September 25 was a Busy Day in Music History. #MusicisLife #TedTocksCovers

Here is a way to kickstart Your Monday morning.

When Ted Tocks Covers goes through the music archives in an effort to share material, a major source of ideas is ‘This Day in Music’ which is a website out of England, I believe. Outside of my clear passion for music, if Ted Tocks Covers has a launching pad, this would be it. My love of music took me here and frequently ‘This Day in Music’ sends me on many interesting journeys into the wide space of music history.

As I scroll through the calendar, there are some days that leave me wanting. This forces me to branch into other areas like significant release dates for albums or songs, and other important milestones on the musical calendar. Since I post something daily, this can become a challenge. The occasional void of events is definitely balanced by days like today.

From this writer’s perspective, September 25 has no less than eight major milestones, and in all honesty, I struggled to limit it to this number.

So, enjoy your walk through this date in music history.

To begin, we go back over nine decades.

Shel Silverstein was born on this day in 1930. Let’s just say I love the work of Shel Silverstein. The man was a poet. He was a cartoonist. In our home, the jury is out on whether he is more significant as a song writer or an author of children’s books. I believe we have them all. Shel Silverstein wrote songs for other artists, who dined out on his brilliance. Where would the world be without Johnny Cash’s rendition of ‘A Boy Named Sue’? Shortly after he wrote it, he shared this offering during a song writing circle (guitar pull) at Johnny Cash’s house. June Carter-Cash suggested to her husband that he should record that song. Shel Silverstein was the lyrical genius behind Dr. Hook and the Medicine Show. In my life, never did a cottage campfire go by without a version of ‘Cover of the Rolling Stone’ or ‘(Freakin’ at the Freaker’s Ball’. Enjoy this short list of Ted Tocks features that have shared Shel Silverstein’s words and music. Cheers Shel!

Fast forward three decades and we find ourselves in Motown. On this day in 1964, The Temptations began to record their stunning song ‘My Girl’. It was written by Smokey Robinson and Ronald White of the Miracles. Soon after its release, ‘My Girl’ went to #1 in the United States. It was the first of many for this act.

About a half decade later, the first episode of ‘The Partridge Family’ was broadcast. The show captured the imagination of viewers and it is still seen as an integral program in television history. The family was loosely modeled after ‘The Cowsills’. In this post, you will get an idea as to how many true musical connections stemmed from The Partridge Family creation. This was not bubble-gum pop. These people were serious. This should never be forgotten.

We are going to turn up the volume now. By 1972, Black Sabbath had three incredible albums under their belt but they were a band in transition. Legendary guitarist, Tony Iommi took over the production duties from Rodger Bain. It was felt, that Iommi was the band member who was best equipped in this capacity, because he was the most lucid and he had a natural feel for what they were doing.

This was a band going through ‘Changes’ and much of that stemmed from the fact that the band’s drug abuse was rampant. Speaking to this point, according to Black Sabbath biographies, they had cocaine delivered to the recording studio in speaker boxes.

Here is Ozzy’s recollection;

Eventually we started to wonder where the fuck all the coke was coming from … that coke was the whitest, purest, strongest stuff you could ever imagine. One sniff, and you were king of the universe.”

Ozzy Osbourne

Things came to a head when Tony Iommi was attacked on stage during a concert at the Hollywood Bowl by a deranged ‘Christian’ man with a dagger. It seems this ‘child of God’ thought that Black Sabbath were the anti-Christs. Fortunately, he was taken down by the Black Sabbath stage crew. All of this demonstrates that there is a fine line between Christianity and insanity.

This back story feeds nicely into an incredibly honest song. It’s hard to reconcile this piece with such inner turmoil and debauchery, but acts of this period were notorious for creating timeless material in what can only be described as a drug and alcohol haze. Looking back, it seems unfathomable, but the musical creativity during this era is second to none in this writer’s opinion.

Speaking of rock and roll excess, and moving on to the end of the decade, the music world was stunned by the death of legendary Led Zeppelin drummer, John Bonham. As a music lover, I have to say that back in this time, in my world as a young fan there were three deaths that hit me hard; Keith Moon in 1978, John Bonham on this day in 1980 and of course, later that same year, John Lennon was assassinated by another mentally ill American who fell through the cracks of society (an often repeated tale). I thought these people would live forever and they all died so young.

Ted Tocks Covers has written so many posts about Led Zeppelin that the only thing I can do here is share this feature, but if this is not enough just search Led Zeppelin and you will find many more. Next to The Beatles and The Rolling Stones, there is no band Ted Tocks Covers has written about more.

There is one constant theme that seems to penetrate the material presented by Ted Tocks Covers. On too many occasions I tell the story of great artists who died way too young. I mentioned three above, but it says here that sometimes the more interesting tales come from the (somewhat) lesser told stories. Here is where Jackie Wilson enters the picture.

Jackie Wilson died on this day in 1984, at the age of only 49. Wilson had a history of health issues. This sad reality took the ultimate toll when he contracted pneumonia. His beleaguered body was not up to fighting off the ravages of this issue and he succumbed.

Perhaps the saddest part of this tale is the fact that for a time, Jackie Wilson was buried in an unmarked grave in a cemetery near Detroit, Michigan. Thanks to an Orlando D.J. named ‘Jack the Rapper’ funds were raised to purchase a mausoleum. This is where music fans can celebrate his long-lasting influence to this day.

Chapter 7 of today’s feature is perhaps as contemporary as we will get. Dave Grohl strikes me at least, as eternally likeable. Ted Tocks Covers has described him as every music fan’s big brother. People just seem to gravitate to his magnetic charm. Some try to denigrate this image, but until I am proven wrong, that is the Dave Grohl I will share.

It was on this day in 1990 that Grohl auditioned for a band that was seen as a rising star in the emerging Seattle music scene. The prevailing thought was they just needed the right drummer. When Kurt Cobain heard Dave Grohl play with a reckless abandon that reminded some of John Bonham, he simply stated that;

That’s the kind of drummer we need.”

Kurt Cobain

In an interview with ‘Ultimate Classic Rock’, Nirvana’s sound engineer Craig Montgomery stated;

Dave had an energy that was hard to miss…He seemed like a good fit for what they were doing.”

Craig Montgomery

By the way, he got the job.

It’s difficult to know where to go with this tie to today’s date. I will recommend two things.

First, enjoy ‘Everlong’.

Then, by all means search Dave Grohl on my site, and discover a little bit more. Such a cool guy.

While I write, I am often listening to music on a steady stream. Just as I was about to begin today’s final chapter, I was visited by a friend I have never met.

Say hello to Tom Petty.

On this day in 2017, Tom Petty performed for the last time. Fittingly, the scene was the Hollywood Bowl. The truth is, as he and the Heartbreakers played the final notes of ‘American Girl’, Tom was in so much pain that he could barely move. Earlier that evening, his bandmates silently watched as he made his way up the stairs to take the stage of this iconic venue.

Here is ‘American Girl’, but again if you are a Tom Petty fan, please feel free to search his name and enjoy the many Ted Tocks Covers features that have included his music over the past six years.

As Ted Tocks Covers has stated on several occasions, there is a Tom Petty rule. If Tom Petty has covered it, Ted Tocks will include it.

The man is infinitely cool, and clearly his music will live on.

He is sorely missed.

Since this is the song that streamed into my brain while I was writing, I will share the performance from his final show here, as I conclude today’s musical buffet.

This may have been his last dance, but I still feel his words as they flow through my headphones.

I don’t think that will ever change.

Thanks Tom!

Have a great day and like Robert Hunter said, “If you get confused, listen to the music play.” The beauty of music is that it is magic. Within that magical connection there is something for everyone.

I find myself once again, recalling a quote from Tom Petty.

Music is probably the one real magic I have encountered in my life. There’s not some trick involved with it. It’s pure and it’s real. It moves, it heals, it communicates and does all these incredible things.”

Tom Petty

Hopefully something in today’s post struck a spiritual chord with you.

Cherry Bomb – Joan Jett turns 65. #MusicisLife #TedTocksCovers

Five years ago, Joan Jett was on the circuit promoting the documentary that chronicled her life up to that time in her life. She summarized things by saying;

My lot in life is to battle… You win it with mental fortitude, with being able to do what you say you can do.”

Joan Jett

That is the essence of the film ‘Bad Reputation’ and it literally defines a career that is half way through its fifth decade.

For Joan Jett, it was rock and roll or bust, in an industry that was predominantly male. Joan Jett has been the model of perseverance. She is an intriguing example of how crucial it is to be an astute observer of trends in order to enjoy success in any area of business.

It all began with The Runaways in the mid ‘70s.

Essentially, the roadmap to success had been drawn; they just needed to look at it through a different lens. For this vision they have their visionary, Kim Fowley to thank.

When we were putting the Runaways together it was based on Darwin. Let’s start with the evolution of a man in show business. The guys just kept getting more and more and more and more feminine. Elvis was feminine. Sinatra was feminine. Bing Crosby was feminine, but if you keep getting more and more feminine, you’re going to make (?) a female. D’uh!”

Kim Fowley

This is what came through in The Runaways presentation when they exploded onto the scene. Check out the lyrics of ‘Cherry Bomb’ from 1976.

Can’t stay at home, can’t stay in school
Old folks say, “You poor little fool”
Down the streets I’m the girl next door
I’m the fox you’ve been waiting for

Hello, daddy, hello, mom
I’m your ch-ch-ch-cherry bomb
Hello world I’m your wild girl
I’m your ch-ch-ch-cherry bomb”

Joan Jett and Kim Fowley

The world was ready for this. They just didn’t know it.

The map unfolded and from there it happened quite naturally, in a spontaneous combustion of rebellion.

Cherie Currie showed up to audition, and she had no song to sing. So, Kim said we’re going to write you a song. Kim and I went in the other room, and he said, just start playing me something, play a riff. I started jamming on the “Cherry Bomb” riff, and he started with the chorus — “hello Daddy, hello Mom.” I’d say 20, 25 minutes, we came back and said, “Sing this.” It was great to be in that creative process, happening right there for a specific person. But it was her representing all of us — it wasn’t just necessarily about Cherie. I was trying to represent all girls.”

JOan Jett

In Kim Fowley’s words The Runaways were;

An all-girl answer to Grand Funk.”

Kim Fowley

And for The Runaways and Joan Jett, that train just kept on rolling.

It was a turbulent ride and sometimes it derailed, but for Joan Jett it always got back on track and it all came together with her recognition as a member of the Rock and Roll Hall of Fame in 2015.

Over the years, Joan Jett has come up on several occasions in Ted Tocks Covers features. It begins with the fascinating story of ‘I Love Rock and Roll’ and moves on to some really interesting cover versions of songs that have defined our listening experience over the past forty years.

I Love Rock and Roll

Love Stinks

Crimson and Clover

Get Off of My Cloud

Celluloid Heroes

Time Has Come Today

Let it Bleed

Before moving on to a couple of cover version of ‘Cherry Bomb’ here is an interesting recreation by original Runaway, Cherie Currie and her twin sister Marie. When Kim Fowley invited Cherie Currie to audition to be the lead singer of The Runaways she brought Marie and was promptly told;

I’m not interested in a sister act.”

Kim Fowley

Cherie auditioned and got the job.

This is the sister act and it is pretty good. It was the closing track on a re-release of Cherie Currie’s second solo album called ‘Messin’ with the Boys. This goes back to 1980. As part of the re-issue Cherie invited Marie to join her to record seven bonus tracks. One of them was what Cherie and Marie considered to be The Runaways signature song, ‘Cherry Bomb’.

