Ted Tocks Covers Hall of Fame Year Six Inductees.#MusicisLife #TedTocksCovers #BruceSpringsteen #TheKinks #GordonLightfoot #PearlJam #EddieVedder

In January of 2021, Ted Tocks Covers began a fun tradition.

Welcome to year six of the Ted Tocks Covers Hall of Fame. Once again, four (five) significant acts will be added to the 20+ groups, artists and lyricists that have been appointed by this panel of one.

If you are a recent follower of this feature, here are the previous five.

Ted Tocks Covers Hall of Fame – Year One Inductees

  • The Beatles
  • The Rolling Stones
  • Led Zeppelin
  • Willie Dixon

Ted Tocks Covers Hall of Fame – Year Two Inductees

  • Rush
  • Warren Zevon
  • Grateful Dead and Robert Hunter
  • John Prine

Ted Tocks Covers Hall of Fame – Year Three Inductees

  • Bob Dylan
  • Neil Young
  • Tom Petty and the Heartbreakers
  • The Tragically Hip

Ted Tocks Covers Hall of Fame – Year Four Inductees

  • Aretha Franklin
  • Linda Ronstadt
  • Elvis Presley
  • Joe Cocker

Ted Tocks Covers Hall of Fame – Year Five Inductees

  • The Who
  • Pink Floyd
  • BernieTaupin/Elton John
  • David Bowie

This annual project has become a personal favorite. It is a labour of love, despite the fact that narrowing the selection down to just four inductees remains a major challenge. The most rewarding part of this exercise is the opportunity to revisit a wealth of incredible music, carefully considering each artist’s impact on the music industry, society as a whole, and more specifically their contribution to the world of cover versions.

Best of all, I promise to do everything in my power to remain on the Ted Tocks Covers Hall of Fame Board of Directors. Don’t laugh. This prestigious ‘Board’ has more integrity than the ‘Board of Peace’ and the associated membership is far more prestigious than the decaying remnants of what was once the Kennedy Centre who’s members seem to be KISS, whatever remains of The Village People and Lee Greenwood.

This year’s inductees represent the very foundation of my musical journey, which began in my bedroom at the age of eleven, and has only grown since. The countless hours I have spent listening to these artists over the last five decades is immeasurable. In many ways, they are the reason I launched Ted Tocks Covers over eight years ago—this project stems from a simple desire to share my love of music with you. These legendary artists changed the direction of music. They reflect their audience and reimagined how performance and lyricism could inspire a deeper look at the world we live in. From that perspective, they clearly belong in this “quaint” Hall of Fame.

The common denominator for each of this year’s honourees is their relatability. However, the broader story lies in the global range of their influence and the undeniable merit of their brilliant catalogues of music. They have inspired generations of musicians and their music remain truly essential, and eternally timeless.

They perfectly define why I started this journey and why I created the Ted Tocks Covers Hall of Fame.

So, here they are.

We begin with Bruce Springsteen.

Bruce Springsteen really needs no introduction. As a songwriter, and bandleader he has built a career that has made him one of the most influential figures in modern rock music and public life. It was all built on a foundation of guts and valour. To many, he is ‘The Boss’, known for his musical integrity which translates most prominently through his powerful live shows, poetic lyrics, and a deep connection to everyday people.

Springsteen was born in 1949 in New Jersey and began playing in local bands as a teenager. In 1973, he released his debut album, which showed his skill as a storyteller and began his focus on the heartbeat that defines American life. It is here that his songs have become transcendental to the point of being prophetic. Passages like this from ’The Promise’; an unreleased song captured the shattered dream of some, in the late ‘70s, but in the present day it represents the depths people will sink when they fall through a crack in the ice, and sacrifice anything within themselves that represents kindness, humility or empathy.

“When the promise is broken
You go on living, but it steals something from down in your soul
Like when the truth is spoken, and it don’t make no difference
Something in your heart turns cold”

How did he know?

Everything changed for Bruce in 1975 when the blood, sweat and tears he poured into ‘Born to Run’ made him a star. The title track became an anthem about escape, hope, and the desire for a better future. A half century later it is still a showstopper and every member of his adoring audience not only hang on every word, the sing along like their very existence depends on it.

In the 1980s, Springsteen became a pioneer of heartland rock, blending mainstream rock with socially aware lyrics about the struggles of ordinary Americans. It was this era that reflected the extremes of Bruce Springsteen’s rock and roll persona. From the heartfelt and soul-searching songs from ‘Nebraska’ he redefined the will of an artist who wanted to things his way. Commercialism, be damned. For many Springsteen fans, ‘Nebraska’ is a favourite. It’s mine. From ‘Nebraska’ he went on to create ‘Born in the U.S.A.’ in 1984. This explosive album produced several hit singles that continued to speak about the difficult experiences of Vietnam veterans and the working class. Many of the tracks were grossly misunderstood by an oblivious mainstream audience and an embarrassingly out of touch ‘President’ as patriotic; an interpretation that continues to the present. Over his career, Springsteen has sold more than 140 million records worldwide and has received countless accolades, including Grammy Awards, an Academy Award, a Special Tony Award, and the Presidential Medal of Freedom. Mercifully, this was presented by President Barack Obama in November of 2016.

“As a songwriter, a humanitarian, America’s rock and roll laureate, and New Jersey’s greatest ambassador, Bruce Springsteen is, quite simply, The Boss. Through stories about ordinary people, to Vietnam veterans to steel workers, his songs capture the pain and the promise of the American experience. With his legendary E Street Band, Bruce Springsteen leaves everything on stage in epic, live, communal live performances that have rocked audiences for decades. With empathy and honesty, he holds up a mirror to who we are, as Americans chasing our dreams, and as human beings trying to do the right thing. There’s a place for everyone in Bruce Springsteen’s America.”

Looking back on the timeline, we can see the decade long storm of raging chaos forming on the horizon. Fortunately, Bruce Springsteen is still raging against the machine. Every time I hear Bruce share his passionate song introductions I stop and listen. So galvanizing. So eloquent.

But when he counts the E Street Band in, we are all taken to another world. It’s a world of possibility. It’s inclusive. It’s a place that good triumphs over evil. The avenue called ‘Thunder Road’ which takes the people to the meeting place where they congregate for ‘The Rising’.

Springsteen’s contribution to contemporary society goes beyond record sales and concerts. His songs often highlight economic inequality, the dignity of work, and the challenges faced by marginalized groups, helping listeners see these issues in human terms. He has supported labor unions, veterans’ causes, and AIDS awareness, using charity concerts and public statements to push for social and economic justice.

After the 9/11 attacks, his album ‘The Rising’ offered themes of resilience, grief, and hope, becoming an important cultural response to national tragedy. In recent decades, he has continued to speak about current events, encouraging civic engagement and empathy, while inspiring new generations of musicians who see his honest storytelling as a model. Through his music and activism, Springsteen has become a lasting symbol of conscience and community in contemporary society.

At the end of every hard-earned day people need some reason to believe.

I believe in Bruce Springsteen.

Here is Bono offering his Rock and Roll Hall of Fame induction speech.

Take some time and explore this group of Ted Tocks Covers features the include both Bruce Springsteen originals and a nice array of heartfelt cover versions.

As mentioned, here are the cover versions performed either alone, along with the E Street Band or on stage with an impressive list of huge names, often for an important cause.

Here is Bruce Springsteen’s acceptance speech from that night in 1999 when he was inducted into the Rock and Roll Hall of Fame.

“My parents experience forged my own. They reminded me what is at stake when you are Born in the U.S.A.”

It seems to me that 77 million Americans have wandered down a dead-end road.

Bruce Springsteen is still doing everything he can to bring the lost back into the fold.

Next up is The Kinks.

In many ways The Kinks presence on this list goes back to my earliest days as a music fan. This band’s presence is one more in a long line of acts that came out of the British Invasion. A quick calculation reveals that the majority of acts in Ted Tocks Covers Hall of Fame hail from England. Last year all five inductees came from that tiny island across the pond.

The success of posts featuring The Kinks within the Ted Tocks space is a matter of personal satisfaction because they have long been one of my favourite bands. Since 1983, I have maintained that the most fun I’ve ever had at a concert was courtesy of The Kinks, and specifically a result of Ray Davies ability as a showman. Fanboy Ted can officially state that he once touched Dave Davies’ guitar while standing in the front row of Maple Leaf Gardens during their 1985 ‘Word of Mouth’ tour.

Before I move on; every time I feature The Kinks I give a shout out to my online friend Dave who is the purveyor of www.kindakinks.net. Whenever I post a Kinks song I share it with him, and lo and behold the page views skyrocket. Yes, fans of The Kinks are good people, and these days good people need to stick together. Thanks Dave!

Over a dozen posts have featured The Kinks over the past eight years. They have accounted for over 4000 page views and counting, but that doesn’t tell the whole story. When I write about The Kinks I am taken back to a whole lot of good times. Many times, when people ask where the good times have gone, I share music, and oftentimes, that offering includes The Kinks.

The Kinks are the prototypical English rock band. They reflected London. Ray Davies’ sharp lyrics and Dave Davies’ innovative guitar sound made them one of the most influential groups of the 1960s and beyond. The Davies Brothers helped shape rock music and inspired later styles like hard rock, punk, and even what became labeled Britpop.

Famously formed in the early 1960s, The Kinks broke through with their 1964 single ‘You Really Got Me’, which reached number one in the UK and the Top 10 in the U.S. Its raw, distorted guitar riff was unusual for the time and is often seen as a foundation for hard rock and heavy metal. Through the mid-1960s they had a long run of hits, including ‘All Day and All of the Night’, ‘Tired of Waiting for You’, ’Sunny Afternoon’, and later ‘Lola’, each showing their mix of power and melody.

