped.
But we move on.
When Cat Stevens wrote ‘Peace Train’ he was able to employ a musical style that was calling to him while offering a message of hope.
Musically, I was revisiting a very Greek-sounding riff – the kind of thing you’d hear on a Greek island. The words were attached to that time, my peace anthem. It ended every show that I did and was quite a show stopper. It was a very important song for me because it stated one of the big goals of my life which was heading straight for that peace.”
Cat Stevens
Through the years the ‘Peace Train’ stopped at a few stations that were surrounded by troubled waters.
As far back as 1972, people were a little apprehensive about the message. To some, the song was a cheap imitation of John Lennon’s ‘Give Peace a Chance’ or ‘Imagine’. Ted Tocks Covers often quotes critic, Robert Christgau. Here are his thoughts on ‘Peace Train’.
I don’t mind when Johnny Nash sings a charming ditty about how things are getting better, but when Stevens informs the world that we’re all on a peace train, I get annoyed. We’re not, and if Stevens ever stops shaking his head long enough to see clearly for a second, he might realize it.”
Robert Christgau
Obviously, Christgau is talking about ‘I Can See Clearly Now’. Ted Tocks would suggest that there is plenty of room for both songs.
Things definitely got worse a little further down the tracks. Cat Stevens converted to Islam in 1977 and legally changed his name to Yusuf Islam in 1979. This occurred right around the time that the Ayatollah Khomeini took 52 American embassy personnel and citizens hostage so anti – Islam sentiment was rampant. When speaking of this time in his life Yusuf Islam stated that he was simply following a preordained path.
I had found the spiritual home I’d been seeking for most of my life. And if you listen to my music and lyrics, like “Peace Train” and “On the Road To Find Out”, it clearly shows my yearning for direction and the spiritual path I was travelling.”
Yusuf Islam
Now is the time to introduce the first cover song because it feeds perfectly into the next chapter of the story.
In 1987, 10,000 Maniacs released a fantastic cover of ‘Peace Train’ which they had recorded for the album ‘In My Tribe’.
The initial pressings of the album/CD contained ‘Peace Train’ but when Islam made statements supporting the Ayatollah’s fatwa against writer Salman Rushdie for questioning the Islamic faith in the book ‘The Satanic Verses’, 10,000 Maniacs pulled the song from future editions of the recording. Muslims felt that the book was blasphemous and it mocked their faith. The condemnation led to several failed assassination attempts on Rushdie who was placed under police protection in his native U.K. Yusuf Islam, when questioned about the outrageous bounty on the writer, offered his support, stating that he deserved to die and he would act as executioner if he was ordered by a judge.
Ironically, by this time in his life, Islam had requested his music company to stop publishing his albums so the backlash in sales, and record burnings, or steamrolling in one case, was met with a shrug by the artist.
But time moves on and the train kept on rolling. Here is Richie Havens in 1989, completely unphased by the controversy created by the songwriter.
I love this one. Check out Dolly Parton with Ladysmith Black Mambazo in 1996 from her album ‘Treasures’. Dolly has made her own headlines recently when she opted to not accept the nomination to potentially be voted into the Rock and Roll Hall of Fame. The institution responded by stating they would not honour her request. In return Dolly Parton has vowed to record a rock and roll album. This would serve to justify her potential presence in the facility that celebrates the genre known as Rock and Roll but manages to stretch the criteria like a slinky going down a spiral staircase in a Beverly Hills mansion.
Things get better.
In 2003, Yusuf Islam re-recorded ‘Peace Train’ on an album for ‘War Child Records’ called ‘Hope’, that raises funds for children in countries ravaged by war. Clearly, his heart is in the right place.
Here is his accompanying quote that not only speaks to where things were 20 years ago, but sadly it tells the story that still exists presently.
As a member of humanity and as a Muslim, this is my contribution to the call for a peaceful solution to the dangerous path some world leaders today seem to be taking.”
Yusuf Islam
Take some time and enjoy this version of ‘Peace Train’ by the engaging Canadian singer Jann Arden from 2006. It appears on her album ‘Uncover Me’.
Here is yet another controversy related to ‘Peace Train’. Jon Stewart and Stephen Colbert created a skit that fell a little flat. This is from 2010 as part of an event in Washington D.C. called ‘Rally for Sanity/or Fear’ which had positive intentions but people have long memories and Yusuf Islam’s presence reminded some of the Salman Rushdie incident.
Jon Stewart regretted the attempt at humour by stating:
Death for free speech is a deal-breaker.”
Jon Stewart
As we move back and forth with this undeniably great song, check out two versions in one video. You get the classic original followed by a snippet of his vision of the song adapted to a blues style.
When you listen to the blues version and you will never hear this song the same way again.
A quick jump back to the cover versions and a performance by Palestinian actress Leem Lubany, who appeared in the movie ‘Rock the Casbah’ with Bill Murray who plays a down and out concert promoter who takes a performer to Afghanistan to play for the troops. His star attraction backs out and he is left in the lurch until he befriends a local singer who steals the show.
And finally, check out this 2021 edition of Music for Change.
The beauty of this version is its ability to bring 25 musicians together, representing 12 countries. Yusuf Islam plays the piano from a stunning setting in Istanbul, and is joined by legendary blues artist Keb’Mo, Grammy nominated, Senegelese artist Baba Maal, Silkroad’s Rhiannon Giddens and Pat Simmons of The Doobie Brothers among many others. Perhaps the most telling element of this version is the harmonium played by Tushar Lall of Delhi, India and Joshua Amjad of Karachi, Pakistan playing the Kartaal. As we all know India and Pakistan are two nations that are constantly at odds and threatening conflict. This was all done to symbolize the ‘International Day of Peace’ or ‘World Peace Day’.
Today I am somewhere between tired and ‘Lazy’ so Ted Tocks Covers is going to focus heavily on the music.
This song needs no introduction, but as I type I realize that it is the introduction that really makes it a classic rock staple. ‘Lazy’ by Deep Purple is just an absolute gem when it comes to the masterful musical brilliance that defines Deep Purple. It all starts with the extended intro. It truly could go on forever.
Before I go on, it should be noted that ‘Machine Head’ by Deep Purple was released on this day in 1972. It is fifty years later and to say the ‘Lazy’ stands the test of time would be an understatement. ‘Lazy’ was comfortably nestled on side two of ‘Machine Head’, right between ‘Smoke on the Water’ and ‘Highway Star’. What a side of music. Not too many artists are putting together a trio of songs like this on one album any more.
‘Lazy’ made its appearance in the Deep Purple live performance in 1971, before being modified to the studio version. Its extended jam gave vocalist Ian Gillan time to rest late in the set and it allowed each band member to demonstrate their prowess, most notably Jon Lord on keyboards, but you also get some memorable performances by Ritchie Blackmore on guitar, Roger Glover on bass and Ian Paice on percussion. Even Ian Gillan brings his A game on vocals and harmonica after describing the song as a rhythm and blues number. Lyrically, Roger Glover is on record as saying ‘Lazy’ was inspired by an old Oscar Brown Jr. song called ‘Sleepy’.
Ritchie Blackmore follows this up with a reference to the guitar track that he said adapted elements of Eric Clapton in ‘Stepping Out’, a James Bracken song he introduced while playing with John Mayall’s Bluesbreakers. You can really hear the roots here.
The guitar solos created by Blackmore were created in two separate sessions and then blended together for the final recording on ‘Machine Head’. No matter what form ‘Lazy is performed in, you get steamrolled by the raw power of each musician. This clearly becomes the attraction that drives the song in the studio or live. Speaking of live, it was a short time later that ‘Lazy’ found its way onto the Deep Purple live album ‘Made in Japan’ later in August of 1972.
The live setting gave each musician an opportunity to expand on their diverse musical influences. On ‘Made in Japan’ Ritchie Blackmore’s guitar solo added elements of Hugo Alfven’s ‘Swedish Rhapsody #1’ which brings the song to another level.
Through the years ‘Lazy’ remained as a demonstration of talent no matter who was in the band. Here is Steve Morse on guitar in 1999 during the ‘Total Abandon’ tour in Australia.
As one of the most influential acts in the hard rock and heavy metal genre, Deep Purple have become exhibit A in terms of influence. They are often cited as a driving force behind the vision of artists who followed. Check out heavy metal guitar virtuoso Yngwie Malmsteen in 1994 with Joe Lynn Turner on vocals. This was part of a tribute album called ‘Smoke on the Water: A Tribute to Deep Purple’.
Over a decade later Dream Theater took a shot at ‘Lazy’. This is from their own tribute called ‘Made in Japan’ where the band set out to replicate the Deep Purple classic. This comes in two parts as they really stretch it out.
Here is part 2.
Over the years the players from Deep Purple brought the song to the stage while performing with their solo projects. Here is drummer Ian Paice and his band Forever Deep in 2010.
One year later, we get Jon Lord leading the Jon Lord Blues Project. The keyboard prelude to this track is just an awesome display of his keyboard genius. One of the best ever.
As far as cover versions go, by going chronologically Ted Tocks Covers is able to move through the years nicely, but also save the best cover ‘til last. This is not always the case, but here is Jimmy Barnes and Joe Bonamassa in 2012. Once again, the influence shines through in this version of ‘Lazy’ that appeared on the album ‘Remachined: A tribute to Deep Purple’s Machine Head’. What a way to start the day.
If you woke up a little sluggish, this post should give you a little bit of a push. I defy you to listen to any or all of these versions of ‘Lazy’ and not want to go out and take on this day.
Today’s feature is known as one of the finest examples of the recording process in the rock era. ‘Good Vibrations’ by The Beach Boys is a masterpiece by Brian Wilson. It is renowned for both its quality and the fact it took seven months to record, compiling an astounding 90 hours of tape. Here is the story which will lend a focus on one key player; a prolific bass player who celebrates her 87th birthday today. Ted Tocks promises it will take less than 90 hours to read, but the resulting links and interviews may lead you on your own trip. Do what you will because these days we’ve “gotta keep those good vibrations happenin’”.