To add to the star power, several tracks on this album feature Steve Lukather and Waddy Wachtel on guitar.

Sometimes when I see certain names pop up in a list of cover versions, they demand attention. Jayne County, who in their early days performed as Wayne County and the Electric Chairs (see ‘Rebel Rebel‘ and ‘Night Time‘) released a version of ‘Cherry Bomb’ in 1995. This is from the album ‘Deviation’ under the name Jayne County.

Jayne County has the distinction of being rock’s first openly transgender singer. She transitioned from Wayne County to Jayne County in 1979 after moving to Berlin. During a tour of Holland in 1977, Wayne County and the Electric Chairs were supported by a relatively unknown act called the Police. Following the tour, Wayne County and the Electric Chairs went in to the recording studio to record their first album which was appropriately called ‘The Electric Chairs’. In order to recreate their live energy, they added a rhythm guitar player to their roster. His name was Henry Padovani. You may recognize him as the original guitar player for the Police. He had recently been let go in favour of Andy Summers.

Just one more cover, and it is a name you will recognize. Once again, it speaks to the influence of Joan Jett and the Runaways. Here is a slightly abbreviated live cover by Miley Cyrus.

On her 65th birthday Joan Jett continues to live her life, her way. In a New York Times article five years ago, she spoke out against people who were demanding that she be more open about her sexuality.

People aren’t going to tell me what to do. I’m not going to be told how to live and how I can be myself — “You must say it.” It’s like, the more you want me to say it, the more I won’t say it. I’ll just do it. I’m telling my story every day onstage, loud. And if you choose not to hear it because you want me to do it in the way you want me to do it? Fine, I’m not going to make you happy then. If this isn’t for you, bye. But I think I declare every day, all day long.”

Joan Jett

In other words, she doesn’t give a damn.

I don’t give a damn ’bout my reputation
Living in the past, it’s a new generation
A girl can do what she wants to do and that’s what I’m gonna do”

Joan Jett

While the world’s in trouble and mediums of communication have become garbled, Joan Jett carries the torch for a new generation.

Her message matters, because one day one’s sexuality and gender identity won’t matter.

Return of the Grievous Angel – They all led me straight back home to you. #MusicisLife #TedTocksCovers

Today represents fifty years since the death of Gram Parsons.

Read on and hopefully you will learn a little bit more about the signature Gram Parsons song, ‘Return of the Grievous Angel’.

Let’s begin with the imagery presented within the lyrics. ‘Return of the Grievous Angel’ is a cleverly offered lament, and as it has been noted on many occasions during Ted Tocks Covers’ tenure, there is something about pouring out one’s soul that bring out the best in songwriters.

There is a deep sense of longing, regret and ultimately hope. The hope exists in the form of the songwriter’s affections. That path is forged on this cross-country voyage that will lead to the front door of ‘Sweet Annie Rich’.

Over the years Gram Parsons’ mystique has become the stuff of legend. I shared elements of his story in Drug Store Truck Drivin’ Man back in the early days of Ted Tocks Covers.

With today’s focus being primarily on ‘Return of the Grievous Angel’ it must be stated that Parsons eventually shared the writing credit for this track with a Boston area songwriter named Tom Brown. It is here that I would like to introduce a well written piece by Ryan Hamilton Walsh.

It turns out that Gram Parsons did not write ‘Return of the Grievous Angel’. An aspiring songwriter named Thomas Stanley Brown wrote the lyrics in about twenty minutes as he combined elements of his own life with what he knew about Gram Parsons. Brown wrote ‘Return of the Grievous Angel’ with Parsons in mind. In March of 1973, Brown attended a show at Oliver’s Night Club in Boston and managed to have a conversation with his newly annointed duet partner Emmylou Harris. From there he gained access to Gram Parsons’ roadie Michael Martin, and offered him the lyrics in the hope that he could pass them on to the singer, songwriter.

Evidently, Martin fulfilled his role because as we all know ‘Return of the Grievous Angel’ was released posthumously, as the lead track on Parsons’ 1974 album, ‘Grievous Angel’.

In his article, writer Ryan Hamilton Walsh refers the reader to a couple of other more official accounts he researched. Here is a passage from one of those offerings. This is by William Browning.

https://wtb.substack.com/p/2-grievous?fbclid=IwAR2ljTzt5c8dFqfqQK-9cxK6RcqyxpiZExLwdUT0q_uangQvEHisDD6nHUI

Browning took the time to track Tom Brown down.

After those Boston shows Parsons and his wife went home to California. In July, their house burned down. Around August, Parsons recorded some songs for an album in Los Angeles. In September, he overdosed. The following January his last solo album, consisting of those August songs, was released. No one could have been more surprised to hear the album’s first song than Thomas Stanley Brown.”

William Browning

Within this rapid-fire summary of events, you will note a few things, but to summarize a whole lot of bad shit went down.

Gram Parsons was known to be a wild party. Stories of his prowess in the area of imbibing are the stuff of legend. One could point to the fact that he was asked to leave the Rolling Stones’ recording sessions for ‘Exile on Main Street’ by Keith Richards’ romantic partner, Anita Pallenberg (see ‘Sweet Virginia’).

Parsons’ manager, Phil Kaufman was doing his best to limit the singer’s intake but it was a challenging task. The promotional shows on the spring tour that aimed to drive sales for his debut solo album ‘GP’ drew mixed results. It was generally agreed that Emmylou Harris was the shining light. A four show mini-tour in June saw Parsons and Harris play along with former Byrds guitarist and Kentucky Colonel, Clarence White along with ‘Sneaky’ Pete Kleinow and Chris Etheridge. In July of 1973, White was tragically killed by a drunk driver after a New Kentucky Colonel’s show. It was following a memorial service for White that Gram Parsons told Phil Kaufman that his final wishes were to be cremated in Joshua Tree.

Seeing as the show must go on, plans were afoot to record a follow up to ‘GP’ in the late summer and early fall and then rebuild the band and go on tour.

In August, Gram Parsons’ Topanga Canyon house burned down. For Parsons and his wife, Gretchen Burrell, this was the final straw in a troubled relationship. She left him soon after and they never reconciled.

It is here that an eery premonition in the song offered by Tom Brown becomes the focal point.

The news I could bring I met up with the king,
On his head an amphetamine crown.
He talked about unbucklin’ that ol’ bible belt,
And lightin’ out for some desert town.”

Thomas Stanley Brown

Those of you who are familiar with Gram Parsons life will note that in just four lines, Brown connects the mercurial figure’s drug issues, his long-standing struggles with his religious upbringing and perhaps the most jaw-dropping of the references is related to the ‘lighten out for some desert town’.

When Gram Parsons eventually lit out to a desert town and overdosed in a hotel, it was Michael Martin and Phil Kaufman who stole his corpse and burned it at Joshua Tree.

Just like Gram Parsons requested a couple of months earlier.

This reading of the palms is captured in this quote shared in Walsh’s article.

One way to read these lines is that it’s an account of Brown meeting Parsons that night followed by a kind of premonition of where the singer was headed—i.e. Parsons ending up Joshua Tree (a desert town if there ever was one) where his life would sadly end. To think that Parsons sang those lyrics a few months later, probably completely unaware that he was singing from the POV of the poet in the bar writing about imagining meeting Gram Parsons, is just mind boggling. I can’t think of another collaboration quite like it. There are so many levels of awareness here; it’s a meta-recursive-loop-spiral set to a beautiful melody—a modern country standard with a postmodern past it doesn’t like to say much about.”

Ryan H. Walsh

Just writing about this and reading the various accounts gives me chills.

Through a half century, very little is known about Thomas Stanley Brown.

Ryan Hamilton Walsh and William Browning did do a little bit of investigating and shared it in their posts. If this post leaves you wanting more. Please take some time and read their articles.

My post is meant to give you a taste of one of the most fascinating song writing tales of the 20th century, and because Gram Parsons seems to reside somewhere in the shadows of ‘Unknown Legend’, this story is known only to the most aware of music fans the world over.

Frequently, Ted Tocks Covers points to the fact that Parsons was a key figure in changing music from about 1968 through to the present day.

I will get off my pulpit now. Your assignment is to go and listen to his two solo albums, then check out his work with the Byrds and the International Submarine Band. Let me know when you emerge from this rabbit hole.

In the meantime, I will be listening to this alternate version of ‘Return of the Grievous Angel’.

Here are the lyrics that are now credited to Gram Parsons and Thomas Stanley Brown. The credit to Brown came long after the song was released on ‘Grievous Angel’.

Man, what a story this song tells.

Won’t you scratch my itch sweet Annie Rich
And welcome me back to town
Come out on your porch or I’ll step into your parlor
And I’ll tell you how it all went down

Out with the truckers and the kickers and the cowboy angels
And a good saloon in every single town

Oh, and I remembered something you once told me
And I’ll be damned if it did not come true
Twenty thousand roads I went down, down, down
And they all led me straight back home to you

‘Cause I headed west to grow up with the country
Across those prairies with those waves of grain
And I saw my devil and I saw my deep blue sea
And I thought about a calico bonnet
From Cheyenne to Tennessee

We flew straight across that river bridge
Last night, half past two
The switchman wave his lantern goodbye and good day
As we went rolling through
Billboards and truckstops pass by the grievous angel
And now I know just what I have to do

And the man on the radio won’t leave me alone
He wants to take my money for something that I’ve never been shown
And I saw my devil and I saw my deep blue sea
And I thought about a calico bonnet
From Cheyenne to Tennessee

The news I could bring, I met up with the king
On his head an amphetamine crown
He talked about unbuckling that old bible belt
And lighted out for some desert town

Out with the truckers and the kickers and the cowboy angels
And a good saloon in every single town

Oh, but I remembered something you once told me
And I’ll be damned if it did not come true
Twenty thousand roads I went down, down, down
And they all led me straight back home to you
Twenty thousand roads I went down, down, down
And they all led me straight back home to you”

Gram Parsons and Thomas Stanley Brown

According to William Browning’s documentation of his conversation with Tom Brown, Gram Parson’s made only two adjustments to these lyrics.

Parsons changed Brown’s description of the truckers’ companions from ‘roughnecks’ to ‘kickers’. He then added the bridge that paints this portrait of inner frustration.

And the man on the radio won’t leave me alone
He wants to take my money for something that I’ve never been shown”

Gram Parsons


Before I move on to some phenomenal cover versions of ‘Return of the Grievous Angel’ it should be noted that no mention of this song could be shared without mentioning the back up band.

This story began about a year previous when Gram Parsons signed a solo recording contract with Reprise Records. At around the same time Gram saw Emmylou Harris performing in a folk club in Washington D.C. Parsons was awestruck and he brought her on board soon after. The rest of the backup band for ‘GP’ consisted of none other than the foundation of Elvis Presley’s TCB Band. This included James Burton on guitar, Ronnie Tutt on drums and Glenn Hardin on piano. Production work was handled by Rick Grech who had recently shared the spotlight with Eric Clapton, Steve Winwood and Ginger Baker in Blind Faith.

To summarize, these recordings are star-studded. So much so, that during the recording process Gram Parsons was somewhat humbled by those with whom he was sharing space.

To calm his nerves he took solace in heroin and alcohol.

When it came time to tour it was determined that Parsons could not afford to take the TCB Band on the road so this is when The Fallen Angels were put together. In addition to Harris, this group included Neil Flanz on pedal steel, N.D. Smart on drums, Kyle Tullis on bass and Jock Bartley on electric guitar.