Ray Davies developed a reputation as a keen observer of everyday life, writing songs that commented on class, nostalgia, and social change in Great Britain. This is a band that was often ahead of its time. Several Kinks albums explored themes of tradition, identity, and resistance to modern pressures, which are still relevant today.

The Kinks’ contribution to contemporary society can be seen in both music and culture. Their songs challenged norms, told stories about ordinary people, and questioned authority, encouraging listeners to think critically about their own lives. Many later bands, including Blur and Oasis, have cited The Kinks as a major influence, helping to shape a new movement of chart toppers in the 1990s. This served to keep The Kinks spirit alive in modern rock.

Commercially, The Kinks have sold tens of millions of records worldwide, scored numerous Top 20 singles and albums, and earned honors such as induction into the Rock and Roll Hall of Fame and the UK Music Hall of Fame. Their lasting legacy is a body of songs that blend catchy music with thoughtful, sometimes critical views of society, making their work meaningful far beyond their original era.

Like I always say, time spent with The Kinks is time well spent. It’s like hanging out with an old friend.

Here is The Kinks Rock and Roll Hall of Fame Induction speech from January of 1990.

Take some time to enjoy a dozen Ted Tocks Covers features that focus on original songs by The Kinks from 1964 through 1984.

Lending to the Ted Tocks Covers mission of writing about original songs and then finding quality cover versions. This lineage frequently illustrates the acts that influenced the greatness that was to come.

Gordon Lightfoot becomes the fourth Canadian inductee into the Ted Tocks Covers Hall of Fame. He follows Rush, The Tragically Hip and Neil Young.

Gordon Lightfoot was a Canadian singer-songwriter whose thoughtful, poetic songs made him a major voice in folk and popular music from the 1960s onward. Often called “the voice of Canada,” he helped define the singer-songwriter era of the 1970s and became a source of national pride.

Lightfoot was born in 1938 in Orillia, Ontario, and showed musical talent early, singing in church choirs and local competitions before immersing himself in the Los Angeles music scene. He returned to Canada and became part of Toronto’s growing folk scene in Yorkville. Gordon Lightfoot’s song writing turned heads. His compositions were soon covered by artists like Peter, Paul and Mary,Bob Dylan and Elvis Presley. Famously, ‘Early Morning Rain” and ‘For Lovin’ Me’ presented a writer who aspired to blend simple melodies with deep emotion, and this is how Gordon Lightfoot’s music landed for six decades.

In the late 1960s and 1970s, Lightfoot rose to international fame with a litany of hit singles and albums. Songs like ‘If You Could Read My Mind’ ‘Sundown’, ‘Carefree Highway’, and ‘Rainy Day People’ topped the charts in Canada and the United States and sold millions of copies. His dramatic ballad ‘The Wreck of the Edmund Fitzgerald’ told the true story of a shipwreck on the Great Lakes, turning recent history into a haunting modern folk epic. Over his long career he recorded more than 200 songs, many of which became standards in folk and country music.

Lightfoot’s contribution to contemporary society lies in how his work expresses Canadian identity and universal human feelings at the same time. He wrote about landscapes, railroads, storms, love, regret, and loneliness in a way that helped listeners reflect on their own lives and histories. His ‘Canadian Railroad Trilogy’, for example, explores the nation-building story of the transcontinental railway, while also acknowledging the hardships and costs behind progress.

He received many honours, including multiple Juno Awards, induction into Canada’s Music Hall of Fame, and appointment as a Companion of the Order of Canada, the country’s highest civilian honour. As mentioned, many major artists, have covered his songs, showing the wide reach of his influence. All of these factors combine to make Gordon Lightfoot a perfect match for Ted Tocks Covers gold. Even after health challenges later in life, he continued to perform, becoming a symbol of dedication, resilience, and artistic integrity for generations of fans and musicians.

He was so beloved in Canada that a year after his death in May of 2023, 23 Canadian artists gathered together for this tribute show at Massey Hall in Toronto.

No artist in Canadian history has played this venerable venue more than Gordon Lightfoot. The number is thought to be 170 times.

What more can one say?

It was none other than Bob Dylan who offered this half-hearted mess of an induction speech back in 1990 on the occasion of Lightfoot’s appointment to the Canadian Music Hall of Fame.

Now here are a couple of relatively rare Gordon Lightfoot covers.

Last, but certainly not least, we now honour the youngest members the Ted Tocks Covers Hall of Fame. Let me introduce Eddie Vedder and Pearl Jam

Whenever Pearl Jam comes up associations to grunge music and the Seattle music scene are immediately conjured. One is taken back to the early 1990s and the rising tide of change in the music scene. Young music fans were bored. They needed something new. Something to call their own. Most importantly, it needed to be genuine. Pretenders need not apply. This is where integrity becomes an important descriptive term while describing Pearl Jam. It is this combination of qualities that allowed them to became one of the most essential groups of their generation. Known for emotional songs, intense live shows, and strong social values, they built a loyal global fan base that has lasted for over four decades.

Pearl Jam formed in 1990 after the breakup of another Seattle group, Mother Love Bone. Famously, guitarist Stone Gossard and bassist Jeff Ament teamed up with guitarist Mike McCready and singer Eddie Vedder. Their debut album ‘Ten’ was a huge success, staying on the Billboard charts for nearly five years and eventually going 13x platinum in the United States. Songs like ‘Alive’, ‘Even Flow’, and ‘Jeremy’combined heavy guitar riffs with lyrics about trauma, identity, and isolation, helping define the sound and mood of the grunge era. Led by frontman and primary lyricist, Eddie Vedder, Pearl Jam’s calling card remains their eternal relatability.

Throughout the 1990s, Pearl Jam released a series of acclaimed albums. They became known as one of the best live acts in rock. Getting back to the point of Pearl Jam’s integrity, they famously challenged Ticketmaster over high service fees, refusing to play many large venues rather than pass extra costs on to fans, which showed their commitment to fairness and artistic control. In 2017 they were inducted into the Rock and Roll Hall of Fame, validating their status as a legendary band.

Enjoy this introductory speech by the legendary late night talk show host David Letterman.

Pearl Jam’s contribution to contemporary society goes far beyond music charts. Their songs and videos have tackled issues like gun violence, mental health, and youth alienation, most notably in “Jeremy,” which was inspired by a real-life school shooting. Over time, they have become known for activism, supporting causes such as voting rights, environmental protection, and social justice through benefit concerts and campaigns.

In other words, Pearl Jam is a powerful voice raging against the disease that continues to plague a nation. It is Ted Tocks’ contention that the spotlight should remain on compelling voices like Eddie Vedder, rather than the dementia addled cretin who speaks to the so easily duped ‘red hat society’.

When it comes to the sociological significance of the finest acts in music history the focus begins with the lyrical content and the connection to their fanbase. People pay attention, and in time the global audience becomes something of a community; a movement. This is a true test of value. Here, I will give a nod to the Vitalogy Foundation

Pearl Jam’s Vitalogy Foundation is a public, non-profit organization created in 2006 by the members of Pearl Jam and their manager to turn the band’s values into real-world action. Its main goal is to support other groups that are doing strong, ethical work in key areas of community health, the environment, arts and education, and social change.

The foundation works in two main ways: as a donor and as an advocate. As a donor, Vitalogy gives money and resources to carefully chosen non-profit organizations whose missions match its own, often focusing on long-term impact rather than quick publicity. As an advocate, it helps raise awareness of important issues through events, campaigns, and partnerships, encouraging fans and the wider public to get involved.

Vitalogy places special emphasis on three urgent areas: the environment, homelessness, and indigenous causes. The foundation has supported efforts to reduce carbon emissions, protect oceans and wetlands, and address the human side of the climate crisis. It also backs programs that tackle homelessness through policy, services, and civic engagement, and it works with Indigenous and tribal communities that are often overlooked and under-resourced.

A unique feature of the foundation is how closely it is tied to Pearl Jam’s music and touring. For example, a portion of every ticket sold for the band’s U.S. concerts is directed to the foundation, turning live shows into fundraising events and giving fans a direct role in the group’s charitable work. Overall, the Vitalogy Foundation shows how a rock band can use its platform to consistently support human rights, environmental protection, and community well-being on a global scale.

This is what I mean by Pearl Jam’s transcendence. They are way more than a rock band. They are the leaders of a movement. These days, more than ever, this truly matters.

Here are a half dozen Pearl Jam originals which is light for a Ted Tocks inductee. Read on because the justification resides in what is to follow.

Here are three Eddie Vedder solo tracks.

Then, in an emphatic closing argument take some time to check out no less than 34 cover versions featuring Eddie Vedder and/or Pearl Jam.

Hopefully you can spend some time with today’s feature and explore these essential artists. There are 120 posts (some are duplicated) and I suspect well over 200 acts on display within these words. Each are sharing their take on a number of songs. In every case the musical timeline will flow back to the important artists honoured today.

I, as always write from the perspective of an awkward high school kid trying to understand his place in the world. The one thing these groups and individuals have in common is the fact that figuratively at least, they were right there with me.

Rock and roll flows from the bedrooms of our youth, and in many ways we all have our own little Hall of Fame?

Stay safe America!

You whole country is on fire.