The idea for ‘Good Vibrations’ was a lesson Brian Wilson learned from his mother that dogs sometimes barked at people based on their ‘bad vibrations’. Wilson evolved this thought into the power of extrasensory perception and how music could aid in this process by channeling ‘Good Vibrations’. It began as this concept and continued to take form. Here is songwriter Tony Asher, who collaborated with The Beach Boys on the preceding album, ‘Pet Sounds’.
“Brian was playing what amounts to the hook of the song: “Good, good, good, good vibrations.” He started telling me the story about his mother. … He said he’d always thought that it would be fun to write a song about vibes and picking them up from other people. … So, as we started to work, he played this little rhythmic pattern—a riff on the piano, the thing that goes under the chorus.”
Once Wilson introduced it to the studio, ‘Good Vibration’s’ song structure and arrangement emerged over time and meticulous consideration. It was a musical experiment.
I had a lot of unfinished ideas, fragments of music I called ‘feels.’ Each feel represented a mood or an emotion I’d felt, and I planned to fit them together like a mosaic.”
Brian Wilson
Among the many people on hand to watch the music unfold was engineer Chuck Britz, who recalls Wilson referring to ‘Good Vibrations as;
…his whole life performance in one track… the summation of my musical vision. A harmonic convergence of imagination and talent, production values and craft, songwriting and spirituality.”
Chuck Britz
Brian Wilson at the age of 23 was determined to deliver a song that would emulate the Phil Spector style and rival ‘You’ve Lost that Lovin’ Feelin’ in terms of sensory power. He began working on lyrics for the verses with Tony Asher but they were discarded in favour of Mike Love’s interpretation of the backing track that Brian Wilson had put together.
[It] was already so avant-garde, especially with the theremin, I wondered how our fans were going to relate to it. How’s this going to go over in the Midwest or Birmingham? It was such a departure from ‘Surfin’ U.S.A.’ or ‘Help Me Rhonda’.”
Mike Love
In tune with the times, Mike Love saw the potential for ‘Good Vibrations’ to be a song that reflected the psychedelic sound and flower power movement that was beginning to take San Francisco by storm, just a few hours up the California coast. Here are the lyrics that Love referred to as “just a flowery poem”.
I-I love the colorful clothes she wears And the way the sunlight plays upon her hair I hear the sound of a gentle word On the wind that lifts her perfume through the air
I’m pickin’ up good vibrations She’s giving me excitations (Oom bop bop) I’m pickin’ up good vibrations (Good vibrations, oom bop bop) She’s giving me excitations (Excitations, oom bop bop) Good, good, good, good vibrations (Oom bop bop) She’s giving me excitations (Excitations, oom bop bop) Good, good, good, good vibrations (Oom bop bop) She’s giving me excitations (Excitations)
Close my eyes, she’s somehow closer now Softly smile, I know she must be kind When I look in her eyes She goes with me to a blossom world
I’m pickin’ up good vibrations She’s giving me excitations (Oom bop bop) I’m pickin’ up good vibrations (Good vibrations, oom bop bop) She’s giving me excitations (Excitations, oom bop bop) Good, good, good, good vibrations (Oom bop bop) She’s giving me excitations (Excitations, oom bop bop) Good, good, good, good vibrations (Oom bop bop) She’s giving me excitations (Excitations)
(Ahh) (Ah, my my, what elation) I don’t know where but she sends me there (Oh, my my, what a sensation) (Oh, my my, what elation) (Oh, my my, what)
Gotta keep those lovin’ good vibrations a-happenin’ with her Gotta keep those lovin’ good vibrations a-happenin’ with her Gotta keep those lovin’ good vibrations a-happenin’
(Ahh)
Good, good, good, good vibrations (Oom bop bop) (I’m pickin’ up good vibrations) (Oom bop bop) She’s giving me excitations (Excitations, oom bop bop) Good, good, good, good vibrations
Na na na na na, na na na Na na na na na, na na na (Bop bop-bop-bop-bop, bop) Do do do do do, do do do (Bop bop-bop-bop-bop, bop) Do do do do do, do do do (Bop bop-bop-bop-bop, bop)
Mike Love and Brian Wilson
Part of Brian Wilson’s exploration saw him introducing novel sounds to the recording. This is an opportunity to introduce the Electro-Theremin, which provides the distinctive electronic sound that permeates the classic song. For this intriguing addition listeners have the great Alfred Hitchcock to thank, who introduced it in the 1945 film ‘Spellbound’.
The theremin was later popularized in the theme for ‘My Favourite Martian’.
The Electronic Theremin is a device controlled by a knob on the side that produces the freaky sound waves or for the purposes of this song; the ‘Good Vibrations’. The sound was the perfect complement to Brian Wilson’s vision. It was played by Paul Tanner.
An added measure to ‘Good Vibrations’ was the cello played by Van Dyke Parks. This was a continuation of Wilson’s desire to emulate Phil Spector’s Wall of Sound. This time it was inspired by the triple beat in the chorus of ‘Da Doo Ron Ron’.
Now let’s move on to The Wrecking Crew who enjoyed a front row view of how ‘Good Vibrations’ came together as a monumental composition. Here is some candid footage of everyone working together in the recording studio. It gives music fans some sense of how it all came together.
Here are some members of The Wrecking Crew talking about ‘Good Vibrations’.
Within this clip is also Brian Wilson’s recollection of The Wrecking Crew, and most specifically Carol Kaye.
Carol played on ‘Good Vibrations’ and ‘California Girls and she was like the star of the show. She was the greatest bass player in the world. She was way ahead of her time. She would play a tonic and a fifth or a third instead of a fifth.”
Brian Wilson
Naturally, Carol Kaye gives the credit to Brian Wilson.
He definitely wrote some neat lines on the bass. I’d have never played that…jazz walking line. You know that this kid was into something great.”
Carol Kaye
The irony of the bass line that Brian Wilson suggested and Carole Kaye developed is, in the ultimate recording that was released as a single in October of 1966, Kaye’s version was cut in favour of Lyle Ritz on double bass and Ray Pohlman on electric bass. While Kaye is often credited, Beach Boys archivist Craig Slowinski is adamant that Carole Kaye is not on any of the primary recordings. It is a sad omission, but her greatness should be noted in relation to this track because she was instrumental in translating Wilson’s vision over the six-month period that the song took shape.
It’s a shame that Carol Kaye’s recordings for ‘Good Vibrations’ were not chosen because she clearly assisted in developing the song’s bass line. In the above quote Kaye understates her role in identifying the complimentary jazz chords. She is one of the finest bass players on record. Her list of song credits before becoming part of The Wrecking Crew was a career unto itself. The ‘60s were devoted to The Wrecking Crew and it was here that she recorded over half of the 10,000 songs she has to her credit. You read that right.
When I cut a record, I hear everything that’s going on.”
Carol Kaye
In a career that has spanned well over 60 years she has become the bass player who is ‘most heard but least known’.
Here are a couple of cases in point. How many of us grew up watching old reruns of ‘Batman’? That’s Carol Kaye playing bass on the show’s theme song.
‘Mission Impossible’… Guess who?
Here is one of my favourites. Check out Carol Kaye on bass in Joe Cocker’s cover of Dave Mason’s classic, ‘Feelin’ Alright’
Like so many artists who reside at the pinnacle of their discipline Carol Kaye remains mostly humble when it comes to her incredible contribution to music over the years. She had no illusions of becoming famous. She was comfortable in the studio with her friends in The Wrecking Crew. Together they took the most basic tracks and added their touch to an endless stream of songs. When Rolling Stone Magazine gathered a list of the top 50 bassists of all time they recognized Carol Kaye at #5. Not bad for this ‘California Girl’ who just loved hanging out in the studio kicking out some of the finest bass riffs we’ve known.
Take it from Dr. John.
Carol Kaye is a sweetheart as well as a kick-ass bass player.”
Dr. John
That’s quite a combination.
Sending out birthday greetings to Carole Kaye who turns 87 years old today.
For today’s cover versions Ted Tocks Covers is once again blessed with numerous options to explore. This is interesting because it has been suggested by some that due to its intricacies ‘Good Vibrations’ is virtually uncoverable.
Good Vibrations was rarely reprised by other acts, even during the cover-happy ’60s. Its fragmented style made it essentially cover-proof.”
John Bush – All Music
Despite the clear technical challenges there are well over 100 options to consider. One of the first was done by The Cowsills in 1969. This is a reasonable cover from the band that inspired ‘The Partridge Family’ TV series. Six siblings and their mother. What makes this very commendable is the fact it is done live on their album ‘The Cowsills in Concert’ which consists of eleven cover versions.
Don’t ever tell Todd Rundgren something can’t be done. He absolutely nails this cover. Play this for 100 friends and ask them who this is. Only the most astute music observer will be able to tell you that it is not the original. This was Todd Rundgren’s goal; to replicate the song note for note.
This cover by The Troggs intrigued me. The band recorded ‘Wild Thing’ almost a decade before and little more was heard from them. I had to check it out. They dared to make it their own. It becomes conversational. It feels like a precursor to Cake, but this is 1975. I like it.
Again, certain acts jumped off the page. Here’s another one. Every time Ted Tocks Covers sees Heart on the list of acts that covered a song, I have to look into it. I wasn’t disappointed. This is from 2001 and a wonderful All-Star Tribute to Brian Wilson complete with Jubilant Sykes, The Boys Choir of Harlem, Ann and Nancy Wilson of Heart and Brian Wilson. Not only is it good, it is memorable due to the combination of musicians, the harmonies and the clear homage to the guest of honour.
One year later, here is Brian Wilson with Cliff Richard, Emma Bunton and Atomic Kitten. This is from ‘Party at the Palace, The Queen’s Concerts, Buckingham Palace’. Quite a treat for the audience.