When they headed back to the studio to record what would become ‘Grievous Angel’ the call went out to the TCB Band again, along with Emory Gordy Jr. on bass. Here is Gordy’s recollection of the recording sessions that took place in the late summer of 1973. This is from the Gram Parsons biography ‘Twenty Thousand Roads’ by David N. Meyers.

Gram played us each of the songs that he had ready…We took it from there. It was loose as far as formal arranging was concerned – we played what we thought was right for the song, and it all seemed to fall together…He was in good shape, Gram. There was a lot of energy going on in the studio for the whole of that album. Gram was bouncing all over the place and Emmy was bouncing around him. They were great, happy sessions.”

Emory Gordy Jr.

Top of FormOne more key player in all of this is Bernie Leadon, who plays acoustic guitar on ‘Return of the Grievous Angel’. Of course, Leadon was part of The Flying Burrito Brothers with Gram Parsons and he is recognized as one of the founding members of the Eagles. Bottom of FormOTop of Form

When everyone gathered at the studio it was soon determined that there was a lack of material. This is where Parsons brought up ‘Return of the Grievous Angel’, seemingly without referencing the song’s origin.

Other songs that found their way onto ‘Grievous Angel’ are ‘In My Hour of Darkness’ where he shares the song writing credit with Emmylou Harris. Backing vocals are also offered by the eternally talented Linda Ronstadt.

‘Brass Buttons’ harkened back to his days as a coffee house folksinger.

‘Hickory Wind’ could be traced to the Byrds classic ‘Sweetheart of the Rodeo’.

‘$1000 Wedding’ had previously been recorded in sessions with the Flying Burrito Brothers.

‘Ooh Las Vegas’ was a castoff from ‘GP’.

And perhaps the diamond from the ‘Grievous Angel’ mine was Gram Parsons and Emmylou Harris’s cover of Boudleaux Bryant’s ‘Love Hurts’.

After the album was mixed, Gram Parsons and friends headed out to Joshua Tree, where Parsons took his final breath in a hotel room in Yucca Valley.

There is no better way to introduce the covers portion of today’s post than Emmylou Harris. Here she is on her 1982 live album ‘Last Date’.

It was this release that saw Thomas Stanley Brown gain his well-deserved song writing credit. From the time he heard his song on a ‘Grievous Angel’ Brown had had initiated a letter writing campaign intended to gain his rightful credit. His outreach to the Parsons camp went without response, but after ‘Last Date’ was released he wrote to Harris and reminded her of their interaction about a decade previous.

Emmylou Harris acknowledged this encounter and soon after Thomas Stanley Brown’s name was added to all pressings of this magnificent track.

Not a whole lot is known about Thomas Stanley Brown. By all indications he is a very private person. William Browning did enjoy a brief exchange with Brown, and in this response, the original lyricist declared that the ‘oversight’ was corrected.

I got a sizeable royalty check very soon after, and my name was added to the credits.”

Tom Brown

Meanwhile, let’s listen to Emmylou Harris. I had the opportunity to see her perform in 2013 and it was a magical experience.

To listen to Lucinda Williams on her own is always a pleasure, but when you add David Crosby on harmony it borders on a religious experience. Just sit back and enjoy this 1999 recording. Lucinda is telling the story like she was there. When David joins in…Wow!

From that same year, here is Counting Crows. This really grabbed me. I love this band.

Speaking of storytellers, I was intrigued when Grateful Dead historian David Gans’ name came up on a list of performers who covered ‘Return of the Grievous Angel’. Naturally, I explored, and here you go. This is from his album ‘Solo Acoustic’. For all the stories about the Dead that he has shared with me, it seems that the least Ted Covers could do is share his heartfelt cover of this Gram Parsons classic.

The line of influence from Gram Parsons to Ryan Adams is relatively straight so the opportunity to share his version of ‘Return of the Grievous Angel’ was a no brainer, especially when this live version from 2009 includes Emmylou Harris. This is from Sessions at West 54th. Love it. Pay close attention to Emmylou near the end. That smile is a stamp of approval.

This 2013 cover live from the parking lot in front of Tammy Wynette’s trailer features Gretchen Peters along with Ben Glover, Barry Walsh and Christine Bougie. They call this their ‘Couch by Couchwest Tour’. So good, and so much fun as they pay tribute to Gram and Emmylou. The pedal steel is incredible but when you layer that with the accordion, it goes to the next level.

The quality covers keep on coming. Here is Jim James of My Morning Jacket along with Black Prairie, in 2014. This is so cool. This is shared by a Youtube channel called MyMusicRx. Their mission is to “deliver the healing power of music to kids and teens facing cancer and other serious illnesses.”

They call it the ‘Cabinet of Wonders’. This is a mission I can get behind.

And finally, here is a Ted Tocks Covers favourite. Gotta love Blackberry Smoke, especially when they tear it all down to the basics. This is live from 2019. It is a little choppy, but pay attention to how much the audience appreciates this cover. This speaks volumes.

Before I move on, I want to share one more important acknowledgement.

Whenever I write, I do my best to ensure that proper credit is given when I cite the research behind songs I feature. On this day in 2020 I wrote a feature about ‘Wild Horses’ by The Rolling Stones that included a very plausible theory that Gram Parsons had a hand in writing this famous song. A major portion of this post drew from an article written ten years ago by ‘Will James’.

Soon after I posted my blog, ‘Will’ reached out to me and thanked me for sharing his view. He added a few funny anecdotes related to the fallout from his theory. In the end, the camps remain somewhat divided on this theory, but it should be known I am on ‘Team Will’.

This is why I frequently share my belief that any true fan of music needs to understand how important Gram Parsons is, in the evolution of modern music.

If he is not the creator, he is the bridge.

It is here that I will share Will’s blogsite.

He is a Gram Parsons expert and he has forgotten way more than I know about this tragic figure who left this world a half century ago.

If you are intrigued and consider yourself more of a visual person then I encourage you to watch ‘Fallen Angel: Gram Parsons’.

From ‘Grievous Angel’ to ‘Fallen Angel’.

One day a movie should be made. How and why, this has not happened, I don’t understand. The circumstances surrounding his death alone is one of the most fascinating and unbelievable chapters in musical lore.

Queen and all that Jazz – Do what you want with my music, just don’t make me boring. #MusicisLife #TedTocksCovers

In today’s post, it needs to be noted that the ‘Official Queen Video’ of ‘Bicycle Race’ cannot be shared because YouTube deems the nudity may be offensive to some.

Oh, if Freddie Mercury were around today to comment on this ridiculous form of censorship. In light of the travesties we see at every turn, this is what passes as some form of protection.

We need to pass our time in a positive way so let’s get on our bikes and ride. Before we begin, we should all gather together for a photo.

It was on this day 45 years ago that Queen gathered 65 professional female models to pose for what would famously become known as the start of the nude bicycle race. The photo shoot took place at Wimbledon Greyhound Stadium. In order to fulfill the requirements for this shoot, Queen rented a number of bikes for the models.

When the company leasing the bikes learned of the purpose of the shoot, Queen was forced to purchase the bicycle seats.

There’s one for the ‘where are they now’ file. Look up “Gently used bicycle seats” on a London area Facebook ‘Buy and Sell’.

Here is a sample of the lyrics. At a glance one may feel that this is not really Freddie’s best, but when you dig deeper there is a whole lot going on. In the Ted Tocks world of lyrical analysis this is where the best songs reside.

Bicycle bicycle bicycle
I want to ride my bicycle bicycle bicycle
I want to ride my bicycle
I want to ride my bike
I want to ride my bicycle
I want to ride it where I like

You say “black”, I say “white”
You say “bark”, I say “bite”
You say “shark”, I say “Hey man,
Jaws was never my scene
And I don’t like Star Wars!”

You say “Rolls”, I say “Royce”
You say “God” – Give me a choice!
You say “Lord”, I say “Christ!”
I don’t believe in Peter Pan,
Frankenstein or Superman
All I wanna do is

Bicycle bicycle bicycle
I want to ride my bicycle bicycle bicycle
I want to ride my bicycle
I want to ride my bike
I want to ride my bicycle
I want to ride my

Bicycle races are coming your way
So forget all your duties oh yeah!
Fat-bottomed girls they’ll be riding today
So look out for those beauties oh yeah

On your marks get set go

Bicycle race bicycle race bicycle race
Bicycle bicycle bicycle
I want to ride my bicycle bicycle bicycle bicycle
(I want a)
Bicycle race

Hey!

You say “coke”, I say “caine”
You say “John”, I say “Wayne”
“Hot dog”, I say, “Cool it, man”
I don’t wanna be the President of America

You say “smile”, I say “cheese”
“Cartier”, I say, “Please”
“Income tax”, I say “Jesus!”
I don’t wanna be a candidate
For Vietnam or Watergate
‘Cause all I want to do is

Bicycle, (Yeah) bicycle, (Hey) bicycle
I want to ride my bicycle, bicycle (c’mon), bicycle
I want to ride my bicycle
I want to ride my bike
I want to ride my bicycle
I want to ride it where I like

Freddie Mercury

Freddie Mercury is on record as saying he was caught up in the television coverage of the Tour de France. Queen was in Montreux recording ‘Jazz’ in June and July of 1978. Like many British bands of that era, Queen were in a form of exile as they attempted to avoid paying up to 98% taxes on their song royalties.

The Tour de France went by the hotel where Queen had taken up residence, and the lyrics came together in a series of social, political and pop culture references.

Movie references focus on ‘Jaws’ and ‘Star Wars’. He moves on to religion and observations related to social class before alluding to fictional characters Peter Pan, Frankenstein and Superman. In the midst of all this he goes back to his desire to just ride his bicycle, which serves as a distraction to virtually everything that is swirling around him like cocaine, the Hollywood elite, drug scandals, the fallout of the Vietnam war, Watergate and yes…taxation.

Income tax! I say Jesus”

Freddie Mercury

He wants to be free. The depiction of female nudity in a public space is actually symbolic of this theme of liberation. It was definitely not intended to be objectifying.  

Naturally, the record label and distribution companies fell all over themselves to limit the availability of the poster.

Before we move on to a companion piece, it should be noted that the musical composition of ‘Bicycle Race’ was an ode to Johann Sebastian Bach’s ‘BMV 99’. For a sample, please listen to this excerpt of Cantata 99 by The Netherland’s Bach Society.

From this adaptation of a Bach piece to Queen, please enjoy this phenomenal cover by American progressive metal band Between the Buried and Me.

The most astute among us will note the bridge of the song shares these lyrics.

Bicycle races are coming your way
So forget all your duties oh yeah!
Fat-bottomed girls they’ll be riding today
So look out for those beauties oh yeah”

Freddie Mercury

For your listening pleasure here is that beauty by Queen.

‘Fat Bottomed Girls’ appears as the second track on Queen’s ‘Jazz’ album. It was also released as a double A – side along with its noted companion piece ‘Bicycle Race’.

Written by Brian May, this full out arena rocker became a classic rock staple almost from the day it was released in October of 1978. There is a subtle difference between the studio version and the live presentation of ‘Fat Bottomed Girls’. On stage, the chorus is sung by Freddie Mercury and he is accompanied by Roger Taylor on high harmony and Brian May on low harmony. In studio, there is no high harmony and the lead vocal is sung by Freddie, while Brian takes the mic on the chorus.

Speaking to the connection between ‘Fat Bottomed Girls’ and ‘Bicycle Race’, Freddie Mercury can be heard hollering “get on your bikes and ride” at the end of the song which balances his “fat bottomed girls, they’ll be riding today” line from ‘Bicycle Race’.