Song Sung Blue – Anybody in the world can sing this song. #MusicisLife #TedTocksCovers #NeilDiamond

If there is a message in today’s feature it is to never underestimate the strength of your own convictions, even if what you say is delivered in the simplest phrasing. If you say what you mean and mean what you say, there is a good chance that your message will land with your audience.

‘Song Sung Blue’ by Neil Diamond is a prime example. Believe it or not, Neil’s impression of this timeless song was that it may be too simple to resonate with what at the time was his growing audience. In May of 1972 Neil Diamond released his eighth studio album. Truly in touch with where he was coming from, he called the album ‘Moods’. The album’s lead single and opening track was ‘Song Sung Blue’. To say this song set the tone for ‘Moods’ would be an understatement. An argument could be made that it was career altering. In the liner notes for his 1996 compilation album ’In My Lifetime’ he stated;

This is one to which I never paid too much attention. Very basic message, unadorned. I didn’t even write a bridge to it. I never expected anyone to react to ‘Song Sung Blue’ the way they did. I just like it, the message and the way a few words said so many things.”

In time, Neil Diamond began to introduce ‘Song Sung Blue’ in the live setting, in this way.

This is not a sad song. A sad song to sing when you’re alone. In its way a glad song. Yes, it’s a glad song. A simple tune that simply seems to make you feel good when you sing along.”

By the time Neil Diamond got to ‘The Greek’ on a ‘Hot August Night’ in 1972 his audience was right there with him. Lesser known in this story is the role that Lee Holdridge played in this evocative track. Holdridge orchestrated the songs for Neil Diamond’s magnificent tour in support of ‘Moods’ and Diamond’s career up to that time. Here is Holdridge’s summary of what Neil Diamond captured;

That was a moment you say, ‘Alright, that’s it, right there. I’d say Hot August Night was a turning point. That magnetism people associate with Neil Diamond was born on that night.”

When Neil Diamond put pen to paper for what was to become ’Song Sung Blue’ he was translating what Mozart was whispering in his ear in a composition from almost two centuries earlier. Mozart wrote his ‘Piano Concerto 21’ in 1785. Listen to the music.

Take the blues and make a song. Then sing the words over and again. Neil’s poetry not only resonated with his fans; they have sung the words back to him with a growing level of passion for over five decades.

With the power of hindsight, it is easy to say this connection was obvious, but Neil Diamond needed to be convinced. It was his Uni record label manager, Russ Regan who espoused the virtue of ‘Song Sung Blue’ and encouraged him to make it ‘Moods’ showpiece. Diamond was sceptical, suggesting that;

“Although the lyric says everything, I wanted it to say, there’s not much meat to it, but it turned out to be a major, major copyright.

These words are important because that is exactly what Russ Regan’s promise was. Regan said that if Neil listened to his advice ‘Song Sung Blue’ would become his “biggest copyright ever”.

Ultimately, this prognostication was proven true.

Here is the song with no bridge and not a lot of meat that has managed to say so much to so many since 1972.


Song sung blue, everybody knows one
Song sung blue, every garden grows one

Me and you are subject to
The blues now and then
But when you take the blues
And make a song
You sing ’em out again
You sing ’em out again

Song sung blue, weeping like a willow
Song sung blue, sleeping on my pillow
Funny thing,
But you can sing it with a cry in your voice
And before you know it get to feeling good
You simply got no choice

Me and you are subject to
The blues now and then
But when you take the blues
And make a song
You sing ’em out again

Song sung blue, weeping like a willow
Song sung blue, sleeping on my pillow
Funny thing,
But you can sing it with a cry in your voice
And before you know it start to feeling good
You simply got no choice

Song sung blue
Song sung blue
Funny thing,
But you can sing it with a cry in your voice”

‘Song Sung Blue’ climbed the mountain and managed to make it to #1 in July of 1972. It was his second #1, following 1970’s ‘Cracklin’ Rosie’. Here is ‘Cracklin’ Rose’ from ‘Hot August Night’.

The accolades for ’Song Sung Blue’ continued for several months. It lasted 12 weeks in the Top 40. By the time nominations for the 1973 Grammys rolled around it was up for Record of the Year and Song of the Year. It lost out to Roberta Flack’s celebrated performance of Ewan MacColl’s, ‘The First Time I Ever Saw Your Face’.

We are approaching exactly 53 years since the release of ‘Song Sung Blue’ and an argument that could be made that Neil Diamond has never been more popular. Through the years his engaging music has always been simmering in the background. His playlist of quality songs is an endless stream of great memories and flawless compositions. Much of this has led to an undeniable legacy. So, today as we celebrate his 85th birthday we should explore the most recent reason for his massive popularity.

The back story of ‘Song Sung Blue’ the film is fascinating because it shines a light on two unlikely heroes. It centres on a 2008 documentary about Mike Sardina and his wife Claire, who formed a Neil Diamond tribute act called Lightning & Thunder. Their story was made into a 2025 film also titled ‘Song Sung Blue’, starring Hugh Jackman and Kate Hudson as the featured duo.

Neil Diamond supported both films and was honored by Lightning & Thunder’s tribute. The films also got help from Eddie Vedder, who gave Lightning & Thunder a lot of exposure when he brought them on stage to perform at a Pearl Jam show in 1995.  Here is the footage from that Milwaukee show that appeared in the documentary directed and co-produced by Greg Kohs.

The ‘Song Sung Blue’ documentary premiered at the Siamdance Film Festival in January of 2008. This did not happen without obstacles. The unveiling of ‘Song Sung Blue’ was delayed while Kohs negotiated with Neil Diamond in order to gain approval to use his music in the actual film. Famously, it was Eddie Vedder who helped to convince Neil Diamond to let his songs be the cornerstone of the celebrated documentary. In an interview with Entertainment Weekly late in 2025, the director and writer of the movie adaptation of ‘Song Sung Blue’, Craig Brewer shared this interesting assessment. 

Eddie Vedder is the MVP of Lightning & Thunder. When the documentary that Greg Kohs made about Mike and Claire was about to have its premiere at a festival, and he got a cease-and-desist letter from Neil Diamond’s publishing company saying, ‘You can’t use the music, so you can’t show this movie.’ Eddie Vedder called up Neil Diamond, sent him the documentary, and said, ‘You gotta watch this and you gotta let them use the music.’ Neil Diamond saw the movie, he was so touched by it, and he intervened and told his publishing company to leave Greg alone and show the movie. So, Eddie, even, even to this day, has been such a support in telling the story of Lightning & Thunder.”

Continuing with the Eddie Vedder praise, he agreed to license the Pearl Jam song ‘Alive’ for ‘Song Sung Blue’ which effectively ties into the movie’s narrative as Mike and Claire prepare themselves to share the stage with the charismatic vocalist.

Famously Kate Hudson and Hugh Jackman not only played the part of Mike and Claire, but they also performed the music in the film. Here they are performing ‘Song Sung Blue’ which is obviously the central song in the film because it had long been Mike Sardina’s spiritual guide in helping his journey through the 12 steps of Alcoholics Anonymous.

Sadly, Mike Sardina died in 2006 so he was not able to see the Greg Kohs documentary that he inspired.

Getting back to Eddie Vedder; in one of several emotional moments in the film, the family is gathered as they prepared for Mike Sardina’s funeral A package was delivered by a courier along with the following note. Keep in mind that this happened 13 years after he shared the stage with Lightning and Thunder.

Time is long and life is short. It is with a heavy heart that I write this after hearing about Mike Sardina this morning. I’d been thinking of him recently. I still have his silk scarf and autographed photograph.

I’m sending something I wanted Lightning to have for years. I remember him saying that he had always wanted a real Gibson Everly Brothers guitar. I played it alongside Pete Townshend and Neil Young. I would use it and think of myself as if I was playing Lightning’s guitar.

Before he moves on, I would like this last opportunity to present it to him so he could have it on the road. I lift my eyes to the sky and make a toast to Lightning & Thunder, in love. Thanks for the music and the memories.

Your musical comrade, with love,
Eddie Vedder

For Neil Diamond, his decision to heed Eddie Vedder’s advice proved to be quite fruitful. In the end, Neil Diamond’s support for ‘Song Sung Blue’ was emphatic.

Tell everyone I love them and keep singing.”

Because it’s a funny thing. When you sing along to the music with a cry in your voice, before you know, you get to feeling good. Like Neil sang,


You simply got no choice”

This is a universal truth in these trying times.

Looking back, ‘Song Sung Blue’ was destined to be a winner.

Everything Kate Hudson and Hugh Jackman touch seems to be endearing. Remember Hugh Jackman in ‘The Greatest Showman’?

And who could ever forget what Kate Hudson did for Elton John’s Tiny Dancer in this scene from ‘Almost Famous’?

There is a fascinating lineage to the connections here, and how Neil Diamond’s music is a common link in a positive chain that has delivered ‘Song Sung Blue’ through the years.

If I am being completely honest the majority of cover versions of ‘Song Sung Blue’ from 1972 are mediocre at best. Let’s call it borderline karaoke. Beyond that I will mostly resist further comment, other than a very brief mention of the album that each of these well-known artists released their recordings on, all in the same year that Neil released his far superior original.

We begin with Bobby Darin from his 1972 television show.

Likely the best of the 1972 recordings is Percy Faith because he expanded on the orchestral vision of Neil Diamond and Lee Holdridge.

Next up is Wayne Newton who is still alive and kicking. Ironically, he released this cover on his album, ‘Can’t You Hear the Song’.

Here is Johnny Mathis from the album he boldly entitled ‘Song Sung Blue’.