Keeping it in the family. Enjoy this stunning cover by Wilson Phillips. They just seem to do everything well. This is from ten years ago, but it could have been dropped any time over the last 50 years and still felt fresh. It’s all about the vocals. Incredible.
Brian Wilson is still touring. Here is a reasonable audience video that captures the present vibe.
It is difficult to put into words, the legacy of ‘Good Vibrations’. It represented the last #1 song for The Beach Boys in their initial run of hit songs in the ‘60s. They wouldn’t reach #1 again until 1988 with ‘Kokomo’ Here is a quote that summarizes the long lasting quality quite effectively.
Good Vibrations” may yet prove to be the most significantly revolutionary piece of the current rock renaissance; executed as it is in conventional Beach Boys manner, it is one of the few organically complete rock works; every audible note and every silence contributes to the whole three minutes, 35 seconds, of the song. It is the ultimate in-studio production trip, very much rock ‘n’ roll in the emotional sense and yet un-rocklike in its spatial dimensional conceptions. In no minor way, “Good Vibrations” is a primary influential piece for all producing rock artists; everyone has felt its import to some degree, in such disparate things as the Yellow Balloon’s ‘Yellow Ribbon’ and the Beatles’ ‘A Day in the Life’ in groups as far apart as Grateful Dead and the Association, and Van Dyke Parks and the Who.”
Gene Sculatti – Jazz and Pop
In the end, it is about how it advanced the possibilities within the recording process. Fifty-five years later is still exists as a standard. Above and beyond this measure, you get a clear example of how music can channel positive expression, or in essence ‘Good Vibrations’. I will give ‘Carol Kaye the final word on this point. When Carol Kaye was asked about the impact music can have on a positively functioning society, she emphasized that music helps you connect to an inner soul that helps to define us. We need to be in tune.
The music that brings people joy feeds the spirit that we all need to be fed. Accept, we need the music to pull out of this crap. We’re in a lot of crap right now. Just like the ‘40s. We need the music, because if the ‘40s had not have happened with all that great music, who knows how the war would have ended. The music kept us all together. It kept us together in the ‘60s too.”
Carol Kaye
This passage came from an interview over 10 years ago and it continues to be true. Presently, we are living in turbulent times, both globally and locally. When I think back through the 45 years that I have followed music, it is the times where people gathered together bonded by music that I felt the most hope. These are the ‘Good Vibrations’.
Remember Live Aid?
The Beach Boys brought this iconic song to the stage at JFK stadium in Philadelphia and it was beamed into the homes of millions of viewers worldwide. This performance represented the first time the surviving members of the original lineup of The Beach Boys including Brian and Carl Wilson, Al Jardine and Mike Love had been together on stage in years. Sadly, Dennis Wilson died tragically, a couple of years previously.
That’s what today’s all about.”
Mike Love
Good vibrations should be what every day is all about.
Since Ted Tocks Covers began in 2018, this day has been reserved to celebrate contributions of Irish artists. While the symbolic origin of St. Patrick’s Day is dubious at best, the opportunity to focus on quality music remains at the core of this blog’s mission. Here are the four St. Patrick’s Day features that created the emerald path to today’s post.
Today’s St. Patrick’s Day feature will be The Cranberries’ classic ‘Linger’. A celebration of the beautiful voice of Dolores O’Riordan.
It’s the voice that draws you in. Sensational…Alluring…
‘Linger’ was initially presented as part of a four-song demo in 1990 under the band’s original name, Cranberry Saw Us. Also included on the demo was ‘Sunday’, ‘Chrome Paint’ and ‘A Fast One’. The tape was titled ‘Water Circle’ and it is the first known recorded example of Dolores O’Riordan’s vocals. Here is ‘Linger’ from that recording.
‘Linger’ came to the band courtesy of Dolores and her desire to impress the group upon her audition. She wrote the lyrics from the perspective of her 17 year old self, reflecting on a relationship with a young soldier. When the lyrics are narrowed down, they seem to be about her first kiss. Here is drummer Fergai Lawlor’s recollection of their initial encounter and the session that led to the unveiling of ‘Linger’.
It was a Sunday afternoon. She arrived with a keyboard under her arm, just set it up and played a few songs. We couldn’t really hear her because she was singing through a guitar amp or something. I gave her a lift up to the bus stop and I was saying, ‘Will we see you next week?’ We gave her a tape of the music for ‘Linger’, which she took with her. The following week she came back, and she had lyrics written out and melodies and she sang along to what we were playing, and it was like, ‘Oh, my God. She’s great’.”
Fergai Lawlor
Clearly, she left an impression.
Here is another early track that appeared on the album ‘Everybody Else is Doing It, So Why Can’t We’. Enjoy ‘Dreams’ which highlights Dolores O’Riordan’s stunning voice. This live version provides a one-two punch with today’s feature song.
Again…this combination of songs became the world’s introduction to The Cranberries and the voice that is now indelibly printed in our musical memory.
The album was released in March of 1993. ‘Dreams’ was the initial single, delivered in late 1992 and ‘Linger’ was the follow up in mid-February of 1993. By releasing the songs in advance of the album, The Cranberries created a buzz. Both the album and the singles did exceptionally well worldwide. Here is just one example of how the song was perceived.
While this isn’t lyrically novel, the full-on emotionality of lead singer Dolores O’Riordan makes this stand out. Singing in a strong Irish brogue she comes off both needy and detached here. It’s that emotion that powers this track”
Jason Elias
When asked to look back on the hit song and the band’s rising success, Dolores recalled her sense of surprise that ‘Linger’ resonated so strongly with such a wide audience.
I remember when MTV first put ‘Linger’ in heavy rotation, every time I walked into a diner or a hotel lobby, it was like, ‘Jesus, man, here I am again’. It was trippy, like ‘Jacob’s Ladder’, I didn’t even have to take drugs”.
Dolores O’Riordan
To say ‘Linger’ was everywhere throughout the ‘90s would not be hyperbolic. It was all over the radio on multiple formats. It was part of several movie soundtracks and it served as strong accompaniment for many a TV scene. It has been suggested that the music of The Cranberries is in our D.N.A. For the purpose of today’s celebration, Ted Tocks Covers will assign that genetic presence to the country that resides as Dolores O’Riordan’s birthplace, and add this quote that speaks to a presence that truly does ‘Linger’.
When she sings, it feels as if all the possibilities of the world are opening up.”
Stephen Thomas Erlewine – Loudwire
Through the years there have been several wonderful versions of ‘Linger’ to choose from. This recording from The Cranberries scaled down acoustic album ‘Something Else’ accentuates both O’Riordan’s stunning voice and the musicianship of the band, particularly the string section.
Before we move on to cover versions of ‘Linger’ let’s enjoy a couple of fantastic live performances. Here is Dolores with Simon LeBon of Duran Duran at the Pavarotti Festival in Italy in 1995. At 25 seconds, look at Dolores smile when the strings begin. That is the passion that drives the music. This combination of voices has the crowd in a frenzy, and with good reason. LeBon’s harmonies are so complimentary that they seem destined to perform together. Just an impressive live memory that takes the song up yet another level.
When Simon LeBon heard of Dolores O’Riordan’s passing in January of 2018 he shared this Tweet to express his grief.
Beloved Dolores, it’s so sad that you’ve gone from us. We never said goodbye, but you left us with your songs, your beautiful voice and when we listen, we’ll remember all those good times.”
Simon LeBon
Music connects people at every level of the spectrum. Artist to fan, and artist to artist.
Just one more version that leaves the listener mesmerized. Here are The Cranberries live at True Music in 2011, shortly after they reunited and released the album ‘Roses’.
Now, let’s explore four beautiful cover versions. Again, the common theme is exceptional vocals and a clear respect for Dolores and music of The Cranberries. Their music translates so well.
Here is an a cappella group known as The Beelzebubs from their album entitled ‘Pandaemonium’. Another incredible blend of vocals. Pay attention to the layers.
I enjoyed this touching cover by Brenda Andrus, Mike Masse and Jeff Hall in a bar. The scene is understated but it is clearly done as an homage to Dolores and The Cranberries. Their adulation shines through.
The story is much the same with this cover by HYLLS recorded in 2017, but released in February of 2018 as a tribute to the influential vocalist.
Linger was recorded a year before the tragic passing of Dolores O’Riordan, and releasing it is my way to honor her legacy and thank her for her beautiful musical contribution to my life and the lives of so many other people.”
Nadia Ali
It is clear that Dolores inspired about two generations of singers with her distinct voice. She also empowered new artists to interpret the music in their own style. This works.
Finally, I was captured by this talented husband and wife duo, Running Mates and this 2018 cover of ‘Linger’. Spencer and Julie Broschard met at Berklee College of Music in Boston. The chemistry developed both musically and romantically and the connection translates effectively in this captivating version. Again, it’s the harmonies that speak to me. Simon and Dolores would be smiling, I am sure.
If you, if you could return
Don’t let it burn
Don’t let it fade
I’m sure I’m not being rude”
Dolores O’Riordan
I am sure Ted Tocks Covers speaks for many in saying how much Dolores and her voice are missed. A stunning talent, gone too soon.
Spare a moment, and raise a glass to the eternal spirit and appreciate the music.
On this St. Patrick’s Day, we need music more than ever. Let the message ‘Linger’.
From the first time I heard ‘Within You Without You’ I was drawn to it. I was barely a teen; indoctrinated in Catholicism, but somehow knowing there was more. I knew our journey had a spiritual core, but the concept of organized religion did not rest well with me, even at a young age. Little did I know, a deep track on ‘Sgt. Pepper’s Lonely Hearts Club Band’ would help me articulate my feelings. All these years later ‘Within You Without You’ still offers a clear mantra that presents the fact that the answer exists within ourselves. Our conscience is a moral guide, and everything flows from this place, within us and without us, as a collective universe. It is when we truly recognize this reality, that we can and will move closer to self-actualization.
Here are the lyrics that remain almost hymn-like 55 years after ‘Within You Without You’ was initially recorded, on this day in 1967.