Back in 1992, during the Freddie Mercury Tribute Concert, Extreme put together an intriguing medley that connected ‘Fat Bottomed Girls’ and ‘Bicycle Race’ among many other Queen favourites. I am not a fan, but it is interesting to look back.

This just makes me smile. Enjoy Hayseed Dixie and their notorious bluegrass stylings. Wait until the violin comes in. This is what Ted Tocks Covers is all about. I know it is not for everyone, but this is my favourite version.

My initial plan was to simply focus on the two bicycle themed tracks but there are two other songs on ‘Jazz’ that speak to Freddie Mercury’s role as one of the greatest frontmen in music history.

He was here to entertain, and in ‘Let Me Entertain You’ Mercury makes that clear.

This track closes side one of ‘Jazz’. It is both a curtain raiser and a showstopper. The energy oozes from every word.

Hey, it’s a sellout!
Hey!

Let me welcome you ladies and gentlemen
I would like to say hello
Are you ready for some entertainment?
Are you ready for a show?
Gonna rock gonna roll you
Get you dancing in the aisles
Jazz you, razzamatazz you
With a little bit of style

C’mon
Let me entertain you
Let me entertain you
Let me entertain you
Let me entertain you

I’ve come here to sell you my body
I can show you some good merchandise
I’ll pull you and I’ll pill you
I’ll Cruella-DeVille you
And to thrill you I’ll use any device
Ah, ha ha ha ha

We’ll give you crazy performance
We’ll give you grounds for divorce
We’ll give you piece de resistance
And a tour de force of course

We found the right location
Got a lot of pretty lights
The sound and amplification listen
Hey, if you need a fix, if you want a high
Stickells’ll see to that
With Elektra and EMI
We’ll show you where it’s at

So c’mon
Let me entertain you
Let me entertain you
Let me entertain you
Let me entertain you

Just take a look at the menu
We give you rock a la carte
We’ll breakfast at Tiffany’s
We’ll sing to you in Japanese
We’re only here to entertain you

If you wanna see some action
You get nothing but the best
The S and M attraction
We’ve got the pleasure chest
Chicago down to New Orleans
We get you on the line
If you dig the New York scene
We’ll have a son-of-a-bitch-of-a-time

C’mon
Let me entertain
Let me entertain
Let me entertain you tonight

[Freddie:] Hey, where’s my backstage pass?
[Brian:] That was a bit of a riot, yeah?
[Roger:] That was great, what an outrageous costume!
[Freddie:] Hey, that Brian May, he’s outta sight, man!
[Brian:] Not many, not many… no, it’s true!
[Roger:] Whoa, what is up with that? Funny…
[Woman:] I’ve always wanted to be a groupie!
[Roger:] Oh man, I could give less of a shit if you wanted… C’mon!
[Woman:] Oh, oh!”

Freddie Mercury

Classic Queen for sure, and it puts every member’s talent on full display.

Now, who could possibly put together a cover that rivals this performance? Look no further than Marc Martel. Back in 2011, Marc entered a competition to win the right to perform with Roger Taylor in Taylor’s project known as the Queen Extravaganza.

Check this out. Take note of the big hitters Martel enlists for this unbelievable cover. I could not stop at one viewing.

It must be said that it is very rare that Ted Tocks Covers runs contest winners, but the Marc Martel back story has some depth that cannot be ignored, in fact it literally begs for his talent to be put on full display. In the 2018 Queen bio pic ‘Bohemian Rhapsody’ many of the vocal parts for Freddie Mercury were performed by Marc Martel.

Here is an excerpt from a Rolling Stone interview with ‘Bohemian Rhapsody producer Graham King.

Most singing scenes in the movie rely on either vocal stems from Queen master tapes or new recordings by Marc Martel, a Canadian Christian rock singer whose voice is practically identical to the late frontman’s. {“Literally, you could close your eyes and it’s Freddie, and that’s a very tough thing to do…Rami sings a little bit in the film, there’s a lot of Freddie Mercury obviously, and a lot of Marc Martel. He sent a video to Brian May and Roger Taylor and he sounds exactly like Freddie Mercury. We knew that we had someone we could use for parts that maybe Rami couldn’t do and obviously Freddie didn’t do. So, we were in Abbey Road recording studio for maybe two and a half months with Marc and with Rami, recording bits and pieces that we knew we needed. It’s hard to find someone who can sing like Freddie Mercury and I’m not sure the movie would have happened if we didn’t have Marc.”}”

Graham King

I know the ‘Show Must Go On’ but a little voice inside my head is saying ‘Don’t Stop Me Now’ so here is the penultimate song from ‘Jazz’ which became yet another top 10 hit for Queen in the U.K.

Tonight
I’m gonna have myself a real good time
I feel alive
And the world, I’ll turn it inside out
Yeah!
I’m floating around
In ecstasy

So don’t stop me now, don’t stop me
‘Cause I’m having a good time, having a good time

I’m a shooting star leaping through the sky
Like a tiger defying the laws of gravity
I’m a racing car passing by
Like Lady Godiva
I’m gonna go, go, go
There’s no stopping me

I’m burning through the sky
Yeah!
Two hundred degrees
That’s why they call me Mister Fahrenheit
I’m traveling at the speed of light
I wanna make a supersonic man out of you

Don’t stop me now
I’m having such a good time
I’m having a ball
Don’t stop me now
If you wanna have a good time
Just give me a call

Don’t stop me now
‘Cause I’m having a good time
Don’t stop me now
Yes, I’m having a good time
I don’t wanna stop at all, yeah!

I’m a rocket ship on my way to Mars
On a collision course
I am a satellite
I’m out of control
I’m a sex machine ready to reload
Like an atom bomb about to-oh-oh-oh-oh-oh explode

I’m burning through the sky
Yeah!
Two hundred degrees
That’s why they call me Mister Fahrenheit
I’m traveling at the speed of light
I wanna make a supersonic woman of you

Don’t stop me
Don’t stop me
Don’t stop me
Hey, hey, hey!

Don’t stop me
Don’t stop me
Ooh, ooh, ooh
I like it

Don’t stop me
Don’t stop me
Have a good time, good time

Don’t stop me
Don’t stop me

Ooh, let loose, honey, alright

Oh, I’m burning through the sky
Yeah!
Two hundred degrees
That’s why they call me Mister Fahrenheit (Hey)
Traveling at the speed of light
I wanna make a supersonic man out of you (Hey, hey)

Don’t stop me now
I’m having such a good time
I’m having a ball
Don’t stop me now
If you wanna have a good time
Alright
Just give me a call

Don’t stop me now
‘Cause I’m having a good time (Hey, hey)
Don’t stop me now
Yes, I’m having a good time
I don’t wanna stop at all”

Freddie Mercury

I don’t want to stop either, so here is another quality cover by Marc Martel.

Mic drop…

Have a good time today.

Folsom Prison Blues – I hear her words ringin’ through my head as loud as that old train whistle. #MusicisLife #TedTocksCovers

Ted Tocks Covers has an unwritten rule that when a song has cover versions running well into the hundreds the post needs to be less about the story behind the song, and more about the music and artists the song inspired.

So, what you will get is two dozen cover versions of ‘Folsom Prison Blues’ by Johnny Cash.

This is all to honour two decades since the ‘Man in Black’ left us.

Cash wrote ‘Folsom Prison Blues’ in 1951, while he was part of the United States Air Force, stationed in West Germany at a base in Lansdsberg, Bavaria.

Before we share the covers, there is a story to tell. Like the best songs, there is a twist along the track that takes us by Folsom Prison.

When Johnny Cash wrote ‘Folsom Prison Blues’ he borrowed heavily from an existing song by Gordon Jenkins called ‘Crescent City Blues’.

Take a listen, and enjoy the vocals by Beverly Mahr. This tells a much different story.

I hear the train a-comin, it’s rolling ’round the bend
And I ain’t been kissed lord since I don’t know when
The boys in Crescent City don’t seem to know I’m here
That lonesome whistle seems to tell me, Sue, disappear

When I was just a baby my mama told me, Sue
When you’re grown up I want that you should go and see and do
But I’m stuck in Crescent City just watching life mosey by
When I hear that whistle blowin’, I hang my head and cry

I see the rich folks eatin’ in that fancy dining car
They’re probably having pheasant breast and eastern caviar
Now I ain’t crying envy and I ain’t crying me
It’s just that they get to see things that I’ve never seen

If I owned that lonesome whistle, if that railroad train was mine
I bet I’d find a man a little farther down the line
Far from Crescent City is where I’d like to stay
And I’d let that lonesome whistle blow my blues away”

Gordon Jenkins

Clearly, the melody and a good portion of the lyrics were lifted from the Jenkins original. In addition to the revised theme, the main exception was the line about shooting a man in Reno (Nevada). In this short quote Johnny Cash speaks to this line.

I sat with my pen in my hand, trying to think up the worst reason a person could have for killing another person, and that’s what came to mind.”

Johnny Cash

When questioned as to why a man who committed a crime in Nevada was serving time in a California State prison, Cash simply stated;

That’s poetic license.”

Johnny Cash

Just throwing this out there but if I was hanging out in the barracks with Johnny and he asked me for my input, I would have gone with Fresno. I wouldn’t even have asked for a writing credit.

But, Reno it is and Reno it will forever be. Sorry Fresno!

When Johnny Cash released ‘Folsom Prison Blues’ in December of 1955, he and his label Sun Records didn’t ask permission, or even credit Gordon Jenkins. In the early ‘70s a lawsuit was filed and the parties arrived on a $75,000 settlement.

Quite the swindle really…

For Johnny Cash, ‘Folsom Prison Blues’ was recorded by Sam Phillips and Sun Records. It was initially released as a single, before being added to his debut album ‘Johnny Cash with His Hot and Blue Guitar’.

Chart success was positive. ‘Folsom Prison Blues’ went to #4 on the country charts. Over a decade later, Cash famously performed the song live before inmates at Folsom State Prison. This live set was released as ‘At Folsom Prison’ in 1968, and the re-release of the title song went to #1 on the country charts and #32 on the Billboard Hot 100.

To add to the accolades Johnny Cash won the 1969 Grammy Award for Best Country Vocalist, Male.

Before we take the train through a series of covers that span eight decades one must acknowledge the players who performed alongside Johnny Cash. On the iconic original recording he was joined by Luther Perkins on guitar and Marshall Grant on bass. There was no drummer. The repeated snare drum sound was ingeniously created by Johnny Cash who placed a piece of paper (perhaps a dollar bill) under the strings of his guitar. He then strummed the snare rhythm.

The only differences in personnel for the Folsom Prison show was W.S. Holland sitting behind the drumkit for a more authentic trainlike rhythm.

Here is the recording live from Folsom Prison.

It should be noted that the enthusiastic cheering at the end of various lines were edited in post-production. Looking back there is a definite cringe factory.

Okay…All aboard the train as we head through the years. There will be some huge names here along with a handful of carefully selected covers by some intriguing acts.

Let’s begin with Thumper Jones in 1956. Soon after he would become known as George.

This next cover literally jumped out at me. Here is ‘Jumpin’ Gene Simmons, not to be confused with the Gene Simmons who led KISS through several years of fame and glory. This is a very spirited cover so I thought I would add this 1965 rendition to the list.

Back to the more familiar names, here is the great Charley Pride from 1966.

In addition to being instrumental in helping Dolly Parton launch her historic career, Porter Wagoner put out some quality material. Here he is doing the Johnny Cash hit in 1967.

The next three songs have some pretty strong connections to the evolution of the music we listen to today.