For the second day in a row, here are The New Seekers. It hits my ears as shrill. I picture Snow White serenading the Seven Dwarfs. Please! Make it Stop!

This version by Johnny Paycheck had a lot of promise. The piano introduction is nice, but then he started singing. The album is called ‘Nashville Goes Pop’. Basically, Johnny is foreshadowing what the Country genre has become. He was ahead of the country crap curve by about a decade and it has since descended into MAGAt tripe.

Oh my God, Bobby Vinton released this as part of ‘Sealed with a Kiss’. Eventually, they gave him his own TV show. Like Wayne Newton, Bobby is still around. He will turn 91 in April.

Mercifully, this run of 1972 drivel is over and in the name of all that is just, the covers improve by leaps and bounds. As decreed by the ‘Chairman of the Board’, Frank Sinatra delivers ‘Song Sung Blue’ along with an orchestra and chorus under the direction of Don Costa. This immediately replaces the version by Percy Faith and his Orchestra as the best.

Count me in on Roger Whitaker every time. That whistle carries the power of a thousand voices. The world would be a better place if everyone spent fifteen minutes with Roger Whittaker’s contemplative delivery. This one goes out to my life-long friend Scott. Every time I hear Roger I think of Scott. There will always be a star on your door.

Now, here is my favourite. In 2008, Great Lake Swimmers produced the ‘Song Sung Blue EP’ as part of the soundtrack for the Greg Kohs documentary about Mike and Claire Sardina. I can’t stop listening to this version. The Great Lake Swimmers are the pride of Wainfleet, Ontario.

Keeping it Canadian, this version of ‘Song Sung Blue’ by Roch Voisine slots in at #3 on my list of favourites, behind Frank Sinatra and Great Lake Swimmers.

This honest assessment of the ‘Song Sung Blue’ covers will conclude with Neil Diamond raising the bar. Fittingly, in 2020, Neil Diamond headed to Abbey Road Studios and joined forces with the London Symphony Orchestra. The result was ‘Classic Diamonds’ which is a fabulous must listen.

Neil Diamond is simply one of the most important vocalists and songwriters in the history of popular music, and this majestic new album shines a beautiful spotlight on some of his greatest works. ‘Classic Diamonds’ is a glorious addition to Neil’s body of work, and we are proud to be presenting it to listeners around the world.”

This takes everything Neil Diamond was doing back in the ‘70s and puts it all on the mantel of some of the finest recordings of our lifetime. Check it all out for yourself.

Neil Diamond has earned many top honors for his music career. He was inducted into the Songwriters Hall of Fame in 1984 and the Rock and Roll Hall of Fame in 2011. Along with these awards, he received the Sammy Cahn Lifetime Achievement Award in 2000. In 2011, he was celebrated at the Kennedy Center Honors. Most recently, he was given the Grammy Lifetime Achievement Award in 2018. These awards recognize his lasting impact on music history.

As I hammered away at the keyboard to write today’s feature, there was a song playing in my head. Maybe someday I will do an entire feature on ‘America’ by Neil Diamond. Today, I will dedicate this post to Renee Nicole Good, and the brave and strong people of Minneapolis, Minnesota who are standing up against the tyranny of Lord Farquaad and his wannabee Nazi regime.

Somewhere along the way, America lost its way. A great man once said “I really love America, I just don’t know how to get there anymore.”

Presently, the people that worked to make America great are being rounded up by some of the most appallingly ignorant and useless human beings to ever walk the face of the Earth. These masked ingrates who have never contributed anything positive to society; some of whom were actually pardoned by their dementia addled, lifelong criminal puppet leader, have been sent on a marauding assault on a defiant city and state.

Let’s call it what it is. Yet another disgraceful attempt by a senile and desperate sex offender to deflect from the fact that he is an evil predator whose entire term is a cover for an effort to stay out of prison, on account of 34 completely different criminal convictions.

Call it the never-ending grift.

It is all performative; a callous and calculated effort to dominate the news cycle and brainwash the hopelessly gullible people who are so susceptible to being controlled.

If you are offended by this, ask yourself why?

If you still support this horrific doctrine and his soulless sycophants, ask yourself why?

It’s time to wake up.

It is time to stand up and do something.

DO SOMETHING. Not just one state. All of you.

For the love of America.

In the meantime, here is a song that reflects the ghost of what remains the possibility of ‘America’. Is it too late? You decide.

For so many, this is the ideal that brough them and their families to a once great country, which is now the pariah of the free world.

In the words of Neil Diamond…

We’ve been traveling far
Without a home
But not without a star

Free,
Only want to be free
We huddle close
Hang on to a dream

On the boats and on the planes
They’re coming to America
Never looking back again,
They’re coming to America

Home
Don’t it seem so far away
Oh, we’re traveling light today
In the eye of the storm
In the eye of the storm

Home
To a new and a shiny place
Make our bed and we’ll say our grace
Freedom’s light burning warm
Freedom’s light burning warm

Everywhere around the world
They’re coming to America
Ev’ry time that flag’s unfurled
They’re coming to America

Got a dream to take them there
They’re coming to America
Got a dream they’ve come to share
They’re coming to America

They’re coming to America
They’re coming to America
They’re coming to America
They’re coming to America
Today, Today,
Today, Today, Today

My country ’tis of thee (today)
Sweet land of liberty (today)
Of thee I sing (today)
Of thee I sing
Today, Today, Today
Today, today, today”

Yes, anybody in the world can sing this song. All you need is the capacity for empathy. A sad song can say so much, and if you sing along it won’t be too long before you’re feeling alright.

Please sing along.

Because when we all sing along to the same song, we are stronger.

That is the resolve that will carry us forward.

What Have They Done to My Song Ma – If the Beautiful People Are Buying Tears I’ll be Rich Some Day. #MusicisLife #TedTocksCovers #Melanie

Today’s feature song is one of several hits for the artist who simply went by the name Melanie. It was originally released as the B-Side to her cover of The Rolling Stones hit, ‘Ruby Tuesday’.

Sadly, Melanie Sofka-Schekeryk died two years ago today. For Melanie, the rise to prominence was an intriguing journey that was famously fueled by a lauded performance at Woodstock on August 15, 1969. Elements of this monumental set are captured in this Ted Tocks Covers feature from September of 2019.

For additional context, Melanie was so inspired by what she saw from the stage at Woodstock that she wrote her most evocative songs. Briefly, let’s set the scene by going back to earlier that day. Melanie is on record as saying her mother, jazz singer Pauline ‘Polly’ Altomare actually gave her a ride. A mother and a daughter ‘Going Up to Country’. That’s not quite true. Melanie’s ‘Ma’ actually took her to a designated meeting place for performers, and before she could protest her daughter’s involvement the crafty singer/song writer had disappeared into the assembled crowd before being whisked off to a waiting helicopter. Here is a passage from an article written by Ray Shasho of ‘Classic Rock Here and Now’.

Her mother drove her to the event. She had been clueless to the size and significance of the concert until she witnessed Sly Stone walking around and Janis Joplin sipping Southern Comfort while being interviewed by reporters. After arriving at the hotel, she was separated from her mother and rushed onto a helicopter. While descending towards the stage area, she was in total disbelief over the mass of people attending the three-day event. Melanie shared a tent with folk musician and composer Tim Hardin while she awaited her turn to perform at the most famous concert event in music history.”

This was only the beginning of the adventure for Melanie who at 22 was one of the youngest performers at the historic festival, and at the time, one of the least known. Much has been written about Woodstock through the years and accounts frequently allude to the fact that things were quite chaotic. Melanie waited all day to find out when she was supposed to perform. On a handful of occasions Melanie was told she would be up next and then the schedule shifted in favour of a more established act. After a late-night rainstorm her opportunity came. The Incredible String Band refused to go on stage in the rain so Melanie was introduced at approximately 11 pm. By her own recollection she was nervous but the massive crowd was encouraging. During her seven-song set that included, ‘Close to It All’, ‘Momma Momma’, ‘Beautiful People’, ‘Animal Crackers’, ‘Mr. Tambourine Man’, ‘Tuning My Guitar’, and ‘Birthday of the Sun’. It was a touching moment that occurred during this set that inspired Melanie to write ‘Candles in the Rain/Lay Down’. The Woodstock audience was in tune with Melanie and they were so moved by the courage of her impromptu set that they lit candles and held them up in the rain.

Little sisters of the sun
Lit candles in the rain
Fed the world on oats and raisins
Candles in the rain

Lit the fire to the soul
Who never knew its friend
Meher Baba lives again
Candles in the rain

To be there is to remember
So lay it down again
Oh, lay it down
Lay it down
Lay it down again

Men can live as brothers
Candles in the rain”

‘Candles in the Rain (Lay Down)’ is one of three songs that are cited for being the catalyst for the concert tradition of lighters being lit at concerts to show appreciation.

Let your white birds smile up”

Here is a small passage from ’Lay Down’ that captures the moment perfectly.

We were so close, there was no room
We bled inside each other’s wounds
We all had caught the same disease
And we all sang the songs of peace”

And then the hippies held the candles high.

So raise the candles high
‘Cause if you don’t we could stay black against the night
Oh, raise them higher again
And if you do we could stay dry against the rain”

Melanie released her seminal ‘Candles in the Rain’ album in April of 1970 and it was received with both critic and public acclaim. The album opened strong with the title track backed by the powerful Edwin Hawkins Singers who were invited by Melanie’s producer/husband, Peter Schekeryk (the Record Man). It was Peter who made the call to Edwin Hawkins who was the leader of the gospel group who had enjoyed massive chart success with their crossover gospel hit ‘Oh Happy Day’. Listen…

I can’t resist the urge to include this memorable movie moment with Whoopi Goldberg, Lauryn Hill and Ryan Toby, and ensemble during ‘Sister Act 2’.