We were talking about the space between us all And the people who hide themselves behind a wall of illusion Never glimpse the truth, then it’s far too late, when they pass away We were talking about the love we all could share When we find it, to try our best to hold it there with our love With our love, we could save the world, if they only knew
Try to realise it’s all within yourself No one else can make you change And to see you’re really only very small And life flows on within you and without you
We were talking about the love that’s gone so cold And the people who gain the world and lose their soul They don’t know, they can’t see, are you one of them?
When you’ve seen beyond yourself then you may find Peace of mind is waiting there And the time will come when you see we’re all one And life flows on within you and without you”
George Harrison
The distinctive music certainly stood out too. I was infatuated by the Indian influence, most notably presented through the use of sitar, tambura, swarmandal, tabla and diruba.
As much as ‘Within You Without You’ was a satisfying composition for George Harrison, it took a bit of trial and error to create something that would be accepted by the rest of The Beatles and George Martin. Here is the brief story that describes how the song evolved in order to become an important track on this celebrated Beatles album.
In many ways ‘Within You Without You’ was the companion piece to ‘Love You Too’ which was both a love song to Pattie Boyd and a cynical look at the materialism that Harrison saw taking over all aspects of life around him. He was looking for harmony, where he perceived little existed beyond him.
In the fall of 1966, George and Pattie took a well-documented trip to India. At the time, Harrison felt detached from his role as a Beatle. Generally speaking, he was dissatisfied as a lesser light in the Fab four. Under the guidance of Ravi Shankar, George Harrison was captured by the physical and spiritual beauty of India. He was searching for a spiritual connection and in India he was able to find the answers that stayed with him for the rest of his life.
By the time he returned to the Abbey Road studio he was beginning to feel confined within his role as a Beatle. Being the ‘Quiet One’ was no longer fulfilling, nor was his place in the back seat watching John Lennon and Paul McCartney dominate the recording process.
A lot of the time … we weren’t allowed to play as a band so much. It became an assembly process – just little parts and then overdubbing… After [the India trip], everything else seemed like hard work. It was a job, like doing something I didn’t really want to do, and I was losing interest in being ‘fab’ at that point.”
George Harrison
This sentiment was compounded by the fact he was manipulated into a business agreement with Northern Songs. This association became a major source of resentment. The publishing company was initially a venture for John Lennon and Paul McCartney that was arranged by Dick James. As George began to contribute more, he was encouraged to sign on as well. Northern Songs became publicly traded in 1965 and as the main songwriters John and Paul were named majority shareholders, receiving 15% royalties, while Harrison and Ringo Starr sat at a lowly .8%. Too summarize in one sentence, George Harrison did not own the copyright to his own music and as a result of the corporate structure John Lennon and Paul McCartney earned more from George Harrison’s compositions than George did himself. George channeled his frustration into ‘Only a Northern Song’ which he offered to The Beatles during the early days of the ‘Sgt. Pepper’s Lonely Hearts Club Band’ recording sessions.
Listen to the lyrics. This is classic George Harrison. He is being funny, while projecting his anger through his creativity. The therapeutic escape provided a gateway for George, and it became a turning point for the artist who emerged as Lennon and McCartney’s equal in the final years of The Beatles.
Back to the studio, and the process that saw the band gather to record what became ‘Sgt. Pepper’s Lonely Hearts Club Band’ in the early part of 1967. According to the notes related to the timeline that saw the album come together, Harrison unveiled his demo of ‘Only a Northern Song’ on February 13. George Martin is on record as saying that he “groaned inside” when he heard it, and declared it “the song I hated most of all.” Engineer, Geoff Emerick backed up this assessment saying it was “a weak track that we all winced at.” He followed up with the accurate assessment that George was not entirely happy with his place in the Beatle hierarchy. It was suggested that the song was not up to the standard of what was shaping up to be an album of quality material. Therefore, George was asked to come up with something better.
The seed for ‘Within You Without You’ was planted while Harrison visited the home of long- time friend and Beatle associate Klaus Voormann in early 1967. Over dinner, the pair became immersed in a discussion that spoke to the metaphysical space that prevents individuals from recognizing the natural forces that unite the world. This inspired the song’s opening line. In the Steve Turner book, ‘A Hard Day’s Write’ the dinner party that gave way to ‘Within You Without You’ was described in this way.
We were all on about the wall of illusion and the love that flowed between us, but none of us knew what we were talking about. We all developed these groovy voices. It was all a little bit ridiculous really. It was as if we were all sages all of a sudden. We felt we had glimpsed the meaning of the universe.”
George Harrison
While experimenting on Klaus Voorman’s pedal harmonium, George uttered the line that gave way to the rest of the song. He noted it along with the general melody and then went home and wrote the rest. Ultimately, the music existed as an homage to Ravi Shankar, based on a lengthy piece Harrison had heard on All-India Radio. He aimed to emulate Shankar’s stylings while sharing the basic tenets of Hinduism in the lyrical passage.
Where ‘Only a Northern Song’ was treated with disdain, ‘Within You Without You’ was warmly received, particularly by George Martin.
The tune struck me as a little bit of a dirge, but I found what George wanted to do with the song fascinating.”
George Martin
True to George Martin’s character he immediately set out to record the track. This is how members of the London Asian Music Circle came to be a part of the ‘Sgt. Pepper’s Lonely Hearts Club Band’ credits. In order to create the proper mood EMI’s Studio Two was covered with woven carpets, the lights were dimmed and candles lit. John Lennon remembers it this way.
George has done a great Indian one. We came along one night and he had about 400 Indian fellas playing there … it was a great swinging evening, as they say.”
John Lennon
The two Georges took complete control of the session. George Martin added a string score using Western instrumentation. It consisted of eight violins and three cellos. An enthused Harrison moved throughout the studio teaching each of the Music Circle participants their parts.
If you truly love George Harrison’s vision and enjoy the components that make up a song, this 25 minute breakdown of ‘Within You Without You’ makes for a fascinating insight into how the song came together.
The significance of ‘Within You Without You’ in Beatles lore is it represents the moment where George Harrison’s vision truly dominated a recording session. It was empowering. In the end, George Harrison was the only Beatle to perform on ‘Within You Without You’.
Here is John Lennon’s assessment of the completed track.
One of George’s best songs. One of my favourites of his, too. He’s clear on that song. His mind and his music are clear. There is his innate talent; he brought that sound together.”
John Lennon
For George Harrison, there is no doubt that it resides as one of his favourite pieces of music.
It’s quite complex, but I did learn this little piece, one of my exercises that I used to practice, that was in a 5/4 timing. So, I did the solo in ‘Within You Without You’ into a 5/4, just to show how clever I was.”
George Harrison
One other element to the final recording that should be noted is the laughter heard at the end of the track. Some thought this levity was a sign of mockery that caused some to suggest the band was reluctant to give it a slot on the album, but in fact it was quite the opposite. It was simply felt that the happy sounds would balance what was initially perceived as five minutes of prayerful, mournful music.
As it turns out, ‘Within You Without You’s legacy is that in terms of ‘Sgt. Pepper’ being seen as the flagship of the psychedelic era, this song may be the one on the album that is most emblematic of that period.
Set within the dynamic of the song’s evolution this stands as not only ironic, but it speaks to the theme of karma that George Harrison was attempting to convey when he wrote the masterful piece. Above all, this becomes the lasting message.
When you’ve seen beyond yourself then you may find Peace of mind is waiting there And the time will come when you see we’re all one And life flows on within you and without you”
George Harrison
Like so many songs by The Beatles, finding cover songs is not at all a challenge. The trick is always in narrowing it down to the best ones to share. As is so often the case the diversity of acts become almost as intriguing as the cover versions themselves.
Let’s begin with Sonic Youth and their recording in 1988. This recording was part of the deluxe edition of their album ‘Daydream Nation’.
As part of a 40th anniversary celebration of ‘Sgt. Pepper’s Lonely Hearts Club Band’ in 2007 Patti Smith recorded a solid version of ‘Within You Without You’. Another intriguing cover because it combines The Beatles, psychedelia and one of the most integral artists of the New York punk movement.
Here is another 40th anniversary celebration. This time it is presented by Firefall in an acoustic rendition by Rick Roberts and Mark Andes.
In 2009 Cheap Trick recorded a live interpretation of Sgt. Pepper’s. This Rock and Roll Hall of Fame act is well known for their adulation of all things Beatles. It shines through in their original material and in their carefully crafted cover versions.
Another fascinating act that has been open about their love of the Beatles is Flaming Lips. This cover is from 2014 and their album ‘With a Little Help from My Fwends’ which features Birdflower and Morgan Delt.
The final cover is offered by The Analogues. Fifty years after the original release this Dutch tribute act provides a very true rendition that combines George Harrison’s spiritual vision alongside the incredible traditional Indian music stylings. Just an incredible combination of musical ability and interpretation.
Part of the mission of today’s post is to take the listener back to a time and place where philosophy and music came together. Perhaps the most important legacy George Harrison left us with us is his ability to interpret the human condition.
I felt it was important to try and be precise, to tell them and let them know. You know, to come out of the closet and really tell them. Because once you realize something, then you can’t pretend you don’t know it any more. I figured this is the space age, with airplanes and everything. If everyone can go around the world on their holidays, there’s no reason why a mantra can’t go a few miles as well. So, the idea was to try to spiritually infiltrate society, so to speak.”
George Harrison
And herein lies the problem.
Most of the world is fooling about, especially the people who think they control the world and the community. The presidents, the politicians, the military, etc., are all jerking about, acting as if they are Lord over their own domains. That’s basically Problem One on the planet.”
George Harrison
We are living this today on so many levels.
Will we ever learn?
We need George Harrison more than ever, but we still have his words, and the message he was trying to impart on the people. Sadly, too few have bothered to pay attention.
Sometimes the biggest challenge Ted Tocks covers faces is figuring out where to begin with a feature.