In 1961, Bob Dylan entered the music scene as a disciple of the folk stylings portrayed by Woody Guthrie. Guthrie painted a portrait of the sad underbelly of Americana, and Dylan was infatuated with his writing. In time, the protégé developed his own style and adapted elements of country and rock and roll. In the mid ‘60s, he plugged in to the amplifiers to bring his word to a wider audience. To help him share his words and music, Dylan employed the services of The Band. Here is Bob Dylan and the Band on the album known as ‘The Basement Tapes’. This was recorded in 1967 at Bob Dylan’s home in upstate New York as well as at The Band’s residence that became affectionately known as ‘The Big Pink’. Whole books could be written about these recording sessions. This is just one of the stories.

Enjoy ‘Folsom Prison Blues’. Over sixty years of recording, and Bob Dylan has rarely sounded more passionate. When Rick Danko and Richard Manuel join in, it becomes biblical. Listen to Garth Hudson on the organ and Robbie Robertson’s guitar outro. My only complaint is it is too short.

What I am saying is The Band brought out the absolute best in Bob Dylan.

During the ‘60s, musicians everywhere were hanging on every word and music note presented by Bob Dylan. One such performer was a then relatively unknown Gram Parsons. Along with his ensemble known as the International Submarine Band, they created this little medley of ‘Folsom Prison Blues’ and ‘That’s All Right’. This is from 1967. A year later Gram Parsons joined the Byrds, who of course were heavily influenced by Bob Dylan. They were instrumental in furthering the blend of folk and rock.

What Gram Parsons really brought to the Byrds was a vision that took the country and bluegrass music genres and threw them into an eclectic mix. For over 55 years this style has captured the imagination of millions of listeners.

Now, to bring it all back around; it could be stated that if it were not for Conway Twitty, this chain of musical events may have never begun. It was Conway Twitty who suggested to his friend Ronnie Hawkins that the run of small towns and large cities along the U.S./Canadian border were a potential gold mine for the right musician. Hawkins took his friend’s advice and did find some gold. In order to bring his rock and roll vision to the receptive audiences, Hawkins hired a group of ambitious musicians that began as The Hawks and gradually matured into The Band.

The interesting thing here is that for each of the people mentioned in this trio of covers there is only one degree of separation to Johnny Cash.

And the train keeps rolling…

Here is Bobby Bare having a bit of fun with his audience. He does a Johnny Cash impression and then rolls smoothly into a quality cover of ‘Folsom Prison Blues’.

The list of country musicians that were inspired by Johnny Cash is pretty much endless. The story of Merle Haggard cannot be told without bringing up the personal connection between the story Johnny tells and the life Haggard was living in the late ‘50s while he was doing time in San Quentin for a series of crimes, he was accused of committing through the decade.

No mention of ‘Folsom Prison Blues’ would be complete without this offering from the immensely talented combination of Lester Flatt and Earl Scruggs. Just listen to this guitar/banjo combination.

There is an element of foreshadowing at work here.  Enjoy Waylon Jennings from 1968. That distinctive voice tells the story. This is the level crossing where country legends meet. Enough said.

Leafing through a mountain of cover versions, I was struck by this performance by rock and roll pioneer, Carl Perkins in 1969. This is an important cover to share because it all demonstrates the cross-genre importance of Johnny Cash. When Carl Perkins brought rockabilly to young music fans in the mid to late ‘50s he was telling a similar story.

Yet another crucial link in a never-ending train of rail cars is Ted Tocks favourite Ramblin’ Jack Elliott. Jack was a friend of Woody Guthrie. He is still ramblin’ today. Whenever I get a chance to share his work, I am all over it. You can almost see Jack and Woody getting ready to hop a train and ride it to the next town.

For Canadian music fans, Hank Snow is the father of country music with a maple leaf embedded in the grooves. Here is Hank in 1971.

When it comes to the great pickers of the country genre, one needs look no further than Jerry Reed. Here he is exactly fifty years ago on his acclaimed album ‘Guitar Man’.

Now we fast forward all the way to 1990 and the country supergroup known as The Highwaymen. They truly need no introduction. Enjoy Johnny, Willie, Waylon and Kris.

A few years later in 1994 we get Brooks and Dunn performing with Johnny Cash. I am not a fan of this twangy voice country delivery that pretty much became the formula for what passes as country music today, but when Johnny comes in with his monologue at the end, he saves the song.

It’s been thirty years now, and I know I’ll never leave this godforsaken place alive.
Honest to God, when I hear her words ringin’ through my head as loud as that old train whistle,
crying out to me night after endless night, sending a cold steel shiver through my lost soul,
I close my eyes and pray that that iron horse is bound for the promised land and I’ll get to ride it home to glory someday.”

Johnny Cash

This is just special. Listen to Johnny and Willie. It borders on surreal. When Willie Nelson takes the solos on Trigger…There are no words.

This could go on forever…

Now for something completely different. This is a cover from 2001 by another act that Ted Tocks Covers enjoys sharing whenever their name comes up. This is Prozak for Lovers. I love this.

Every time I introduce Keb’ Mo’ to a Ted Tocks feature, it makes me promise, I need to do whatever I can to share more Keb’ Mo’. Simply amazing and eternally unique.

Over twenty-five years ago Colin Linden, Stephen Fearing and Tom Wilson sat around Wilson’s kitchen table and began to conjure up the persona that would become Blackie and the Rodeo Kings. It all began as a tribute to the great Willie P. Bennett, but then it evolved to epic proportions. If Canada has a comparable to the Highwaymen it would be Blackie and the Rodeo Kings. From the Ted Tocks Covers list of must listens, please embrace the work of this act. As individuals these artists are sensational. As a collective, they take the listener to another place. Let this train take you there.

Back in 2008 a shining light on the music scene took the stage at the Newport Folk Festival. Enjoy the energy and conviction of Brandi Carlile. You can literally sense the greatness that was to come. Yet another essential artist inspired by Johnny Cash.

Back in the late ‘50s and early ‘60s Johnny Cash and Jerry Lee Lewis often performed on the same musical revues. They were not rivals, as much as they were part of what would become the ‘Million Dollar Quartet’ with Carl Perkins and Elvis Presley. So, when Jerry Lewis recorded ‘Folsom Prison Blues’ in 1980 on his album ‘Killer Country’ it came as a surprise to no one that he included his own version of ‘Folsom Prison Blues’. This came complete with the ever-present Jerry Lee swagger.

Years later in 2014, here is Robbie Robertson and Nils Lofgren playing with the Killer on what would become Lewis’s final studio album. It was suitably entitled ‘Rock and Roll Time’. This would be Jerry Lee’s 41st album release over a career that began in 1952.

Just to provide a sense of how adaptable Johnny Cash’s music is and how influential the ‘Man in Black’ remains listen to this 2022 recording by Wage War. It is from their album ‘The Stripped Sessions’. As the title suggests, what makes this cover so interesting is the fact that this metal core act out of Florida strips the song down, while applying some country roots to their metal edge.

Today’s tribute to a Johnny Cash classic is presented in an effort to emphasize that twenty years has passed since this icon died.

The fact that so much time has elapsed seems unfathomable.

The years just flow by, like the scenery one takes in, while looking out the window of a passenger train.

These images all exist as metaphors in the journey we call life.

Music is our most trusted companion.

Music never lets us down.

I’m the Slime – Frank warned us. #MusicisLife #TedTocksCovers

Let’s play a little ‘Who Am I’ with Frank Zappa & the Mothers.

Here is ‘I’m the Slime’. It is still oozing from the video half a century after its release.

It begins with a riddle, and concludes with Frank unveiling the answer to his question.

You can add Frank Zappa to the long list of acts that my friend Scott turned me on to in the second half of the ‘80s. All these years later I still gravitate to Frank Zappa’s music and philosophy with one thought in mind.

What would Frank have to say about ________?

The amazing thing is quite often Frank Zappa was addressing issues we hadn’t even contemplated, long before they were the topic de jour.

‘I’m the Slime’ is a case in point. While a generation was distracted by formulaic TV sitcoms, soap operas and pre-packaged news programs, the masters at the controls were running roughshod over their existence.

Sadly, this disturbing trend continues.

I am gross and perverted
I’m obsessed ‘n deranged
I have existed for years
But very little has changed
I’m the tool of the Government
And industry too
For I am destined to rule
And regulate you”

Frank Zappa

This never-ending test pattern coloured our conscience, and much to the dismay of the free-thinking and capable among us, it morphed into the living embodiment of evil taking over the White House with his mail order bride and an anchor baby. He had been apprenticing for years and through the art of the dubious deal, this entitled con man flipped a nation on its ear. It was like The Adams Family meets The Omen, offered through a puke orange lens.



I may be vile and pernicious
But you can’t look away
I make you think I’m delicious
With the stuff that I say
I’m the best you can get
Have you guessed me yet?
I’m the slime oozin’ out
From your TV set”

Frank Zappa

Thanks to the media, this monster dominated (dominates) the news cycle to such an extent that he is likely the most recognized scumbag in the world. If ratings are the measure, the mainstream networks will keep jamming this garbage down our throats, even if they destroy the free world in the process.

He is an instrument of destruction. And the people pulling the levers are counting their millions while those too stupid to think for themselves, wander around like zombies in a George Romero flick.



You will obey me while I lead you
And eat the garbage that I feed you
Until the day that we don’t need you
Don’t go for help… no one will heed you
Your mind is totally controlled
It has been stuffed into my mold
And you will do as you are told
Until the rights to you are sold”

Frank Zappa

There is one line in there that really stands out.

Until the day that we don’t need you.”

Frank Zappa

Anyone who follows the story of this immoral cretin, and the people who built him up know that once he is done with the sycophants who serve him, he casts them aside like a bag of garbage. This tendency goes to great extremes. He often denies every knowing the people who were closest to him. In his wake, is a vast trail of destruction.

Fortunately, ever so gradually many of these tools are finding themselves behind bars.

Maybe there is a ‘Stupid Law’?

They fucked around and they found out. Take these miscreants out of society for awhile and the world will become a better place. The wheels of justice are turning ever so slowly, and there will be a payoff for our patience…I hope.

Take it away Frank.



That’s right, folks…

Don’t touch that dial

Well, I am the slime from your video
Oozin’ along on your livin’ room floor

I am the slime from your video
Can’t stop the slime, people, lookit me go

I am the slime from your video
Oozin’ along on your livin’ room floor

I am the slime from your video
Can’t stop the slime, people, lookit me go”

Frank Zappa

Yep! When we allow ourselves to be hypnotized to this extent, we tend to get what we deserve. This is not exclusive to any one nation. In Canada, we are on the precipice of elevating another bad actor to similar status.

I am warning you…Pierre is a puppet.

Wake up people. Seriously!?

It is a formula. A recipe.

As long as there are people out there who desire power at all costs, and an unending quantity of lemmings who are willing to be spoon-fed propaganda in super-sized containers, the catastrophic trends will continue.

Those who orchestrate the message, know what they are doing. They understand their audience and they will do anything, and everything they can to produce the slime; or as the walking venereal disease Steve Bannon labels it; shit.

The real opposition is the media. And the way to deal with them is to flood the zone with shit.”

Steve ‘The Slime’ Bannon

Quite accurately, Joshua Benton of Nieman Lab has focused his attention on the internet as another instrument in channeling misinformation.

The Internet is an amplifier. It increases both the reach and awareness of society’s ills. As long as the root causes exist — and as long as there are people who seek power, wealth, or fame through exploiting them — things will keep getting louder.” 

Joshua Benton

I could go on forever.

The truth is, society would be well served to bring their focus back to their own community and build out from there. We need to focus on trusted and capable local news. There is value in seeing ourselves reflected in these stories. It is here that we truly get to know our neighbours and distill the truth.