Back to early 1970 and the recording of ‘Candles in the Rain/Lay Down’. Edwin Hawkins had just been honoured with a Grammy for Best Soul Gospel performance and Schekeryk picked up the phone and gave him a call. Here is how Melanie remembered it years later.

Peter was in high gear talking Edwin Hawkins’s ear off. Then out of nowhere he said, “Here….Melanie wants to talk to you.” I looked at him in horror as I put the phone to my ear. Earlier I had said, “Peter, wouldn’t it be great if the Edwin Hawkins Singers sang on Candles In The Rain?” He was off and running. He orchestrated the whole thing. We flew out to Oakland, California where they were rehearsing in a high school gym. They only do nonsecular music, I thought…couldn’t believe he got me into this! When we walked in they were in the middle of a song. They trailed off and all looked at me. A white girl with a guitar and a wildly gesticulating man standing next to her. Peter ran up to Edwin Hawkins who was playing the piano. What I’m certain of is that he wasn’t apologizing for barging in on their rehearsal. I thought Peter had prearranged this meeting. Apparently, it was a surprise visit! So, in this spirit of (“I wish I could crawl under a seat and hide”) I sang my heart out on a solo version of “Lay Down.” When I got to the second chorus, the Edwin Hawkins Singers joined in. The rest is, as they say, history.”

These are the kinds of stories that have inspired Ted Tocks Covers for so long.

All of this is a long way of bringing it back to ‘What Have They Done to My Song Ma’ which chronicled her issues with the recording industry and copyright laws. Specifically, she had concerns about how others were profiting from her creativity. Melanie’s advocacy in this space was so passionate that she channeled her focus toward her small record label called ‘Article 27’ which was named for Article 27 of the Universal Declaration of Human Rights, which grants the right to participate freely in cultural life without “harmful exploitation.”

Simply stated, it is all about artistic control and the message was cleverly placed in the heart of this career altering album. It was nicely tucked away on the B side of a heartfelt tribute to The Rolling Stones.

Look what they’ve done to my song, Ma
Look what they’ve done to my song
Well it’s the only thing I could do half right
And it’s turning out all wrong, Ma
Look what they’ve done to my song

Look what they’ve done to my brain, Ma
Look what they’ve done to my brain
Well they picked it like a chicken bone
And I think I’m half insane, Ma
Look what they’ve done to my song

I wish I could find a good book to live in
Wish I could find a good book
Well, if I could find a real good book
I’d never have to come out and look at
What they’ve done to my song

La la la…
Look what they’ve done to my song

But maybe it’ll all be all right, Ma
Maybe it’ll all be OK
Well, if the people are buying tears
I’ll be rich some day, Ma
Look what they’ve done to my song

Ils ont changé ma chanson, Ma
Ils ont changé ma chanson
C’est la seule chose que je peux faire
Et çe n’est pas bon, Ma
Ils ont changé ma chanson

Look what they’ve done to my song, Ma
Look what they’ve done to my song, Ma
Well they tied it up in a plastic bag
And turned it upside down, Ma
Look what they’ve done to my song

Ils ont changé ma chanson, Ma
Ils ont changé ma chanson
C’est la seule chose que je peux faire
Et çe n’est pas bon, Ma
Ils ont changé ma chanson

Look what they’ve done to my song, Ma
Ma, look what they’ve done to my song
Well it’s the only thing I could do all right
And they turned it upside down
Look what they’ve done to my song”

To be honest, I was not familiar with Melanie until I went to a Woodstock 20th Anniversary concert celebration at the old Molson Park in Barrie in August of 1989. Among the acts that returned to share in the nostalgia were Country Joe and the Fish, Richie Havens, John Sebastian and Sha Na Na. Melanie’s set was a ton of fun as she harkened back on the performance that changed the course of her career.

I had no clue what was about to happen”

Sometimes there is an order to things. For instance, just a few short weeks before she was invited to perform at Woodstock, Melanie recorded this version of her new song, ‘Beautiful People’. Check out this prescient verse.

And I’d gather everyone together for a day
And when we gather’d I’ll pass buttons out that say
Beautiful people
Then you’d never have to be alone
‘Cause there’ll always be someone
With the same button on as you
Include him in everything you do”

Melanie was describing the Woodstock scene before she even hit the stage. These words still ring true.

Please remember that in this world, as awful as it is today, the ‘Beautiful People’ definitely outnumber the disgraceful ingrates. If only we had a button to identify the good ones.

Using hindsight as a guide, it is interesting to observe how Melanie’s career just unfolded before her and the songs that remain so important exist as a pathway to a better place.

Before I move on to a collection of impressive cover versions of ‘What Have They Done to My Song Ma’ enjoy this live video from 1971.

Six months after Melanie released ‘Candles in the Rain’, an up-and-coming British act called The New Seekers released their second album which was entitled ‘Keith Potger and the New Seekers’. This was the only New Seekers release to include Potger. The album led off with this defiant Melanie song. For their North America release the song title was slightly altered to ‘Look What They’ve Done to My Song Ma’ and it rose to #14 in the U.S. and #2 in Canada.

To say Melanie’s message resonated with the ‘Beautiful People’ would be an understatement. The list of cover versions of ‘Look What Have They’ve  Done to My Song Ma’ includes the legendary Ray Charles. This is from his 1972 album, ‘A Message from the People’. Any time Ray Charles can be included in a Ted Tocks feature is cause for celebration.

Right up there with Ray Charles is the great Nina Simone whose version of ‘What Have They Done to My Song Ma’ was released as a track on her 2008 compilation ‘Tell it Like It Is: Rarities and Unreleased Recordings: 1967 – 1973’. The original recording goes back to the 1971 sessions that led to her album ‘Here Comes the Sun’ which comes highly recommended from the Ted Tocks Covers playlist.

Jumping ahead to 2012 on the musical timeline, listen to this acoustic version from Miley Cyrus that modifies the title to ‘Look What They’ve Done to My Song’. Miley recorded this as part of her quality series of tributes called ‘Backyard Sessions’. Every song in this series is worth listening to. This is when Miley Cyrus made me pay attention and I have been a fan of her style and stance ever since.

In 2015, Miley was joined by none other than Melanie herself. This is a fun collaboration.

Miley Cyrus recorded another version for the soundtrack to the satirical film ‘Free the Nipple’ in 2013. The “Free the Nipple” movement is a feminist campaign advocating for gender equality by challenging the societal double standard that censors female nipples while allowing male nipples to be exposed in public and media. Launched by filmmaker Lina Esco, it aimed to destigmatize the female body, normalize female toplessness, and protest discriminatory laws and media censorship, viewing female breasts as anatomy rather than inherently sexual objects. 

Yes, I have got a lot of ‘Miley’age out of Miley Cyrus and this Melanie song but its importance must be shared. In terms of artists speaking out against corporate rock ‘What Have They Done to My Song Ma’ is a fitting title that sometimes sums up the tumultuous relationship between the advertising industry and the music industry.

Melanie was two decades ahead of Neil Young who turned heads in 1988 with his scathing rebuke called ‘This Notes for You.

All of this is a segue to the mid ‘80s TV commercial that thought it was cute to use Melanie’s creativity to sell Oatmeal Raisin Crisp cereal.

Fed the world on oats and raisins”

Some clever ad agency was obviously paying attention to Melanie’s lyrics but somehow, they failed to understand Melanie’s plea.

Having spent so much time with Melanie, I could not help but detect a strong connection between her song writing and a clear Bob Dylan influence. This wasn’t lost on the music critics back in the late ‘60s and early ‘70s.  While listening to ‘What Have They Done to My Song Ma’ I  recognize its quality as a companion piece to ‘It’s Alright Ma I’m Only Bleeding’.

These lyrics express Bob Dylan’s anger as he criticizes the hypocrisy, commercialism, consumerism, and war mentality in contemporary American culture.

While preachers preach of evil fates
Teachers teach that knowledge waits
Can lead to hundred-dollar plates
And goodness hides behind its gates
But even the President of the United States
Sometimes must have
To stand naked”

Numerous passages jumped right out at me. This happens every time I listen to Bob Dylan.

This rebuke of western civilization at the time speaks volumes. It was like an avalanche. Melanie was also warning us of the dangers that awaited if we didn’t reign things in, but THEY (whoever ‘They’ are) turned her song into a marketing jingle which marginalized the song’s important message.

They would never have done this to Bob Dylan.

Now look what they’ve done.

The idea of the President standing naked before us is repulsive, but here we are. Melanie, Bob and Neil predicted this.

Their lips move. We didn’t hear what they were saying.

Wouldn’t it Be Nice – To Live in the Kind of World Where We All Belong. #MusicisLife #TedTocksCovers #TheBeachBoys #BrianWilson #TonyAsher

Let’s take the time machine back exactly 60 years to the day that The Beach Boys entered Gold Star Studios in Los Angeles to record ‘Wouldn’t It Be Nice’.

 At a glance ‘Wouldn’t It Be Nice’ is a love song written from the perspective of a young man who is deeply in love and wants to spend every moment with his sweetheart. During this era, young adults married in their early twenties, and love songs would often end in wedding vows. However, Brian Wilson took a unique approach. He focused on savoring the present. Because the couple was still too young for marriage all they could do was dream together. Despite his musical sophistication, Wilson wanted to connect with a teenage audience, so he chose this relatable theme to reach them more effectively.