For instance, with today’s feature song, it would be easy to say Bonnie Tyler recorded ‘Total Eclipse of the Heart’ late in 1982 and released it in 1983. It soon became a worldwide hit that sold over 6 million copies. Then we could all applaud knowing that it was nominated for two Grammys and marvel at the fact that it was once voted the #1 song to sing in the shower (?), and if that is not enough just know that it gains additional notoriety every time there is a lunar or solar eclipse. Having said that, the eclipse anecdote may serve as a better place to begin, because Jim Steinman wrote most of ‘Total Eclipse of the Heart’ as we know it, during a lunar eclipse, but aspects of the song originated long before he released it in this form. There are many twists and turns and some cool industry connections to come, so fasten your seatbelt and enjoy the ride.
Elements of ‘Total Eclipse of the Heart’ can be traced back to a musical Jim Steinman wrote back in the late ‘60s called ‘The Dream Engine’. The basic plot speaks to a group of runaways who form a cult known as ‘The Tribe’. They find refuge in a remote part of Northern California under the leadership of a charismatic visionary of dubious character named Baal. Researchers have been quick to point out that this storyline is eerily similar to Charles Manson, but timelines have demonstrated that Steinman’s creation predated the Manson killings by a few months.
Within ‘The Dream Engine’ a song called ‘The Formation of the Tribe (Come in the Night)’ features the line “Turn around bright eyes”. Steinman went on to use the riff during the musical break of the popular Bonnie Tyler recording as well as the strong accents that punctuated Bonnie Tyler’s vocals. If this is not intriguing enough, ‘The Dream Engine’ also includes an exchange between Baal and a love interest known as ‘The Girl’ that went on to become the popular prelude to “You Took the Words Right Out of My Mouth (Hot Summer Night)’ on Meat Loaf’s ‘Bat Out of Hell’ album, which of course was written by Jim Steinman.
Pretty cool, right?
Well, this is just the beginning.
From here, we can jump back to 1981, and a determined Bonnie Tyler. She had just ended her contract with RCA Records but she was far from done. After seeing Meat Loaf perform ‘Bat Out of Hell’ on the ‘Old Grey Whistle Test’ the Welsh singer worked with her manager David Aspden to look into a potential collaboration with Jim Steinman. At the time, Muff Winwood (‘Gimme Some Lovin’’) was the President of CBS Records, and he contacted Steinman to see if he had any interest.
There were several factors that helped to make this collaboration happen. First of all, Steinman was very familiar with Tyler’s work, specifically her 1977 hit, ‘It’s a Heartache’.
Steinman, compared Tyler’s voice to a unique combination of Janis Joplin and John Fogerty. As their discussions unfolded, they found a common influence in the Phil Spector ‘Wall of Sound’ studio technique. Out of these commonalities there was a definite possibility to work together. They just needed the right song. Tyler and Aspden met with Steinman in New York and explored some material. Although, nothing was immediately appropriate they agreed to pursue the relationship because their musical vision was aligned.
A couple of weeks later Tyler returned to New York where she was greeted with a demo of ‘Total Eclipse of the Heart’ featuring Steinman and his long-time friend Rory Dodd who he had worked with for several years, most notably on Meat Loaf’s ‘Bat Out of Hell’ album. While the demo was seven minutes long, the consensus was that it definitely fit the bill. Here is a seven- minute version of ‘Total Eclipse of the Heart’ complete with the strong vocal accompaniment of Rory Dodd and Eric Troyer, whose harmonies are enhanced, making it even more powerful.
Bonnie Tyler felt that it needed to be reduced to approximately five minutes in order to be more radio friendly. Jim Steinman understood this philosophy, and countered with the complete ensemble that would help her fulfill the project. This included Rory Dodd, as well as Eric Troyer and ‘Bat Out of Hell’ players Roy Bittan on piano and Max Weinberg on drums. The latter two of course were most familiar as prominent members of Bruce Springsteen’s E Street Band.
The power of the song shines through whether it is presented in its radio friendly form or as an epic seven-minute lament. Bonnie Tyler sang it from the point of view of,
…Someone who wants to love so badly she’s lying there in complete darkness.”
Bonnie Tyler
Fortunately for everyone, Jim Steinman remembered the fragmented origins of the song he had been working on in various forms for over a decade.
I was trying to come up with a love song and I remembered I actually wrote that to be a vampire love song. Its original title was ‘Vampires in Love’ because I was working on a musical of ‘Nosteratu’, the other great vampire story. If anyone listens to the lyrics, they’re really like vampire lines. It’s all about the darkness, the power of darkness and love’s place in the dark…”
Jim Steinman
Steinman went on to say that when he wrote ‘Total Eclipse of the Heart’ he wanted it to be,
…A ‘Wagnerian’ like onslaught of sound and emotion, to be a showpiece for Tyler’s voice”.
Jim Steinman
When Bonnie Tyler heard it, she knew it would be a challenge, but in an interview she was also captured by the potential.
I just had shivers right up my spine…I couldn’t wait to actually get in and record it.”
Bonnie Tyler
For those of you who like to see how a song develops in the studio watch this interesting video that shows Steinman coaching Tyler on techniques that would add to the song’s energy.
In the years following the release and ultimate success of ‘Total Eclipse of the Heart’ there have been suggestions that Meat Loaf felt the song was intended for his use, and that he was upset that it was given to Bonnie Tyler. Both Bonnie Tyler and Jim Steinman deny this claim.
Here is Bonnie Tyler’s response.
Jim said he didn’t write it for Meat Loaf, that he only finished it after meeting me”
Bonnie Tyler
We’ll let Jim Steinman be the final voice in this debate.
I didn’t write ‘Total Eclipse of the Heart’ for anyone but Bonnie…CBS were expecting me to write something similar to ‘It’s a Heartache’ but I had different ideas.”
Jim Steinman
Here is another song that was written around the same time. ‘Making Love Out of Nothing at All’ was ultimately given to Air Supply, but this demo, once again featuring Rory Dodd who still resides in Port Dover, Ontario provides an indication of the chart-topping hit that was to come.
While researching the chain of events and musical connections that led to ‘Total Eclipse of the Heart’ I found this recent interview with Rory Dodd on CBC News, recorded immediately following Meat Loaf’s death. Dodd begins by talking about how he met Meat Loaf in 1975/6 while working on the musical ‘Rockabye Hamlet’. Rory Dodd played the role of Horatio, while Meat Loaf was the Priest. In the background there was a whole lot more happening. Some fascinating memories here, and his openness is refreshing. Right back to his first days in New York City. Meat Loaf was the first guy who opened up to Rory Dodd and made him feel like he was home.
You gotta meet Jimmy…We’re makin’ a record.”
Meat Loaf
Of course, ‘Jimmy’ was Jim Steinman, who was working on a play of his own entitled ‘Neverland’. The album that Meat Loaf was referring to so enthusiastically would become the foundation of ‘Bat Out of Hell’. The songs were ‘Heaven Can Wait’, ‘The Formation of the Pack’, which became ‘All Revved Up with No Place to Go’ and the title track.
As you watch the interview you will note Rory Dodd speaking of how powerful the live experience was for fans. While the album was a tough sell for record companies, once people saw them in concert they were sold. It must be noted that even that was a slow process, but ultimately, they won everybody over. Rory Dodd relays this story of a show at the El Mocambo and how well Meat Loaf was received in Canada. Here is an audio of that show.
This recording was too good, not to share within this post. The back story by Rory Dodd serves as the introduction for sure, but beyond that you should note the performers that appear on stage.
In addition to Meat Loaf on lead vocals and Rory Dodd on backing vocals you get the following:
Karla DeVito – Began to work with Jim Steinman as part of the cast of ‘Neverland’.
Paul Glanz – Played keyboards on ‘Bat Out of Hell’ and became the touring keyboard player on the subsequent tour.
Steve Buslowe – Another member that goes back to ‘Neverland’. Long-time bass player for Meat Loaf. He probably had the longest direct relationship with the artist among the performers featured here.
When I first met him at the rehearsals, I knew he was a unique person. I still remember having chills watching this man sing four or five feet away from me. He had this amazing operatic voice. I knew I was dealing with somebody very special but complicated. As time went on, I saw how complicated he would become.”
Steve Buslowe
Joe Stefko – Became the touring drummer for Meat Loaf in 1977 at the age of 20. Had previously worked with John Cale of Velvet Underground fame, but quit the U.K. tour when Cale killed a chicken during a performance.
Bob Kulick – Touring rhythm/lead guitar player for the ‘Bat Out of Hell’ tour. Once auditioned for KISS, but lost out to Ace Frehley. Kulick would ultimately play, although uncredited, on three KISS albums. In addition to this close brush with fame, Kulick worked with Lou Reed, Michael Bolton. Diana Ross, Motorhead and even Sponge Bob Squarepants.
Bruce Kulick – Touring rhythm/lead guitarist for the ‘Bat Out of Hell’ tour along with older brother Bob. Went on to be a member of KISS from 1984 to 1996. Bruce also worked with Michael Bolton and Grand Funk Railroad, among several others.
Jim Steinman – Listening to his performance on this recording brought everything back for me. It is incredible. Nothing more needs to be said.
Here is a video of what amounts to the same set list. This is from Rockpalast in Frankfurt, West Germany later in 1978. As you watch, you will note that although Meat Loaf was centre stage, Jim Steinman orchestrated this show.
For the sake of brevity, I had to draw the line in terms of the many directions this post could take. If you want to explore the many connections related to Jim Steinman’s work the absolute best summary is by ‘BryerHimself’ on Youtube. The amount of research he has done into the chronology of Jim Steinman is staggering, and even he cites additional sources where you may go even deeper down the rabbit hole. This is all highly recommended by Ted Tocks Covers.
For today’s cover version I had a handful of options that included a duet between Bonnie Tyler and French singer Kareen Anton that become popular in 2003 under the title of ‘Si Demain’.