The slime can be stopped. It is up to us to turn off the tap.

Moving on from the editorializing, one of the items related to ‘I’m the Slime’ that really captured me was the fact that Tina Turner and the Ikettes sang backup on this recording, and several others on the album ‘Over-Nite Sensation’. In this case, the Ikettes consisted of Turner along with Linda Sims and Debbie Wilson. The B-side of ‘I’m the Slime’ is ‘Montana. Listen for the Ikettes on this track as well.

For their efforts the Ikettes were paid $25 per hour for a total of $187.50 each for what amounted to a day’s work.

According to Frank Zappa, Ike Turner was not impressed with the end result and requested that the Ikettes not be credited for their contribution.

Just another funny anecdote from Frank Zappa’s eclectic world of creativity.

The trio also contributed to Zappa’s ‘Apostrophe’ album in 1974.

Discover it all for yourself, or listen for the first time again.

Celebrate people who matter.

Ted Tocks Covers offers Frank Zappa as today’s subject.

Move to Montana, which is figurative folks. In other words, find your own space and think for yourself.

By myself I wouldn’t
Have no boss
But I’d be raisin’ my lonely Dental Floss
Raisin’ my lonely Dental Floss
Raisin’ my lonely Dental Floss
Well I might Ride along the border
With my tweezers gleamin’
In the moon-lighty night
And then I’d Get a cuppa cawfee
N’ give my foot a push…
Just me ‘n the pymgy pony
Over the Dennil Floss Bush
N’ then I might just Jumb back on
An’ ride Like a cowboy
Into the dawn to Montana
Movin’ to Montana soon”

Frank Zappa

When you break it all down, this makes a whole lot more sense than the shit FOX NEWS and its’ copycat enterprises have been spewing for over three decades, while systematically destroying democracy.

You decide.

If you don’t believe me, listen to Frank.

If you don’t believe Frank…Move along.

I mean mosey all the way to Montana but when you get there, don’t turn right. Dig a hole and go all the way to Hell, because that is where you will find all of the disgraceful charlatans you so blindly obey. Take the Putin loving Cheato, and Steve Bannon too. Pat Robertson may be there to greet you.

While the cultist sheep wallow in their own shit, we can listen to a few cool covers and enjoy our day.

To begin, here is Dweezil Zappa and Zappa Plays Zappa from 2017. This is a blast.

“Take it away Dweezil.”

From the ‘Hysteria News Centre’ here is Brett William Dietz, featuring Jason Lindgren doing a unique take on Frank Zappa. They include some strong messaging.

You should keep voting.”

Brett William Dietz

But before you do, please take some time to educate yourself. This DOES NOT mean traditional media or diving into the shallow end of social media echo chambers. Actually, take some time to read a few books, or listen to some people who offer their expert background in whatever the discipline.

Gather information.

This is where the learning begins, and from this seed of knowledge we can make the world a better place.

Ignore the white noise. Destroy the slime.

It makes me feel good to know that Frank Zappa is resonating with new musicians. Enjoy this cover by Rubber Tea. This is fantastic.

The best way to end today’s post is by offering a live version of ‘I’m the Slime’ from Frank Zappa himself. This is from The Roxy Theater on Sunset Strip, West Hollywood all the way back in December of 1973. It was released in 2021 as part of a video package called ‘Roxy: The Movie’.

The video work is horrendous, but one of the drummers is Chester Thompson who went on to work alongside Phil Collins in Genesis.

Enjoy!

Now get up and change the channel.

Frank is talking to you.

Disorder in the House – The prophetic words of Warren Zevon. #MusicisLife #TedTocksCovers

Here is the rock and roll line of the century.

It was written by Warren Zevon a little over twenty years ago.

It’s the home of the brave and the land of the free
Where the less you know the better off you’ll be”

Jorge Calderon and Warren Zevon

Others may try to throw their hat in the ring, but none will achieve this status of profundity or soothsayer-like accuracy.

Warren Zevon released his phenomenal swan song known as ‘The Wind’ twenty years ago last month. On this day, a little over a week later Zevon succumbed to mesothelioma.

On several occasions Ted Tocks Covers has shared their adoration of Warren’s lyrical wit and wisdom.

‘Disorder in the House’ resides among his finest offerings. It is a bit of a parting shot at what he perceived to be a nation that was slowly unravelling. The song doles out line after line of jabs, like a blackjack dealer in Vegas.

Straight out of the gate, the imagery speaks to dissolution.

The tub runneth over
Plaster’s falling down in pieces by the couch of pain”

Either pay attention, and work to make things better or buy into the age of paranoia.

Time to duck and cover
Helicopters hover over rough terrain”

Millions opted to stick their head in the sand.

A little over a decade later, this dangerous path led to a little over 60 million ignorant sheep voting for a lifelong criminal and blatant grifter. This uneducated tool managed to occupy the White House for four years. He threatened to never leave. When he finally departed, he took everything, including the nation’s dignity.

The fragile country is still dealing with the fallout.

A few thousand disciples who apparently had nothing but time tried to assist in Lord Farquaad’s insurrection.

Zombies on the lawn staggering around”

Thankfully, these morons are being locked up, one after another in ‘Prison Grove’.

Each of these aimless losers were lucky that was all that happened.

Imagine if people of colour attempted to storm the U.S. Capitol Building?

I’ll help you.

They would have been shot dead.

The zombies still cling to the false premise that the 2020 election was stolen. They remain oblivious to reams of evidence to the contrary. Blindly, they hold on to portrayals of their cult leader as some combination of Ronald Reagan and Jesus. This is laughable on numerous levels.

Right down to the violence he inspired when he urged his flock of sheep to ‘storm the Capitol’.

Fight like hell…Stop the steal.”

Lard Farquaad

The ignorant throng chanted “Hang Mike Pence.”

The head of the crime family was pleased. He nodded his approval.

The mission was underway.

He was going to walk with them. Of course, the cowardly cretin did not.

Hours later, he professed his love for the ignorant throng. Of course, he would not have pissed on them if they were set on fire in the street. They were only a means to an end.

They were conned.

He has not been there for any of these idiots since, and now up to a thousand of them wallow away in jail.

That’s one place for them.

Among other things, the ‘Janaury 6 Committee’ concluded that the twice impeached President acted corruptly because he knew that attempting to stop the certification would be unlawful.

So yes; any comparisons to Jesus are unfounded. This imposter continued to show footage of January 6 at rallies through the first half of 2023. He revelled in the violent acts perpetrated by his cult.

Compare this to Jesus who addressed his disciples in this way when they drew weapons to fend off the soldiers who apprehended him on behalf of Pontius Pilote.

All who take the sword will die by the sword.”

Jesus Christ

The ‘Grifter in Chief’ was, and is, no Jesus.

Nor is he a Reagan. This is all a continuation of a story though. It all began long ago and it is by design.

There is a flaw in the system. The flaw is a grossly inadequate education system and a culture that exists from the top down, designed to keep its citizens poor, sick and stupid. The .5% want the other 99.5% fighting for the crumbs. They continue to exploit the masses, and the dumbest of the bunch seem content to do their bidding. Rather than recognize that they are being conned, they double down on their stupidity.

Insert eternal face palm emoji here.

The floodgates are open
We’ve let the demons loose
The big guns have spoken
And we’ve fallen for the ruse”

Here’s another gem.

Even the Lhasa Apso seems to be ashamed”

Name another lyricist who could offer such an allusion?

If for some reason, you still think I am wrong, please note that even the architects of this charade have turned on the ‘Liar in Chief’

Watch this clip of master manipulator and sycophant extraordinaire, Roger Stone.

https://twitter.com/RpsAgainstTrump/status/1698756488787878073?s=20

I’m done with this president. I’m gonna go public supporting impeachment—I have no choice. He has to go! Run again, you’ll get your fucking brains beat in.”

Roger Stone

Now, it must be said that I wouldn’t believe Roger Stone if he told me the sky was blue. He is among the worst of the worst, and he should have been locked away for life long ago, but these are his words. I agree with the final three he so eloquently chose.

Back to the song.

‘Disorder in the House’ is a dire warning to those paying attention.

The earth will open and swallow up the real estate”

Warren Zevon

It is here that Warren looks they dealer in the eye and plays his winning hand.

It’s the home of the brave and the land of the free
Where the less you know the better off you’ll be”

Warren Zevon

All the bets are off.

Warren wins.

Here is the full set of lyrics to this allegorical masterpiece.

Disorder in the house
The tub runneth over
Plaster’s falling down in pieces by the couch of pain

Disorder in the house
Time to duck and cover
Helicopters hover over rough terrain

Disorder in the house
Reptile wisdom
Zombies on the lawn staggering around

Disorder in the house
There’s a flaw in the system
And the fly in the ointment’s gonna bring the whole thing down

The floodgates are open
We’ve let the demons loose
The big guns have spoken
And we’ve fallen for the ruse

Disorder in the house
It’s a fate worse than fame
Even the Lhasa Apso seems to be ashamed

Disorder in the house
The doors are coming off the hinges
The earth will open and swallow up the real estate

I just got my paycheck
I’m gonna paint the whole town grey
Whether it’s a night in Paris or a Fresno matinee

It’s the home of the brave and the land of the free
Where the less you know the better off you’ll be

Disorder in the house
All bets are off
I’m sprawled across the davenport of despair

Disorder in the house
I’ll live with the losses
And watch the sundown through the portiere”

Jorge Calderon and Warren Zevon

On a handful of occasions Ted Tocks Covers has featured songs from ‘The Wind’ and on still more, we have taken a tour of his extraordinary library of music. I will tag those at the end of this post.

In the meantime, let’s enjoy the video of ‘Disorder in the House’ live from the floor. Bruce is having a great time. If you can sell ‘the Boss’ on a song, you know you have nailed it.

Watch Warren’s reaction in the documentary.

You are him.”

Warren Zevon

A priceless moment.

On this track, Warren and Bruce were joined by Zevon’s loyal friend and song-writing partner Jorge Calderon and prolific drummer, Jim Keltner.

Speaking of Jorge, here he is performing an acoustic set. No pretense, just the guy who worked alongside one of the greatest lyricists of our time.

Here are a few other Warren Zevon posts to enjoy.

Werewolves of London

Lawyers, Guns and Money

A Salute to Warren Zevon

Raspberry Beret

Mr. Bad Example

Certain Girl

Back in the High Life Again

Mutineer

Knockin’ on Heaven’s Door

Keep Me in Your Heart

On many occasions, I have seen Warren Zevon fans wonder aloud what would the astute observer of society think of everything that is going on presently and in the relatively recent past?

No doubt, he would have been appalled, and clearly, he would have offered a unique perspective.

But, it says here, he likely would have stopped long before the 24/7 coverage being offered by the mainstream media.

I don’t share your need to discuss the absurd.”

Jorge Calderon and Warren Zevon

Because, sadly the above-mentioned media seems committed to allowing themselves to be manipulated into presenting an ongoing promotion for the disgraced candidate to be.

It’s almost like they are being ordered from on high to sell the election for ratings.

They will make it close, even if it destroys the nation.

Disorder in the House…

Wash…rinse…repeat…

Karma Chameleon – A karmic boost from Boy George forty years later. #MusicisLife #TedTocksCovers

Today’s feature is a prime example of an artist’s creativity putting the creator’s world on full display, yet the full context of the lyrics was not revealed until years later.

Be prepared, because there is a lot to unpack here. Like every chameleon there are several layers to peel back.