It worked. ‘Wouldn’t It Be Nice’ became a top 10 single by July of 1966, but more importantly it led off the seminal album ‘Pet Sounds’ and managed to become one in a long line of essential tracks from the Beach Boys. Here is Beach Boy Al Jardine discussing the magnitude of ‘Wouldn’t It Be Nice’ in the lexicon of music.

If you could write, just, maybe the bridge to ‘Wouldn’t It Be Nice,’ that would be an accomplishment for most writers for a lifetime. Just the bridge.”

Jardine is speaking to the complexities inherent in this song about the perceived innocence of young love. For part of that story we need to focus on The Wrecking Crew, and their famed Wall of Sound. ‘Wouldn’t It Be Nice included not only the Beach Boys but 16 studio musicians. Here is the list:

  • Hal Blaine – drums
  • Frank Capp – timpani jingle stick, glockenspiel
  • Roy Caton – trumpet
  • Jerry Cole – 12-string lead guitar
  • Steve Douglas – tenor saxophone
  • Carl Fortina – accordion
  • Plas Johnson – tenor saxophone
  • Carol Kaye – bass guitar
  • Barney Kessel – 12-string mando – guitar  
  • Larry Knechtel – tack piano
  • Al De Lory – grand piano
  • Frank Marocco – accordion
  • Jay Migliori – baritone saxophone
  • Bill Pitman  – acoustic rhythm guitar
  • Ray Pohlman – Danelectro 6-string bass
  • Lyle Ritz – string bass

What you hear was recorded live from the floor. No overdubs. It was directed by the prolific drummer, Hal Blaine. The music for ‘Wouldn’t It Be Nice’ took 21 takes and that was before they laid down the distinct vocal parts that took this song to another level. Here is Carl Wilson;

When Brian presented a song to us, we would sense what our part would be. Mike always sang the bottom, I would sing the one above that, then would come Dennis or Al and then Brian on top. Al’s voice has a bright timbre to it; it really cuts. Brian’s voice is very complete. Our voices are like horn parts, the way those R&B records made background vocals sound like a sax section. They’re all within the same octave; that’s really the secret to it. We didn’t just duplicate parts; we used a lot of counterpoint, a lot of layered sound.”

In this passage Bruce Johnston reflects on how the Beach Boys struggled to find the perfect rhythm and tempo.

On the Pet Sounds album, we re-recorded (vocal takes) so many times. Our vocals for ‘Wouldn’t It Be Nice’ — the rhythm was never right. We would slave at Western (Studios) here in Hollywood for a few days, singing this thing, and he’d say, ‘No, it’s not right, it’s not right.’”

Brian Wilson had something specific in mind with ‘Wouldn’t It Be Nice’ but his challenge was getting his bandmates to hear exactly what was happening in his head. Musically speaking, the potential for infinite sound was in Wilson’s grasp and he wanted to reach the outer limit of possibility. From concept to the Gold Star studio floor for the music and then to Hollywood’s Columbia Studios for the vocal takes was an arduous task but eventually they got there through what amounted to a musical science experiment.

I realized that the recording industry was becoming free and intelligent. We could go into new things – string quartets, auto-harps, and instruments from other cultures. I decided right then that I was going to try and make the greatest rock n’ roll album ever created. Pet Sounds was (aiming for a) more of an advanced kind of lyric. It wasn’t about cars or surf or flashy ideas. It was more of an introspective album with very, very good lyrics. I would sit in my room and work for hours and hours on songs and then play them to Mike, Dennis, Al, Carl, and Bruce to see if they enjoyed them. Pet Sounds was an example of something advanced and experimental.”

All this complexity came down to a basic premise. Two people in love. Writing about one’s own life experience, whether real, or observed was the ticket. Here is a clip from a ‘Hit Parader’ interview with Dennis Wilson.

He has to keep moving all the time. But he drives himself so hard. As life progresses, so people learn. We’ve made the biggest advances in writing. You can’t record unless you have a song. As life goes on, you learn a lot. It’s the same here with the boys and Brian. He writes about his experiences in life. That’s all you can write about. You can’t write about things you don’t know.”

This all leads to the approach that led to ‘what we all know no as ‘Pet Sounds’. For the Beach Boys, it was a departure. Most of the lyrics were written by Tony Asher. Asher was an advertising copy writer who as fate would have it was in an adjacent studio writing ad jingles in the latter half of 1965. While on a break, Tony Asher found himself outside the studio where Brian Wilson was working on some ideas, alone. The timing was impeccable because Wilson was literally questioning the band’s direction. He was tired of writing songs about surfing and cars, and if he was going to write love songs, the material would need to add some substance. When he learned what Tony Asher did for a living he was intrigued.

I asked [Tony] what it was like writing commercials for an advertising company. It seemed like interesting work. I said, “You should be good with words if you can do that.” And, he said, “I’m pretty good with words.” Out of nowhere I said “Would you like to work with me on some songs and write some lyrics?” “I’ll give it a try.” Then, ‘Pet Sounds’ like that.”

Here is the full album which gives Tony Asher song writing credits on eight tracks.

Getting back to ‘Wouldn’t It Be Nice’, the song came out of a discussion related to the frustrations of youth and the freedom to live with somebody.

I can remember in “Wouldn’t It Be Nice” that we’d both had the experience of being too young to have what the rest of the world would call a serious relationship with a girl and yet wanting to be able to have it taken seriously. […] it was autobiographical from the point of view of both of us. We were writing about what we both knew and had experienced.”

The song writing sessions bordered on bizarre, but through a combination of intense focus and scrutiny several timeless songs emerged.

Over a period of days, Brian kept saying that he was working on a melody, but he didn’t want to play it for me until he had the structure finished. One day, he said, ‘It’s done.’’Wilson had decided on its subject matter: the “innocence of […] being too young to get married”, a topic that “seemed to be immensely appealing to him.”

Through the lens of the past 60 years the premise of ‘Wouldn’t It Be Nice’ all seems so innocent. Asher was on board with the concept but he is on record as saying that, after he had begun writing the lyrics, Wilson began to micro-analyze the individual words, much to his annoyance. Following Asher’s complaints, Wilson agreed to let him take a tape of the song home and write the words alone. Asher then returned with a set of lyrics, which the pair refined. It was a less integrated and collaborative process than what he applied to the songs they wrote afterward. Here is another recollection from Tony Asher.

It was a great joy making music with him but that any other relationship with Brian was a great chore. I found Brian’s lifestyle so damn repugnant. I mean, for say, every four hours we’d spend writing songs, there’d be about 48 hours of these dopey conversations about some dumb book he’d just read. Or else he’d just go on and on about girls… his feelings about this girl or that girl… it was just embarrassing.”

Anyone who is interested in the song writing process would be wise to look into the steps that led to ‘Pet Sounds’ and specifically ‘Wouldn’t It Be Nice’. It is a fascinating case study.

Wouldn’t it be nice if we were older?
Then we wouldn’t have to wait so long
And wouldn’t it be nice to live together
In the kind of world where we belong?

You know it’s gonna make it that much better
When we can say goodnight and stay together

Wouldn’t it be nice if we could wake up
In the morning when the day is new?
After having spent the day together
Hold each other close the whole night through

But happy times together we’ve been spending
I wish that every kiss was never-ending
Oh, wouldn’t it be nice?

Maybe if we think and wish and hope and pray, it might come true (Run, run, we-ooh)
Oh, baby, then there wouldn’t be a single thing we couldn’t do
Oh, we could be married (Oh, we could be married)
And then we’d be happy (And then we’d be happy)
Oh, wouldn’t it be nice?

You know it seems the more we talk about it
It only makes it worse to live without it
But let’s talk about it
But wouldn’t it be nice?

Brian sang the verses and Mike Love sang the bridge.

Just one portion of a backing track took approximately 30 takes. This is what led to Mike Love hanging the nickname  ‘Dog ears’ on Brian Wilson.

Brian must have been part canine because he was reaching for something intangible, imperceptible to most, and all but impossible to execute.”

This passage was written by Mike Love.


Goodnight, my baby
Sleep tight, my baby
Goodnight, my baby
Sleep tight, my baby
Goodnight, my baby
Sleep tight, my baby”

While researching this feature I discovered this isolated vocal track which highlights the studio dynamic that resulted in this memorable album track. This is two and half minutes of perfection and at this point there is not a hint of instrumentation.

Before moving on to the cover versions of ‘Wouldn’t It Be Nice’ it seemed necessary to look at how the song translated to the live setting. Let’s go back to Carnegie Hall in New York City on Thanksgiving Day in 1972. By this time Brian Wilson had given up touring and Bruce Johnston had departed over personal differences with the band’s manager, Jack Rieley. The band consisted of original members, Carl and Dennis Wilson, Mike Love and Al Jardine along with Blondie Chaplain and Ricky Faatar. To add to the nostalgia Darryl Dragon is on keyboards and Toni Tennille lends backing vocals. Soon after they became The Captain and Tennille.

In July of 1985 the Beach Boys performed at Live Aid. This incarnation of the band included Brian Wilson, Carl Wilson, Mike Love, Al Jardine and Bruce Johnston. Session musician, Ed Carter is on bass and Bobby Figueroa was on drums. Tragically, Dennis Wilson drowned in 1983.

Moving through the years, enjoy this nostalgic engagement featuring Al Jardine along with his son Matt and a very candid, Brian Wilson. This video was captured ten years ago on the occasion of ‘Pet Sounds’ 50th anniversary. The setting was Capitol Studios.