Here is a version by Nikki French that was a dance hit in 1995
This version by Irish boy band Westlife brought ‘Total Eclipse of the Hear’ to a new generation of music fans.
Each of these covers are good, depending on the style you prefer, but none of them rival the power of Exit Eden. This act represents four musicians from four different countries, brought together to deliver their own brand, and blend of styles. Exit Eden is Amanda Somerville, Clementine De Launey, Martina La Torraca and Anna Brunner. The vocals go seamlessly from raspy in the Bonnie Tyler style to opera. The power comes through in this cover which is derived from the heavy metal genre. It is reminiscent of Queensryche. It needed to be included, and it serves as the perfect encore to today’s presentation.
While this exploration of ‘Total Eclipse of the Heart’ took us on quite a trip that touched upon several careers, there was definitely a cosmic focal point. In this musical universe Jim Steinman exists as the sun and all the other players within this post are the planets that revolved around the immensely talented songwriter and composer.
This is just one of many fascinating voyages that a music fan could take.
Here is a Ted Tocks Covers that is for headphones only. Because this is 2022, I will add an amendment to this clause and say it is for ‘ear buds’ only.
‘Thick as a Brick’ by Jethro Tull turns 50 years old this month, so this post will serve as a continuation of Ted Tocks’ effort to pay tribute to classic albums or songs that have hit the half century milestone.
In order to effectively profile ‘Thick as a Brick’ one has to focus on the whole album which remains an epic presentation all these years later. Perhaps Ted Tocks is showing his age, but they simply do not make music like this anymore.
For Ian Anderson and Jethro Tull, ‘Thick as a Brick’ was a transformative album that defined the band’s transition into their progressive period. The album was not received particularly well by the critics of the day because they missed the point. Here is one such review by Chris Welch of ‘Melody Maker’.
The joke at the expense of a local newspaper wears thin rather rapidly, but should not detract from the obvious amount of thought and work that has gone into the production of Thick. The ideas flow in super abundance (but the listener) needs time to absorb (and) heard out of context of their highly visual stage act … does not have much immediate appeal.”
Chris Welch
This is a strange criticism of Anderson’s writing and Jethro Tull’s work as a band because in this era keen listeners of music tended to focus on albums in their entirety, especially in the popular progressive genre which had embarked on the concept phase.
Robert Christgau of Village Voice completely panned ‘Thick as a Brick’ in this scathing review.
…the usual shit from the band: rock (getting heavier), folk (getting feyer), classical (getting schlockier), flute (getting better because it has no choice).”
Robert Christgau
Wow!
For his part, Ian Anderson had this assessment of music writers.
It’s okay for me to say those things about my own work, but I don’t think it’s too cool if somebody else tries to do it, because I’m already well aware of it. There’s every scope to say that this is noodly, extreme, anal, pompous, bombastic, arrogant – all of those words are applicable to prog rock and definitely applicable to ‘Thick As A Brick’– but they’re there on purpose. And if you don’t get the joke, fuck off! Don’t start telling me something that I know full well, because I wrote it to be like that. That’s the point!”
Ian Anderson
This quote provides the perfect reference to the concept album premise. After the release of ‘Aqualung’ in 1971, Ian Anderson was perplexed by its classification as a concept album. This perception was never his intention, but during this period of music, concept albums were somewhat fashionable. As a result, true to his British character and remarkable sense of humour, Anderson did create a concept album that in truth was a parody of the trendy format. His inspiration was the Monty Python comedy series and the idea took form as a result of a series of letters from his wife, Jennie, written while Anderson was on the road touring ‘Aqualung’.
For Ian Anderson, the lyrics that make up ‘Thick as a Brick’ across the album provide insights into his childhood experiences. They also represent his perception of how the young Gerald Bostock would have taken in the ultimate fallout of his good intentions.
Essentially, the foundation of ‘Thick as a Brick’ was built around a fictional small town English newspaper called ‘The St. Clave Chronicle’ and ‘Linwell Advertiser’. The look of the album cover became a passable 12-page spoof of the typical presentation, complete with articles, advertisements and contests. As one immerses themself in the content it was evident that the cover art was a mockery of what passed as small-town England journalism in the day.
This was no easy task because the 12” x 16” 12-page cover was an expensive prospect, but Ian Anderson insisted, and his label, Chrysalis Records eventually complied. Anderson’s reasoning was that “if a real newspaper could be produced, a parody of one could also be practical”.
For the purpose of the album, the focus centred around a poetry contest. An 8-year-old boy by the name of Gerald Bostock enters the contest with a poem called ‘Thick as a Brick’. The poem is actually published on page 7 of the album cover, as are all of the lyrics, in the form of mock editorial content, throughout the ingenious cover. The cover of the album (front page story) shares the story that becomes the focal point of the concept. Gerald Bostock’s poem which had initially won the contest was soon disqualified by the judges after complaints from the townsfolk, about the offensive nature of the poem and concerns related to Bostock’s mental health. The absurdity continues to grow as it is also alleged that the boy is the father of his friend, Julia’s child. The resulting scandal consumes the town.
Spin me back down the years and the days of my youth. Draw the lace and black curtains and shut out the whole truth. Spin me down the long ages, let them sing the song”
Ian Anderson
Additional content of the newspaper was written by Anderson, along with Jethro Tull bassist Jeffrey Hammond and keyboard player John Evan. This included a review of the controversial poem by Julian Stone-Mason BA, which was a pseudonym used by Ian Anderson.
To add to the fun, wacky articles were included, such as ‘Magistrate Fines Himself’ and ‘Do Not See Me Rabbit’ which tells the story of a pilot shot down by a German Messerschmidt fighter during the Battle of Britain. Roy Eldridge of Chrysalis Records completed the ultimate design because he had previous experience as a journalist. The group effort saw Ian Anderson get his wish, but he did acknowledge that the cover took almost as much time to produce as the complex music itself.
Speaking to the music, it was initially composed by Ian Anderson, who completely immersed himself in the project. Contributing to the arrangements were band members Hammond and Evan, noted above, as well as the great Martin Barre on guitar, and Barriemore Barlow on drums who was making his Jethro Tull debut, replacing Clive Bunker who left after ‘Aqualung’.
After the album was released, and its popularity became measurable among Jethro Tull’s growing audience the critics became a little bit more accepting of the presentation.
Here is an assessment from Jordan Blum of PopMatters.
Thick as a Brick’ paved the way for modern progressive rock…Today, it represents not only a pinnacle achievement for Jethro Tull, but also a concrete example of just how adventurous and free artists used to be.”
Jordan Blum
This review backs up my opening line. They definitely do not make albums like this anymore.
The complexities of the arrangements made things challenging for the band as guitarist Martin Barre recalls. He summarized it as a terrible experience. In order to deliver the album’s concept as effectively as possible the show began with men wearing capes appearing on stage, performing housekeeping tasks like sweeping and rearranging equipment. In time, they would gaze out into the audience to assess the venue before revealing themselves as the band members and then begin to play. Other gimmicks included a telephone ringing in mid-performance which Ian Anderson would answer and have a full conversation before the performance would continue. Continuing with the newspaper theme, news and weather reports were read between songs. The response to these theatrics tended to vary by culture. For instance, audiences in Japan, where Jethro Tull sold well, were completely perplexed by what was going on throughout the set.
Nevertheless, Ian Anderson and the band continued to do it their way. In for a penny, in for a pound.
While this live performance is not a complete rendition of the ‘Thick as a Brick’ album it offers a sense of the idiosyncratic delivery and Ian Anderson’s dry sense of humour. This is live from Tampa, Florida in 1976. The Johnny Cash reference alludes to Anderson’s awareness that Jethro Tull was definitely not in the musical mainstream. The only member of Jethro Tull’s original recording not present was bassist Jeffery Hammond who was replaced by John Glascock the previous year.
Here is the entire album performed live in Iceland in 2012. It is performed by a completely different band 40 years after its initial release, but the actual presentation offers a very true reflection of the original vision and elements of the earliest live performances.
Once again, due to the complexities and length of ‘Thick as a Brick’ cover versions are challenge to find but the ones that are available provide examples of musicianship at the highest level. Here is Berklee School of Music featuring, Johannes Flecker (vocals), Milena Jancuric (flute), John Kent acoustic guitar), Andre Vasconcelos (electric guitar), Raul Feliz (piano), Evan Waaramaa (organ), Ben Konen (xylophone), Pedro Zappa (bass) and Carlo Ribaux (drums). Just a fantastic performance of the entire album.
The following two covers present ‘Thick as a Brick’ in a symphonic form, which in reality is a very appropriate style. The first is the Royal Philharmonic recorded at Abbey Road studios. In 2015. This is a short recitation of Part 1. Definitely worth checking out.
Similarly, here is the London Symphony Orchestra and their interpretation of side A of ‘Thick as a Brick’ in 1984.
‘Thick as a Brick’ managed to make its way into the mainstream in an episode of The Simpsons. Here Lisa makes no apology for her individuality before reluctantly giving the stage to Ralph, the ‘stupid flautist’.
And the sand-castle virtues are all swept away in The tidal destruction The moral melee”
Ian Anderson
There is a certain irony to the fact that a satirical comedy like ‘The Simpsons’ drew from Ian Anderson’s lyrics in order to demonstrate the erosion of modern-day media and the seemingly intentional dumbing down of society. When Jethro Tull released ‘Thick as a Brick’ fifty years ago, the mainstream news, media and pop cultures was definitely in a state of transition. It wouldn’t require the most astute observer to take a look around today and come away with the conclusion that it is infinitely worse. With the advent of social media things have gone over a cliff.
Recently Jethro Tull released a brand-new album called ‘The Zealot Game’ which was inspired by the disturbing rise of right-wing populism and the free flow of extremist views that have filtered their way into contemporary society. Here is Anderson’s observation in response to the themes so evident in the song writing in ‘The Zealot Game’.