We know now that when Boy George was writing songs like ‘Do You Really Want to Hurt Me’ and ‘Karma Chameleon’ he was taking himself through a form of personal therapy, trying to navigate the complications of a relationship he was having with his drummer, Jon Moss.

Hindsight is always 20/20, but it is quite evident that the lyrics demonstrate Boy George’s effort to communicate with Moss through his written word.

Ever articulate, and deeply profound; Boy George managed to present a broader context to this popular song when asked to explain the meaning.

The song is about the terrible fear of alienation that people have, the fear of standing up for one thing. It’s about trying to suck up to everybody. Basically, if you aren’t true, if you don’t act like you feel, then you get Karma-justice, that’s nature’s way of paying you back.”

Boy George

Herein lies the value of ‘Karma Chameleon’. As the messenger, Boy George was able to send an appeal to his massive following.

Do not be afraid to be yourself. Be genuine; an individual who lives with unbridled conviction. Because if you don’t ‘karma-justice’ will come calling.

Now let’s be clear. When Culture Club released ‘Karma Chameleon’ forty years ago today, Boy George was a general in a relatively small army. What he was saying, and doing took an infinite amount of (I use the word again) ‘conviction’ and courage.

Fortunately, to a certain degree, our generation was receptive.

‘Karma Chameleon’ became Culture Club’s top selling song. In the United Kingdom alone the song was the #1 single of 1983. In Canada, ‘Karma Chameleon’ was #1 for seven weeks and, here is an interesting fact. It became the first single performed by a group to sell over one million copies.

Naturally, when a song like ‘Karma Chameleon’ hits the airwaves, listeners will gravitate to the song’s pure musical aesthetics, but there was definitely a visual appeal. Buoyed by the popularity of ‘Do You Really Want to Hurt Me’ and the surge of music videos, Boy George became an international phenomenon.

For the record, Boy George wrote ‘Karma Chameleon’ while gathering his thoughts on vacation in Egypt. It began as ‘Cameo Chameleon’ before being slightly altered to capture the true hook.

Upon release, karma was indeed, instant…with apologies to John Lennon.

There’s a loving in your eyes all the way
If I listened to your lies would you say

I’m a man without conviction
I’m a man who doesn’t know
How to sell a contradiction
You come and go
You come and go

Karma Karma Karma Karma Karma Chameleon
You come and go
You come and go
Loving would be easy if your colors were like my dream
Red, gold and green
Red, gold and green

Didn’t hear your wicked words every day
And you used to be so sweet I heard you say

That my love was an addiction
When we cling our love is strong
When you go you’re gone forever
You string along
You string along

Karma Karma Karma Karma Karma Chameleon
You come and go
You come and go
Loving would be easy if your colors were like my dream
Red, gold and green
Red, gold and green

Every day is like survival
You’re my lover not my rival
Every day is like survival
You’re my lover not my rival

I’m a man without conviction
I’m a man who doesn’t know
How to sell a contradiction
You come and go
You come and go

Karma Karma Karma Karma Karma Chameleon
You come and go
You come and go
Loving would be easy if your colors were like my dream
Red, gold and green
Red, gold and green
Karma Karma Karma Karma Karma Chameleon
You come and go
You come and go
Loving would be easy if your colors were like my dream
Red, gold and green
Red, gold and green
Karma Karma Karma Karma Karma Chameleon
You come and go
You come and go
Loving would be easy if your colors were like my dream
Red, gold and green
Red, gold and green
Karma Karma Karma Karma Karma Chameleon
You come and go
You come and go
Loving would be easy if your colors were like my dream
Red, gold and green
Red, gold and green

Boy George, Jon Moss, Mikey Craig, Roy Hay and Phil Pickett

As is so often the case, the catch line in ‘Karma Chameleon’ bore a resemblance to a 1960 song.

So, there was a lawsuit.

It took a while, but a few years after the release of ‘Karma Chameleon’, Jimmy Jones sued Virgin Records and by Extension Boy George and Culture Club for a copyright infringement. It was Jones’s contention that the hook for his 1960 song ‘Handy Man’, which he co-wrote with the great ‘Otis Blackwell (see ‘Return to Sender’, ‘Great Balls of Fire’, ‘Fever’ and ‘All Shook Up’) was used by Culture Club in their recent hit.

Here is ‘Handy Man’.

This is the primary contention by the plaintiff.

The portion of the chorus which was added to the 1960 version of “Handyman” namely: “come-a, come-a, come-a, come-a-” is infringed by the chorus of “Karma Chameleon” which consists of the words: Karma, Karma, Karma, Karma Karma, Chameleon.

Jones v. Virgin Records, Ltd.

Plaintiffs argue that the allegedly infringed portion of the 1960 version is an important part of that work which constitutes the “hook” or “eye-catcher” and suggest that it was in large part responsible for the financial success of the song.”

So, essentially the framework surrounding the variation of one word became the foundation of this suit.

In the end the court found that;

 A music roll for mechanical pianos did not constitute a “copy” of the recorded music and hence was not an infringement of it. From this result it was logical to conclude that if the infringing music roll was not a copy of the composition so as to cast its maker in liability, the creation of a music roll by the author himself would not make it a “copy” of his work and hence not a publication of it.”

Jones v. Virgin Records, Ltd.

As things wound to a conclusion, Culture Club and Virgin Records agreed to pay Jimmy Jones’s attorney’s fees.

Boy George summarized things in this off-handed way.

I might have heard it once, but it was certainly not something I sat down and copied. We gave them ten pence and an apple.”

Boy George

Time to move on.

As I have often said, in Ted Tocks Covers, I frequently arrive late to the party. Usually, I am delivered by an unexpected source. Here, I gain a perspective on music that up until that point I had not considered.

For ‘Karma Chameleon’ it came in the form of a Rolling Stone magazine interview with Bob Dylan. During the interview the writer alludes to Dylan wandering off in thought and then grabbing a harmonica and playing the harmonica solo from ‘Karma Chameleon’. This gave me pause for thought. I did like the harmonica part, and with Dylan’s endorsement I paid even more attention.

So, who, was it that played this integral part of the hit song?

Look no further than Judd Lander of The Hideaways. Judd was part of the Merseybeat era. The Hideaways played the legendary Cavern Club in the shadow of The Beatles over 250 times. As a performer, Lander cultivated a relationship with blues legend, Sonny Boy Williamson. Over the years Judd Lander became an in-demand session player. His credits include: Billy Preston, Michael Jackson, Paul McCartney, Nazareth, The Proclaimers, Kirsty MacColl, Prefab Sprout, The The, Madness, Tina Turner, and Annie Lennox among many others.

Judd Lander is also credited with the great performance on ‘Church of the Poison Mind’ which was the advance single for the Culture Club’s 1983 album ‘Colour by Numbers’.

Here is a fun clip of Judd Lander saying hello to his fans after a night out at the pub.

After this fun connection, I have to share ‘Church of the Poison Mind’ which is my favourite Culture Club song.

Desolate loving in your eyes
You used an’ made my life so sweet
Step out like a God-found child
I saw your eyes across the street

Who would be the fool to take you
Be more than just kind
Step into a life of maybe
Love is hard to find”

Roy Hay, Mikey Craig, Boy George and Jon Moss

While I was researching today’s post, I discovered this interesting and very revealing interview between David Letterman and Boy George. For what it’s worth, I consider this a must watch.

Boy George literally educates David over the course of this ten-minute interview. You can almost sense the transformation. I had never seen this before, and I have no definite context for making this claim, but I suspect this interview played a role in helping Letterman develop his reputation as one of the most essential and progressive-minded talk show hosts and interviewers of an era.

He struggles for the right words early in the interview, but being the true professional he is, he adapts on the fly.

How long have you been ‘appearing’ this way?”

David Letterman

This does not come from a place of denigration. It is a matter of curiosity and a desire for understanding and perspective.

When Boy George states unequivocally;

Well, since birth…It’s a natural thing for me.”

Boy George

At this point he entire tone of the interview changes because David Letterman is offering a safe space and Boy George is opening the door to a line of questioning that will allow his audience to empathize. On a few occasions Boy George subtly chastises the audience for what can be construed as mockery.

I can’t help but feel, Boy George won over the majority of David Letterman’s huge audience on this night.

In many ways we have come a long way in forty years.

But, there is a strange dichotomy.

As I say this, I can’t help but add that far too often we also seem to have regressed. This of course is a direct shot at radical right political factions the world over who are committed to denigrating any individual or group who present differently in any way.

This is fear based. Issues are being presented as a wedge in order to pit people against each other. The idea that any one group is being granted basic human rights has become an affront to others, who feel somehow their autonomy is being threatened.

The division is by design. As long as the architects of this hatred can create targets for people’s vitriol, they will continue their efforts to dismantle the freedoms of any marginalized group.

This is part of an old and tired playbook, perpetrated by evil megalomaniacs for centuries. Many of these cretins use religion as a veil, because somehow they feel whatever ‘God’ they worship would join them in their poisonous mission.

They know who they are. They are disgraceful.

The threat is real. The distraction is intentional.

Like Boy George says…

Well, America.”

Boy George

Enough said.

Three years later, Boy George’s crusade continued, and it is clear that he had made some inroads. The creators of ‘The A Team’ had he and Culture Club as special guests on an episode called ‘Cowboy George’.  

Here is a fun clip.

Here is Boy George’s recollection.

The last day’s filming was the pinnacle of cringe. I felt and looked like a total prat. For the rest of the day everyone was calling me Rambo.”

Boy George

Apparently, Boy George and Culture Club were paid $100,000 for the appearance. Through a series of mis-adventures they ended up taking their act to a country bar. The unlikely performers ultimately gain the acceptance of the rough crowd that includes the A-Team.

This episode represents a microcosm of the band’s quest for global acceptance in a hostile environment.

Before I move on to the covers, I want to share this parody by Moe Bandy and Joe Stampley called ‘Where’s the Dress’.

They attempt to pass if off as satire.

Listen….

Here is a passage that most likely had a strong appeal to the parents of people who are drinking up ‘Try that in a Small Town’ in ten gallon gulps.

Moe, I saw it on the TV, and

I thought it was a shame.

It was a man dressed like a

woman, and he had a boy’s name.

Well, I heard it on the radio,

while I was in the tub.

Now Joe, what in the world is this

thing they call the Culture Club?

Well it’s some old boy

from England, Moe,

And he’s making a million bucks.

Joe, we’ll never make a million

. . . driving these old trucks.

Too many nights of drinking,

losing football bets,

Lately we’d do anything to

get us out of debt . . .”

Moe Bandy and Joe Stampley

I am not sure the 1984 country audience was ready to accept the nuance the songwriters claim they were trying to convey.

Ultimately, Boy George sued them for stealing his opening. The suit was settled out of court.

Now we head into a handful of cover versions.

We begin with a reggae approach released in 1983, very soon after the Culture Club released the original. This Althea Ranks dub rendition offers a dreamy groove.

On a handful of occasions Ted Tocks Covers has had the honour of sharing a collaborative known as Choir Choir Choir. This is based out of a Toronto post Pride Month event.

The unity is heartwarming.

Here is a note from the Choir Choir Choir team.

Last week, we capped off Pride Month with Culture Club’s Karma Chameleon, after singing it a bunch of times up and down the Pride Parade. Beautiful tune, with a powerful message – let’s not forget it!”

Choir Choir Choir

Thirty to forty years later Boy George’s message is definitely not forgotten. At least by those who are paying close attention to the news cycle.

In an effort to continue a pattern of unique styles, here is the Tino Reyes Trio and a very effective Bossa Nova take on ‘Karma Chameleon’. Really nice.