For Al Jardine, it was always important to keep the Beach Boys music alive. He remembers the studio sessions for ‘Pet Sounds’ as;

…Freakin’ endlessly imperfect. Months and months of re-recording.”

Brain acknowledges this fact, but justifies it all by saying;

Back then it meant a lot to me, cuz you know, I was like very nervous, you know, because I didn’t want to fuck up on this production.”

It was all in an effort to create a feeling of great joy. Matt Jardine’s vocal is top notch.

Let’s jump back to the beginning of the 21st century and include special guest Elton John who was part of an all-star tribute to Brian Wilson in March of 2001 at Radio City Music Hall. Elton is genuinely honoured to be part of this monumental occasion. What a music moment.

Now it’s time for a collection of four cover versions. To begin we will capture this raw but fun version featuring former Alex Chilton on a recording known as ‘Electricity by Candlelight’. This is live from New York City in 1997. Remember what Brian Wilson said about wanting this song to help spread the joy? This is an example. Everybody is having fun.

From Matt Jardine to the Wilson sisters, let’s keep it in the family. Here is Wilson Phillips from their 2012 album, ‘Dedicated’.  This ensemble famously consists of Chynna Phillips who is the daughter of John and Michelle Phillips and Brian’s daughters, Carnie and Wendy Wilson.

On several occasions though the years Ted Tocks Covers has featured the celebration of music known as Choir!Choir!Choir! Here they are live from Clinton’s Tavern in Toronto. This is the result of gathering twice a week to rehearse. By the time they were ready to record everyone was well prepared to take on their part. This is a beautiful tribute to the original. Once again happiness is abounding.

Just one more cover that needed to be shared because it was so good. Here is a group called Trousdale from a 2020 video that they put together during COVID. This is simply wonderful. Trousdale is an American folk/pop trio consisting of Quinn D’Andrea, Georgia Greene and Lauren Jones. Hopefully we will hear more from them. Explore on your own.

So, sixty years later we listen to ‘Wouldn’t it Be Nice’ with more concentrated ears. From a sociological perspective we have supposedly evolved beyond traditional expectations related to rites of passage like marriage and relationships. We know more. Our lived experience has opened doors that should lead to a broader acceptance. Who we are as individuals, and how we all fit into a the community at large should enhance our social fabric. Instead, obstacles frequently present in ugly ways, leading to obscene bigotry and vitriol. It’s shameful. The question arises; why does it have to be this way? There should be freedom in love and relationships no matter who you are, who you love, or how you identify. In 2026, however we seem to live in a world where answers to that question are laced with unnecessary complications and hatred.

In 2026, the global landscape for LGBTQIA+ in terms of freedom and relationships is defined by a significant contrast between encouraging legal advancements in some regions, and intensifying legislative backlash in others. As of 2026, over 38 countries have legalized same-sex marriage, with Thailand recently joining this group in early 2025. On a global level the long-term is moving toward decriminalization, with roughly two-thirds of the world’s countries no longer criminalizing same-sex relationships as of 2026. Conversely, there are still several countries like Indonesia, Ghana and Burkina Faso that have effectively banned same-sex relations through new laws which criminalize sex outside of marriage. Reactionary countries like these double down by enacting intensified criminalization efforts.

Fortunately, modern advocacy is evident in countries such as Canada and the nations within the European Union. The strategy emphasizes intersectional solidarity, acknowledging how gender, race, and class influence the experience of queer identity and love. Here, there is an increasing social movement toward recognizing chosen families and queer parenthood, with advocacy groups pushing for rights in adoption and co-parenting regardless of traditional family structures. 

In direct contrast using fear as the compass, anti-trans and overt homophobic movements and religions doctrines in countries like the United States still lobby for the retraction of LGBTQIA+ rights. In the United States the pressure is intense, and evil forces within governing factions are moving their society toward absolute regression.

We are at a tipping point.

Wouldn’t it Be Nice’ to live together in a world where we all belong.

“Sometimes I feel very sad

Ain’t found the right thing I can put my heart and soul into
I guess I just wasn’t made for these times”

No, I definitely wasn’t made for these times and every day I scour the headlines and shake my head in dismay.

Looking back over 59 years I can unequivocally say, it has never been worse. The only way we can make things better is through a concentrated effort to make change locally, and then work your way beyond the borders of your community.

One step at a time.

Several small steps toward positive change is definitely much better than remaining catatonic.

Waiting for the shitstorm of chaos to blow over has not worked for ten years, so it is time for a new approach.

Wouldn’t that be nice?

Everybody Needs Somebody to Love – A Mini Tribute to Three Iconic Artists Connected to this Date in Music History. #MusicisLife #TedTocksCovers #SolomonBurke #CarlPerkins #WilsonPickett #DollyParton

Today, we are celebrating three iconic music legends whose legacies either endure long after their passing or continue as living history. Enjoy a mini tribute to each of Carl Perkins, Wilson Pickett and Dolly Parton. This should be fun and as always there will be a lot of good listening.

Carl Perkins died on this day in 1998. He was a foundational figure in rock and roll and is often called the “King of Rockabilly.” He is best known for creating a unique sound by blending country music with rhythm and blues. His 1956 hit, “Blue Suede Shoes,” was a massive success and became a defining anthem for the rockabilly genre.

It is safe to say that Perkins was ahead of his time. He was an incredibly influential guitar player. His inventive techniques, such as finger picking and string bending, set the standard for future rock guitarists. Ted Tocks Covers favourite, George Harrison cited Perkins as a primary influence for his own playing style. We are talking two primary roots of the rock and roll family tree.

Beyond his guitar skills, Perkins was a gifted songwriter. Consider this. His work was so respected by The Beatles that they recorded more of his songs than those of any other outside artist. Paul McCartney even stated that without Carl Perkins, The Beatles might not have existed. His songs were also covered by legendary artists like Elvis Presley, Johnny Cash, and Jimi Hendrix.

A horrible twist of fate may have hindered the obvious greatness of Carl Perkins, but although a serious car accident in 1956 slowed his path to global superstardom, he remained a “musician’s musician” throughout his life. He spent a decade performing with Johnny Cash and collaborated with various stars until his final album. Fittingly, Carl Perkins is a member of the Rock and Roll Hall of Fame. and his work continues to be a cornerstone of music history. I will let Tom Petty take us out with his short speech honouring Carl Perkins on the L.A. Rock Walk. Just one of many honours.

Choosing a song to serve as an accompaniment to honour the life and influence of Carl Perkins was not easy but after careful consideration ‘Matchbox’ became the obvious choice because it speaks to why I write Ted Tocks Covers. Enjoy the original and then read on for some quality covers.

The lyrics tell his story and the music represents a style and standard that musicians in the present day are still trying to replicate.

I said I’m sitting here watching
Matchbox holdin’ my clothes
I said I’m sitting here wondering
Matchbox holdin’ my clothes
I ain’t got no matches
But I sure got a long way to go”

As mentioned, here are a handful of cover versions which present some of the biggest names in music history.

In my introduction, I mentioned how much The Beatles respected Carl Perkins. Here is the Fab Four’s cover of ‘Matchbox’ from their ‘Long Tall Sally’ EP. The Beatles had been playing ‘Matchbox’ as far back as 1961 and 1962 in Hamburg with Stuart Sutcliffe on vocals. This is music history.

Next up is the legendary Ronnie Hawkins with a guitar contribution from the revolutionary slide guitarist Duane Allman before he was in the Allman Brothers Band. Enjoy this recording from Muscle Shoals Sound Studios which was initially intended for a Hawkins’ solo album but it went unreleased before being shared on Allman’s anthology, ‘Duane Allman: An Anthology Volume II’ which was released in 1974. It was also released on ‘Skydog’,  which was a career retrospective released in 2013.

The big names keep on coming. Here is Carl Perkins along with the great Willie Nelson on the album ‘Go Cat Go’ which was released in 1996.

In 1971 Derek and the Dominos appeared on ‘The Johnny Cash Show’. The episode was filmed at the Ryman Auditorium in Nashville and broadcast on January 6, 1971. The performance features Carl Perkins, Johnny Cash and the morally bankrupt President of the Greg Abbott Fan Club. Sorry ‘Slowhand’, but one is judged by the company they keep.

Continuing with Johnny Cash, here he is laying down ‘Matchbox’ with Bob Dylan. This was released on Bob Dylan’s ‘Travelin’ Thru Bootleg Series Vol. 15, 1967 – 1969’.

Next up we have Wilson Pickett who was a foundational figure in Southern soul, R&B, and rock and roll. His powerful vocal style and innovative rhythms helped define the soul genre and influenced countless artists. Sadly, he died 20 years ago today.

One of his most significant contributions was pioneering the “soul sound” by blending gospel passion with secular R&B. During his time at Stax Records, Pickett collaborated with Steve Cropper to create a unique rhythmic “delay” in the song ‘In the Midnight Hour’.

This specific beat became a template for Southern soul music. Additionally, his successful recording sessions at Stax in Memphis and Fame Studios in Muscle Shoals helped establish these locations as legendary hubs for American music.

Known as “Wicked Pickett,” he was famous for his intense “soul scream” and fiery performance style. This passionate delivery set a high standard for contemporaries like Otis Redding and Aretha Franklin. His influence also extended into rock and pop; his songs have been covered by iconic bands such as Led Zeppelin, Bruce Springsteen and The Rolling Stones.