People just seem to have this need to get crazy about something. Maybe they’re just so easily bored with everything else and then they’ve got to work themselves into a fury. People in the past might have had a few crossed words over a pint in the local pub, but that face-to-face example of real people having differences of opinions, it seemed in that context, it was a little more harmless. Compare that to the midnight outpouring on Twitter or something, when people may well say things with a few drinks inside them, and in that environment, it can become something much bigger – all the vile, pent-up fury explodes into something that the world ends up reading about the next morning, and which might well end up as a permanent entry in your Wikipedia page.”
Ian Anderson
While the album was not inspired by any one of the usual cabal in particular, there are some very obvious connections to the worst culprits.
Sometimes through news stories, and some from ferocious tweets from, for instance, Donald Trump. People might tend to think that The Zealot Gene is specifically about Trump, and he certainly would figure in a list of characters who would have been floating around in my head, but it’s not specifically about him or people like him. It’s more about that need to have ‘a bee buzzing in your bonnet and a wasp right up the bum’, as I put it in the song.”
Ian Anderson
Ted Tocks Covers has dropped this album into today’s mix because it is a phenomenal release by an essential artist. Admittedly, it has twice been referenced that ‘they don’t make albums like they used to’ twice in this post. Well listen to this offering from Ian Anderson and crew.
This is so good. I stand corrected.
Carrying the Zealot gene Right or left, no in between Beware, beware the Zealot gene Naked flame near gasoline
The populist with dark appeal The pandering to hate Which xenophobic scaremongers Deliver on a plate To tame the pangs of hunger And satisfy the lust Slave to ideology Moderation bites the dust”
It was 45 years ago today that The Rolling Stones played the second show of their two night stand at the famed El Mocambo nightclub in Toronto.
Much of this was well documented a few years ago in a Ted Tocks Covers post that featured the Chuck Berry classic ‘Around and Around’ so to avoid repetition the focus will be on a song that appeared deep in their setlist on night two and asked at least one member of the audience,
Come on baby, won’t you let it rock?”
Mick Jagger and Keith Richards
The song is ‘Rip this Joint’ from the 1972 classic album ‘Exile on Main Street’ and the famous fan was none other than Margaret Trudeau. Here is the story.
The first verse of the story provides a perfect lead in to the scene.
Mama says yes, Papa says no,
Make up you mind ’cause I gotta go.
Gonna raise hell at the Union Hall,
Drive myself right over the wall.”
Mick Jagger and Keith Richards
In March of 1977, Margaret Trudeau was known as Canada’s First Lady; married to Prime Minister Pierre Trudeau. The couple was married in Margaret’s home town of Vancouver in 1971 just six years previously, on March 4, 1971. Maggie was only 22. Pierre was 29 years her senior. They had met in Tahiti while Pierre was vacationing and an 18 year old Margaret Sinclair was with her family. Margaret’s father was James Sinclair, who was a staunch Liberal and a long-time Member of Parliament, representing the Vancouver North and Coast-Capilano ridings from 1940 through 1959. At the time of their encounter Pierre Trudeau was Canada’s Minister of Justice, and just about to begin his ascension to Prime Minister.
Trudeaumania was about to begin. In the eyes of a changing country, Pierre Trudeau had the charisma of a rock star and the progressive vision that captivated Canada as the country moved into its second century as a nation. While on the surface the pairing of Pierre and Margaret had a fairy-tale appearance, the reality was that it was too much for both partners. Here is Margaret’s summation.
I was fresh out of university. I was a flower child. I was very free-thinking for my time. I had been raised to be very liberated. My mum only had daughters, and she wanted each of us to be independent. loved Pierre deeply. We had a wonderful time when the time was ours and ours alone. But once he married me and got me home and I was having his children, I realized that I had been put in a birdcage.”
Margaret Trudeau
The children came immediately. Just over nine months later, Justin was born on Christmas Day 1971. Sacha was born exactly two years later, and in 1975 Michel was born in early October. Margaret was trapped between being a mother, the wife of a highly regarded head of state and her self-image as a free thinking and independent woman during a cultural revolution.
My husband had all the virtues that a good husband was supposed to have, but he was also dictatorial and old-fashioned. I was always saying, ‘What about me? We’re in a partnership, aren’t we?’ I devoted a lot of energy to blaming Pierre. I called 24 Sussex the crown jewel of the federal penitentiary system.”
Margaret Trudeau
In many ways she rebelled, which resulted in headlines. On one occasion she was asked to offer a toast to United States First Lady, Rosalyn Carter during a state dinner in Venezuela. Rather than go the traditional route Maggie serenaded the First Lady with a song. The act captured the news reel all over the world, but what was most shocking was her revelation that she had taken peyote before the event.
It is not difficult to see how someone of Margaret Trudeau’s free spirit approach to life might get caught up in the whirlwind of a rock and roll scene, but that is exactly what happened in early March of 1977. Once again, Margaret’s presence resulted in headlines, but this time there were multiple layers to the perceived scandal.
Famously, in late February, Keith Richards and his long-time girlfriend, Anita Pallenberg were arrested with possession of heroin for the purpose of trafficking, which was an offense in Canada that could have resulted in up to seven years in prison. Their Harbour Castle Hilton luxury suite was raided by 25 Royal Canadian Mounted Police officers. During the subsequent hearing, Richards’ passport was confiscated and he was forced to remain in Canada until his court date in early April.
While all of this was going on the rest of the Rolling Stones were in full party mode at the same hotel, much to Richards’ consternation. He was trying to maintain a low profile. The band was in town to rehearse new material and play the carefully choregraphed club show at the El Mocambo. The plan was to recreate a set they performed during their formative days at the Crawdaddy Club in London circa 1963, featuring blues classics from their music mentors. Richards’ problems made him unreliable at best and he arrived late for rehearsals, but the famous gigs did go on. The club was filled with fans who won a radio contest where the prize was tickets to see legendary Canadian band April Wine and a supporting act known only as ‘The Cockroaches’ live at the ‘El Mo’. The skill testing question was ‘What would you do in order to see The Rolling Stones Live?’ Two busloads of lucky fans were chosen. It was only when all of the winners were loaded on the buses and ready to head to the club that they were told that ‘The Cockroaches’ were in fact the Rolling Stones and April Wine was actually going to be the opening act. A legendary promotion. Both April Wine and the Rolling Stones recorded their sets for future live albums. The Rolling Stones selected four tracks from this show which appeared on their 1977 live album ‘Love You Live’. They included ‘Mannish Boy’, ‘Crackin’ Up’, ‘Little Red Rooster and ‘Around and Around’.
For April Wine’s part, their live recording was fittingly entitled ‘Live at the El Mocambo’. Here is ‘You Could Have Been a Lady’.
All of this brings us back around to Margaret Trudeau, who had recently become estranged from her Prime Minister husband. The thing is, it was not public knowledge. Margaret was supposed to move to the relative anonymity of Manhattan for a period until things settled down and they could make things public in an open declaration. Unfortunately, the party side of Ms. Trudeau had other ideas, and she made a side trip to Toronto to party with the Stones. Details are relatively sketchy depending on who you believe, but what we know for sure is that she took in a pair of shows, the first of which was on what would have been the couple’s sixth anniversary. She then partied with the band through the night. By her account,
We played dice until about five in the morning, in my hotel suite. Smoked some dope, talked. It was a good night, and it was my new world. But no one knew I was separated from my husband yet, and it brought a huge scandal.”
Margaret Trudeau
When the lights went out and the party was over Margaret headed to New York City as planned. In the celebrity world news travels fast, and even in the pre-internet era it was massive. Geez! I was 10, and it even caught my eye as a naïve kid in small town, Ontario. So, when Maggie hit the Big Apple, things got a little sticky. Reporters were all over her. The immediate speculation was that she had a fling with Mick Jagger, which she has repeatedly denied.
I spent the night with the Rolling Stones, no question, but it was certainly not Mick Jagger. And that’s all we’ll say about that.”
Margaret Trudeau
Subsequently, the innuendo turned to Stones guitarist Ronnie Wood who could party with the best of them. In his 2007 memoir ‘Ronnie’ Wood made this clever reference to the two nights of debauchery that fall into the category of ‘It’s Only Rock and Roll’.
We had a wonderful time and her husband’s name never came up.”
Ronnie Wood
For Pierre’s part, his public response was,
I hope that she doesn’t start to see the Beatles.”
Prime Minister Pierre Trudeau
He would go on to divorce Margaret in 1984 just as his final term as Prime Minister was coming to a conclusion.
In later years Margaret revealed that she was living with post-partum depression from late 1973 through the time of her separation. She was officially diagnosed with bi-polar disorder in 2000. After the diagnosis she became a strong advocate for people living with mental health issues. The public fallout from this scandal is one that continues to this day. She has learned to live with the realities and based on this approach she has chosen to meet things head on. To that end, while on the public speaking circuit she once stated defiantly,
When I was manic, it was grand mania. Where someone else might have run off with the guy from the 7-Eleven, I ran off with the Rolling Stones. I would spend all my money buying Birkin bags; somebody else would have spent all the grocery money. It’s paralyzing either way. You don’t have the ability to have a second, sober thought.”
Margaret Trudeau
Looking back at all of this 45 years later it is evident that both Margaret Trudeau and Keith Richards were dealing with some life altering issues. Once the band took the stage and the music began to play, time just stood still.
The minute I got onstage, it felt just like another Sunday gig at the Crawdaddy. It immediately felt the same… It was one of those weird things in Toronto. Everybody’s going around talking doom and disaster, and we’re up on stage at the El Mocambo and we never felt better. I mean, we sounded great.”
Keith Richards
The music never stops. Round and round and round we go.
Here are the full lyrics to “Rip this Joint’ which is ultimately a rock and roll tour of the United States.
Mama says yes, Papa says no,
Make up you mind ’cause I gotta go.
Gonna raise hell at the Union Hall,
Drive myself right over the wall.
Rip this joint, gonna save your soul,
Round and round and round we go.
Roll this joint, gonna get down low,
Start my starter, gonna stop the show (Yeah)
Oh, yeah!