 Finally, we head down to Texas and that pocket of the state that seems to be an outlier. Austin bucks the trend. While the majority of the state seems content with overt racism, transphobia and homophobic conjecture, while the killing of innocent children in schools is tolerated, this city holds onto some semblance of progressive politics.

Maybe evil ol’ Governor Greg Abbott should grab a ukulele and chill a little?

There are many villains in U.S. politics at present. ‘Wheels’ is among them.

To paraphrase Bruce Cockburn…

“If a tree falls on a scumbag, should anybody care?”

To this observer, when you play your hand in this way, you lose your human card.

People like Greg Abbott represent the worst of humanity. It’s a shame they walk among us, but all we can do is expose them, and condemn them in no uncertain terms.

Stand by your conviction, and do you best to avoid contradiction.

A Mini Tribute to #JimmyBuffett – Short and bittersweet. #MusicisLife #TedTocksCovers

It seems hardly a week goes by where the music world doesn’t lose an iconic talent.

A quick check of my Facebook stream made me do a double take. My friend Mike posted. “RIP Jimmy Buffett”

No!

Sure enough, the legendary singer, song writer died late Friday night after a short illness.

“Jimmy passed away peacefully on the night of September 1st surrounded by his family, friends, music and dogs,” a statement on his website said. “He lived his life like a song till the very last breath and will be missed beyond measure by so many.”

The fact he was dealing with health issues was well documented. He cancelled a series of shows in May.

My appreciation of Jimmy Buffett can be attributed to my friend Scott. In fact, every time I hear Jimmy I think of Scott and all the good times. I once re-wrote the lyrics of ‘Margaritaville’ as tribute to Scott and his somewhat eccentric ways. Right now, I wish I could put my hands on that momentary stroke of the pen. Man, we had a ton of laughs, and the music of Jimmy Buffett was a key part of the soundtrack.

As I type, a tear falls from my eye. I just can’t help it.

But life goes on.

We hold on to the memories. Cherish the good times.

Jimmy Buffett was a unique talent. His songs are eternally accessible. He had cross genre appeal, and he had an ability to bring people of all political ideologies together.

It was this persona that made him eternally likeable.

Of course, the fact he wrote some incredible songs through the years certainly helped. While casual admirers of Buffett’s work pointed at ‘Margaritaville’ as his signature song, I always gravitated to his more philosophical work. Here I will share ‘Son of a Son of a Sailor’ and ‘He Went to Paris’.

Here is ‘He Went to Paris’

Both to me, are musical and lyrical masterpieces.

Like Mike said; Jimmy please rest in peace.

Enjoy a ‘Cheeseburger in Paradise’…

…In the meantime, the millions who adored you and your music will waste away in ‘Margaritaville’.

‘Come Monday’ it will be alright.

Because somehow, every time we lose the artists we love, the music they leave behind makes us all feel just a little bit better.

In a world that sometimes doesn’t make any sense, this is one thing we can count on.

Cheers Jimmy!

Thank you for making me appreciate life just little bit more.

Thank you for making me appreciate the characters who define my experience, and most of all, thank you for making me smile.

Renegade – A musical indoctrination on a lazy summer’s day. #MusicisLife #TedTocksCovers

I have said it before and no doubt, I will say it again.

Music has the ability to transport a listener back to a specific time and place. Its power to evoke specific memories related to where you were and what you were doing can be felt like few other mediums. Today’s post will demonstrate this point with a little bit of help from ‘Pieces of Eight’ by Styx.

Styx released ‘Pieces of Eight’ on this day forty-five years ago.

Here is the full album.

In a radio interview around the time of its release, Styx keyboard player stated that the general theme of the album was built around;

Not giving up your dreams just for the pursuit of money and material possessions.”

Dennis DeYoung

At the time, Styx was a band on the rise. They were coming off the success of ‘Grand Illusion’ so fan expectations were high. Interestingly, impressions of Styx were divided among the critics of the day.

Renowned Rolling Stone music critic, Lester Bangs laid this gem on his readership, and the band.

What’s really interesting is not that such narcissistic slop should get recorded, but what must be going on in the minds of the people who support it in such amazing numbers. Gall, nerve and ego have never been far from great rock & roll. Yet there’s a thin but crucial line between those qualities and what it takes to fill arenas today: sheer self-aggrandizement on the most puerile level. If these are the champions, gimme the cripples.”

Lester Bangs

It says here that if ol’ Lester thought he knew narcissism it’s too bad that he is not around to hold Rudy ‘Colludy’ Giuliani’s quadruple scotch on ice and wait ten seconds.

Nevertheless, like ‘Grand Illusion’, ‘Pieces of Eight’ went to Triple Platinum in sales and rose to #6 on the Billboard album chart.

From the perspective of a fresh-faced eleven-year old kid who was just beginning his journey into the vast forest of rock and roll, Styx captured the imagination.

Right from the opening of ‘Great White Hope’ the album spoke to me. It felt…optimistic.

Like a triumph.

Those who were listening felt they were going to rise above any and all obstacles and succeed. The path would unfold before you. Just believe.

As a preadolescent, I was definitely not analyzing things to this degree but I can definitely say that ‘Pieces of Eight’ grabbed me by the throat. I was captivated, if not (yes, Lester could be right) just a little impressionable.

It was a summer afternoon in what must have been 1979. I was hanging out with my friends Nick and Susan. We were at Susan’s house killing time when she brought out some of her older brother, Simon’s albums.

One of the albums was ‘Pieces of Eight’ by Styx.

I distinctly remember the songs washing over me like a waves. I felt in tune with the basic element of what the songs were saying. Following ‘Great White Hope’ the invigorating ‘I’m O.K.’ made me feel insurmountable. Side two began with ‘Blue Collar Man’ which was fortified with Dennis DeYoung’s supercharged keyboard introduction. It was all enthralling. It felt cinematic.

But when Tommy Shaw’s introductory vocal in ‘Renegade’ came over the speakers I nearly fell off the couch. I mean he was really telling a story.

His tale of a desperado who had spent years evading the law in the Wild West, before finally being caught was captivating. This was the bridge between the adventure stories that captivated the younger version of me. Once again, I was struck by the realization that song writing would become a passion that would carry me all the way to the present day. I learned that music and lyrics, even in a five-minute song could essentially present as an entire motion picture if we just closed our eyes and listened…and imagined.

I just wanted to listen to ‘Renegade’ over and over again. I couldn’t get enough of this song. The way it builds. How could anyone not pay attention.

If the essence of a song can be derived from wanting to know more, then ‘Renegade’ hit the mark. The narration comes from a man who is sentenced to the gallows after allegedly living a life of crime. For Tommy Shaw, it wasn’t even something he spent a lot of time thinking about.

It’s one of those songs that kind of wrote itself. I was in my house in Michigan, 1978, at the piano. I came up with this slow, dirge-y thing, very dark. I just started singing, and those are the first words that came out (‘Oh, mama I’m in fear for my life…’). I’ve never been in trouble with the law – I don’t know where it came from.”

Tommy Shaw

If the listener desires, they can create their own story, in terms of what happened leading up to the time of writing and what happened after the letter was sent.

I can only imagine there would be countless versions of this old style Western.

Each has the potential to be a spellbinding tale.

Quentin Tarantino, if you are out there. I think this has potential.

Renegade was released as the third single from ‘Pieces of Eight’ in March of 1979.

Without further-adieu, here are the lyrics many among us already know.

Man! This takes me back.

Oh, Mama, I’m in fear for my life from the long arm of the law
Law man has put an end to my running and I’m so far from my home
Oh, Mama I can hear you a-cryin’, you’re so scared and all alone
Hangman is comin’ down from the gallows and I don’t have very long

The jig is up, the news is out
They’ve finally found me
The renegade who had it made
Retrieved for a bounty

Never more to go astray
This will be the end today
Of the wanted man

Oh, Mama, I’ve been years on the lam and had a high price on my head
Lawman said, ‘Get him dead or alive.’ Now it’s for sure he’ll see me dead
Dear Mama, I can hear you cryin’, you’re so scared and all alone
Hangman is comin’ down from the gallows and I don’t have very long

The jig is up, the news is out
They’ve finally found me
The renegade who had it made
Retrieved for a bounty

Never more to go astray
The judge will have revenge today
On the wanted man

Oh, Mama, I’m in fear for my life from the long arm of the law
Hangman is comin’ down from the gallows and I don’t have very long

The jig is up, the news is out
They’ve finally found me
The renegade who had it made
Retrieved for a bounty

Never more to go astray
This will be the end today
Of the wanted man

The wanted man
And I don’t wanna go, oh, no
Oh, Mama, don’t let them take me
No, no, no, I can’t go
Hey, hey”

Tommy Shaw

Here is a phenomenal live version from forty years ago. I am throwing the years around like candy at a parade. Forty years seems like yesterday.

Let’s take a quick run through the covers.

Here is a strong take from a band called Shallow Side in 2016. This Alabama outfit has been described as a combination of post grunge angst and alternative rock.

My ‘Renegade’ exploration led me to this unique version by the Bardbarians. They slightly modify the lyrics and then take the presentation to an acapella style with a subtle drum accompaniment  

Now for a really cool encore.

I was drawn to the possibility of this performance that features Tommy Shaw and the Contemporary Youth Orchestra in 2016.

CYO is a place where the first sparks of true musical talent are given the opportunity to explode symphonically in a group of their peers. And then bring it to the stage performing the music of living composers. Brilliant!!!”

Tommy Shaw

Let me say that it starts out a little sluggish but it quickly builds to an extraordinary level. By the time Shaw takes a solo the crowd is captivated. Then he hands the reigns to a talented violin player who takes the song and runs.

Just fantastic. This sent chills up and down my spine. Totally moving.

Moving back to the memories that inspired this post, I have a few other recollections from that day, four and a half decades ago.

Two other albums Susan spun on her turntable were Ian Drury and the Blockheads, ‘Sex and Drugs and Rock and Roll’

Sex and drugs and rock and roll
Is all my brain and body need
Sex and drugs and rock and roll
Is very good indeed”

Ian Drury and Chaz Jankel

To my innocent ears, this was a real wake up call.

And, from the Sex Pistols generational classic, ‘Never Mind the Bollocks, Here’s the Sex Pistols’ here is the class struggle anthem ‘Anarchy in the U.K.’

Is this the M.P.L.A
Or is this the U.D.A
Or is this the I.R.A
I thought it was the UK
Or just
Another
Country
Another council tenancy”

Paul Cook, Steve Jones, John Lydon and Glen Matlock

And for good measure…

There is no future and England’s screamin’.”

Paul Cook, Steve Jones, John Lydon and Glen Matlock

I had no concept of the sociological implications of what I was listening to, but I had a basic understanding that this was pure rebellion. Both Susan and Nick’s parents were English. Great people! I was wondering, what were they thinking? I felt rebellious just listening to Johnny Rotten.

By the time I was listening to this album, the Sex Pistols had broken up. This dissolution was announced in at San Francisco’s Winterland Ballroom in January of 1978.

Johnny Rotten’s intial farewell message was;

Ah-ha-ha. Ever get the feeling you’ve been cheated? Good night!”

Johnny Rotten

Sid Vicious had died of a heroin overdose in February of 1979. I recalled the headlines, but I had never sat and listened to the music.

Until this lazy summer day…

…Looking back; this day was an indoctrination and I was a receptive audience.

Rock and roll became my religion.

So, there you have it. A day in the life of a budding music lover. Great memories of music and life.

Cheers to you Nick and Susan. A big thank you.

I am sure everyone reading has a similar story.