Mister President, Mister Immigration Man,
Let me in, sweetie, to your fair land.
I’m Tampa bound and Memphis too,
Short Fat Fanny is on the loose.
Dig that sound on the radio,
Then slip it right across into Buffalo.
Dick and Pat in ole D.C.,
Well they’re gonna hold some shit for me.
Ying yang, you’re my thing,
Oh, now, baby, won’t you hear me sing.
Flip Flop, fit to drop,
Come on baby, won’t you let it rock?
Oh yeah! Oh yeah!
From San Jose down to Santa Fe,
Kiss me quick, baby, won’tcha make my day.
Down to New Orleans with the Dixie Dean,
‘Cross to Dallas, Texas with the Butter Queen.
Rip this joint, gonna rip yours too,
Some brand new steps and some weight to lose.
Gonna roll this joint, gonna get down low,
Round and round and round we’ll go.
Wham, Bam, Birmingham, Alabam’ don’t give a damn.
Little Rock and I’m fit to top.
Ah, let it rock.
Mick Jagger and Keith Richards
Shortly after the Rolling Stones released ‘Exile on Main Street’ in May of 1972 they embarked on a tour of North America in June and July of 1972. This was the band’s first trip back to the United States after the disastrous Altamont concert.
Three years later the Stones came back to the U.S. seven months after the release of ‘It’s Only Rock and Roll’. This live performance features Billy Preston on piano, Bobby Keys and Trevor Lawrence on saxophone and of course they unveiled Ronnie Wood on guitar as the replacement for Mick Taylor. Unfortunately, it seems hurried and rather lackadaisical. A far cry from the ’72 version and nowhere near as strong as the studio version.
This is fun. It is an instrumental backing track of ‘Rip this Joint’. Listen to Nicky Hopkins on piano. It is so good that I had to share it.
After the 1977 tour ‘Rip this Joint took a 20 year hiatus until it made the setlist of the ‘Totally Stripped’ package. This version of the song from Paradiso in Amsterdam brings Bobby Keys back on the sax and features the brilliance of Chuck Leavell on piano.
Now we move on to the cover version. Back in the early to mid ‘80s Billy Squier was a big name on FM radio with several hits and a run of good albums. Here he is in 1986 doing a live cover of ‘Rip this Joint’. It’s a little rough, but it speaks to how the Rolling Stones were still a major influence to big names in the music scene twenty years after they first led the British Invasion
Here is a case in point. Listen to ‘Keep Me Satisfied’ from Billy Squier’s 1982 album ‘Emotions in Motion’. A hard rockin’ song about life on the road with a definite nod to the pure rock and roll sound preached by the Stones. For my money there are few sides of music that rival side one of ‘Emotions in Motion’. Great album. This brings back good memories.
Some people have speculated that ‘Rip this Joint’ was a precursor to the punk sound that began just a few years later. This is a point that is best left for debate but as the years have gone on there are several bands who grew from the punk branch of the rock and roll family tree who cite the Rolling Stones as a direct influence for their honest approach to music for six decades. Here is Green Day from a live performance on ‘Late Night with Jimmy Fallon’ in 2013.
Keep your eye on Green Day in 2022 because they have been teasing a lot of material that goes back to 1972, just like ‘Rip this Joint. All three members of the band turn 50 this year so there may be a strong cover album in the works which pays homage to some of their musical heroes. This could be good.
There will be more to come on the 50th anniversary of the Rolling Stones’ ‘Exile on Main Street’ album in May.
According to a reliable source ‘Ruby Tuesday’ was indeed written on a Tuesday.
It was probably written about Linda Keith not being there (laughs). I don’t know, she had pissed off somewhere. It was very mournful, very, VERY Ruby Tuesday and it was a Tuesday.”
Keith Richards
Linda Keith was Keith Richards’ girlfriend in the mid ‘60s and a pretty big deal in her own right. She was a Vogue model who balanced her time between London and New York City. An interesting anecdote related to Linda Keith beyond inspiring ‘Ruby Tuesday’ is the fact that while in Greenwich Village, New York, she introduced Jimi Hendrix to Chas Chandler, who was the producer and manager of The Animals at the time. Chandler convinced Hendrix to accompany him to London where they recruited Noel Redding and Mitch Mitchell and formed the Jimi Hendrix Experience.
The Jimi Hendrix connection grows because Richards alludes to the fact that Linda Keith began an affair with the guitar god.
Basically, Linda [Keith] is ‘Ruby Tuesday.’ … She went back to New York and took up with Jimi Hendrix, who may have broken her heart, as she broke mine.”
Keith Richards
When Keith Richards suggests that she “pissed off somewhere” this was accurate, because she did have a tendency to vanish for extended periods of time. During one such escapade, her father Alan Keith was forced to head to New York and bring his daughter back home, where she was made a ‘ward of the court’. In her early 20s it was determined that she needed the protection of a legal guardian.
While all of this was going on, Keith Richards recalls being in a Los Angeles hotel room, love-sick and alone with a guitar and piano.
That’s one of those things. Some chick you’ve broken up with. And all you’ve got left is the piano and the guitar … and it’s goodbye, you know. And so, it just comes out of that, and after that you just build on it … and for a songwriter, hey, break his heart and he’ll come up with a good song.”
Keith Richards
It’s like something out of ‘Almost Famous’.
When you change with every new day, still I’m gonna miss you.”
Keith Richards
On this day in 1967 ‘Ruby Tuesday’ went to #1 on the U.S. singles chart alongside ‘Let’s Spend the Night Together’. Due to the song’s sexual innuendo radio DJs were reluctant to play ‘Let’s Spend the Night Together’ which was the original side A. When the song was ultimately banned, ‘Ruby Tuesday’ became the de facto A-side. As far as the album release goes, ‘Ruby Tuesday’ was not part of the U.K. edition of the ‘Between the Buttons’ album. It was left off because it had already been released as a single. For the record ‘Let’s Spend the Night Together’ never really saw daylight, stalling at 55.
Bringing things back to the music notes, that’s Brian Jones playing the distinctive recorder part, and in an intriguing combination of aptitudes Bill Wyman plucks the strings of the double bass while Keith Richards plays it with a bow. You also get Jack Nitzsche on piano. From Mick Jagger’s standpoint ‘Ruby Tuesday’ remains one of his favourites, and he gives full credit to Keith for the composition even though it is listed as a Jagger/Richards song credit.
That’s a wonderful song. It’s just a nice melody, really. And a lovely lyric. Neither of which I wrote, but I always enjoy singing it.”
Mick Jagger
The Rolling Stones have always been a Ted Tocks Covers delight because not only are there multiple versions by the featured band, and numerous quotes and anecdotes related to the song, but you also get a plethora of cover versions. As I sifted through many renditions of ‘Ruby Tuesday’ I was struck by the creative interpretation of virtually every one I listened to.
The cover versions came out almost immediately. Here is Rotary Connection from 1968, featuring the vocal range of Minnie Riperton. What a talent. Ted Tocks has featured Minnie Riperton on a couple of occasions (see ‘Lady Jane’ and ‘Lovin’ You’).
Two years later the talented vocalist, Melanie offered her take on ‘Ruby Tuesday’. The chorus just explodes. Her version will become important as we look at another cover by a legendary performer.
In 1984 ‘Ruby Tuesday’ was interpreted in a hard rock form by Scottish band Nazareth. By the time Nazareth did this cover they were on the downside of a career that peaked in the late ‘70s, but this has a good groove. Because Nazareth was huge when I was just getting into music, I will always have a soft spot for them. ‘Nazareth’s Greatest Hits’ was one of the first albums I ever owned.
Here is another treat. Listen to Julian Lennon nail this Rolling Stones classic. Inevitably, comparisons are made with his famous father, but my immediate comparison looks to David Bowie. This is so good.
Now we move on to 1993 and a baroque version of ‘Ruby Tuesday’ by Rod Stewart. Refer back to the Melanie version and her vocal delivery of the line “still I’m gonna miss you.” Essentially, Stewart is covering Melanie here. It’s good, but not my favourite.
There is no way I could not include this version of ‘Ruby Tuesday’ by The Corrs featuring an understated Ronnie Wood. The piano really stands out, but vocalist Andrea Corr blows me away. This is so good.
While listening to Nazareth cover ‘Ruby Tuesday’ I thought a heavier application was not only effective, but it could even go up to 11. Sure enough, here are The Scorpions from 2011. Klaus Meine fronts it all with his distinct delivery.
How about some Vanilla Fudge for dessert? This collection of quality musicians includes the great Carmen Appice on drums along with Pete Bremy on bass, Vince Martel on guitar and Mark Stein on lead vocals. My only regret is that the incredibly talented Tim Bogert was no longer with the band when they covered ‘Ruby Tuesday’ in 2015. The thing is, I can’t stop listening to it. Stein’s vocals are crystal clear and his piano work is stunning. Not only is this version unique, it takes the song to another place.
As much as The Rolling Stones created the original and the best version of ‘Ruby Tuesday’ they provided a foundation that countless artists of several different genres were able to build on and then explore the varying possibilities.
In the end, it all comes back to the original band. Enjoy this live version from the 1991.
You can definitely sense Mick Jagger’s fondness for the song. As recently as 2021 they are still playing ‘Ruby Tuesday’, but it is interesting to note that it was added to the setlist as a fan’s choice. A cool little perk for Stones fans, is rewarding their devotion that has lasted six decades. Concert attendees are afforded the opportunity to vote for their favourite song.
Here you go.
The line “still I’m gonna miss you” takes on a new meaning without Charlie Watts sitting behind the kit, but Steve Jordan does a respectable job. He knows his place and he was hand-picked by Charlie himself.
After all the fans’ suffering caused by Covid, I really do not want the many Rolling Stones fans who have been holding tickets for this tour to be disappointed by another postponement or cancellation. I have therefore asked my great friend Steve Jordan to stand in for me.”
Ted Tocks Covers 
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