Pickett’s legacy continues today through his classic hits like ‘Mustang Sally’

And  ‘Land of 1000 Dances’.

Both of the aforementioned songs remain popular on the radio to this day and they are frequently sampled in hip-hop.

Watch the short clip below and you will get a sense of how Wilson Pickett and the talented musicians at Muscle Shoals Sound Studios in Alabama worked together to overcome crushing poverty and personal tragedies, in order to bring black and white people together, creating quality music for generations to come.

Like Wilson Pickett said, he could see the cotton fields from the studio, but he chose to focus on the music, because for over two centuries when the fields were filled with song, there was some sense of hope.

Wilson Pickett’s monumental contributions were officially recognized in 1991 when he was inducted into the Rock and Roll Hall of Fame.

In order to commemorate Wilson Pickett, beyond the two songs that have already been linked, here he is with his soul classic ‘Everybody Needs Somebody to Love’ which was his homage  to the influence of Solomon Burke who I shared at the outset of today’s feature.

 Please remember people, that no matter who you are, and what you do to live, thrive and survive, there are still some things that make us all the same. You, me, them, everybody, everybody. Everybody needs somebody.”

Ladies and gentlemen please welcome, Mr. Wilson Pickett.

Much like The Beatles were performing Carl Perkins from their earliest days, The Rolling Stones were influenced by Wilson Pickett’s stage presence and musical vision. The Stones released ‘Everybody Needs Somebody To Love’ on ‘The Rolling Stones No. 2’ which was released 61 years ago this week. A different version of this cover was accidently issued on the U.S. release called ‘The Rolling Stones Now!’ in February of 1965 which also featured ‘Little Red Rooster’ and ‘Heart of Stone’.

On several occasions, Ted Tocks Covers has been drawn to the dynamic Dusty Springfield who was huge in Great Britain and North America during her peak in the late ‘60s. Here she is on ‘The Dusty Springfield Show’ in 1967 doing her live interpretation of the Wilson Pickett classic.

No sharing of ‘Everybody Needs Somebody to Love would be complete without the version that The Blues Brothers made famous in 1980 in their magnificent film of the same name. Dan Ackroyd’s introduction expands slightly on Solomon Burke’s original in order to align with the context of the film.

We’re so glad to see so many of you lovely people here tonight
And we would especially like to welcome all of the representatives of the Illinois Law enforcement community, who have chosen to join us here in the Palace Hotel Ballroom at this time. We do sincerely hope that you all enjoy the show and please remember people, that no matter who you are and what you do to live, thrive and survive
There are still some things that make us all the same:
You, me, them
Everybody! Everybody!”

 in 2026, as we watch in horror as law and order in the United States has been handed over to the lowest common denominator by the diminutive Stephen Miller, who was likely severely bullied as a child. Miller is only rivalled by his mentor, ‘The Rapist in Chief’.  Please remember that everything that is happening is an offshoot of one criminal’s effort to stay out of prison. The dementia addled ‘sundowner’ has handed the keys of the kingdom over to a Hitler worshipping life-long loser.

For an encore we enter the jam portion of today’s feature. Jerry Garcia was always at his most comfortable playing with the Jerry Garcia Band. This 13-minute version of Wilson Pickett’s proclamation is enough to bring tears to your eyes. It will take you on a magic trip. This would have been recorded somewhere between 1989 and 1993. It was released on Garcia’s ‘Shining Star’ album which resides as the fourth live album, and fifth album overall by the Jerry Garcia Band. Fans of Garcia revelled in this offering which came out in March of 2001. Joining Garcia is Gloria Jones and Jackie LaBranch on backing vocals, John Kahn on bass, David Kemper on drums and the great Melvin Seals on keyboards and organ. This is so good.

Now we move on to the star of today’s show.

Happy 80th birthday to Dolly Parton. In a world of negative headlines and a news cycle that is controlled by a madman who is rivalled by only Adolf Hitler as the worst human being to ever walk the face of the Earth, I give thanks to the heavens that we still have Dolly Parton.

I defy you to share any anecdote that exists as a blemish on her character.

Dolly Parton is a legendary figure in music history, known for her song writing, vocal style, and business acumen. She played a major role in bringing country music into the mainstream and has influenced artists across many different genres.

Pretty much as long as I have paid attention to music Dolly Parton has been a champion for women in music. She challenged the male-dominated music industry by focusing on women’s perspectives. Her songs, such as “9 to 5,” became anthems for workplace equality.

By maintaining control over her publishing rights and career decisions, she set a standard for female empowerment that current stars like Taylor Swift continue to follow. She also redefined the image of a female country star, proving that being authentic to oneself is a powerful professional asset. Every time I hear ‘Here You Come Again’ I am taken back to riding the bus to McKenzie Smith Middle School in Acton and listening to CFTR on the AM radio station.

Parton is universally celebrated for her versatility and her ability to adapt and then master multiple genres, including pop, folk, bluegrass, and gospel. She was a pioneer of the crossover hit, reaching the top of both country and pop charts. Having written over 3,000 songs, including ‘Jolene’ which as legend has it, she wrote on the same day as ‘I Will Always Love You’. .

Ironically, ‘Jolene’ speaks to Dolly at her most vulnerable. As a result, the song became a gateway for her world-famous storytelling ability which is considered the foundation of her legacy. Dolly Parton is eternally relatable because despite her vast wealth.

All of this has been shared without mention of Dolly Parton, the philanthropist. You see, Dolly never forgot where she came from. Her philanthropy centres on childhood literacy via her famous Imagination Library, which mails free books to kids worldwide, stemming from her own father’s illiteracy. Here is a short summary of her philanthropic endeavours.

  • Imagination Library – The Dollywood Foundation: Her signature program, which started in 1995, mails free books monthly to children from birth to age five, fostering early literacy.
  • Education – Early efforts included ‘Buddy Programs’ offering high school graduate scholarships in Sevier County, Tennessee, significantly reducing dropout rates.
  • Disaster Relief – Dolly established the ‘My People Fund’ for Gatlinburg fire victims, providing direct financial aid, and she donated millions to the Maui wildfire relief and Hurricane Helene victims.
  • Health & Science – She donated $1 million to Vanderbilt University Medical Center, which helped fund the Moderna COVID-19 vaccine development.
  • Community & Culture – She contributed to the Smithsonian’s National Museum of African American History and Culture and supports numerous other charities. 

Everything Dolly Parton does flows from her ‘give from my heart’ philosophy. 

This video shows Dolly Parton accepting the Carnegie Medal of Philanthropy. Watch this video and you will understand how genuine she is. There is not one ounce of pretense or ego here.

As Dolly says, she is just trying to help the world. If she sees a need, she will fill it.

True to her heritage, she did it all with a ‘Southern Accent’, but unlike the bootlicking sycophants who walk in lock-step with a man who along with his family were ordered to shut down their charitable foundation in 2018 due to fraudulent activity. We are talking about one extreme to the other here. I know whose side I am on. Here is Dolly Parton singing Tom Petty’s classic homage to his mother.

There’s a dream I keep having
Where my mama comes to me
Then kneels down over by the window
And says a prayer for me
I got my own way of prayin’
But every one’s begun
With a southern accent
Where I come from
I got my own way of livin’
But everything gets done
With a southern accent
Where I come from”

Here you go.

Dolly Parton’s success led to her being inducted into both the Country Music Hall of Fame and the Rock & Roll Hall of Fame. Initially, Dolly delayed or respectfully bowed out of the 2022 Rock & Roll Hall of Fame nomination process because she didn’t feel she had “earned the right” as she hadn’t recorded a rock album, but she’d consider it in the future if worthy. This inspired her to plan a rock album.

Even though I am extremely flattered and grateful to be nominated for the Rock & Roll Hall of Fame, I don’t feel that I have earned that right. I really do not want votes to be split because of me, so I must respectfully bow out.”

Though she withdrew, she later said she’d accept if voted in and was ultimately inducted in 2022. Through it all Dolly Parton enjoys a lasting legacy Her influence is seen today in artists ranging from her god daughter Miley Cyrus to Kacey Musgraves. Beyond her musical talent, Parton is recognized as a brilliant businesswoman and philanthropist who built a massive personal brand. She remains a global icon who proved that artists can achieve massive success while remaining true to their own terms.

All of this is only an introduction to her wonderfully accessible hit ‘Coat of Many Colours’.

For many reasons of my own, I am not a religions person, but songs like this, and Dolly’s genuine commitment to the teachings of a higher power lend credence to the ideal that there is a spiritual guide out there somewhere.

Back through the years I go wanderin’ once again
Back to the seasons of my youth
I recall a box of rags that someone gave us
And how my momma put the rags to use

There were rags of many colors
But every piece was small
And I didn’t have a coat
And it was way down in the fall

Momma sewed the rags together
Sewin’ every piece with love
She made my coat of many colors
That I was so proud of

As she sewed, she told a story
From The Bible, she had read
About a coat of many colors
Joseph wore and then she said

“Perhaps this coat will bring you
Good luck and happiness”
And I just couldn’t wait to wear it
And momma blessed it with a kiss

My coat of many colors
That my momma made for me
Made only from rags
But I wore it so proudly

Although we had no money
Oh, I was rich as I could be
In my coat of many colors
My momma made for me

So with patches on my britches
And holes in both my shoes
In my coat of many colors
I hurried off to school

Just to find the others laughing
And making fun of me
And my coat of many colors
My momma made for me

And oh I couldn’t understand it
For I felt I was rich
And I told them of the love
My momma sewed in every stitch

And I told ’em all the story
Momma told me while she sewed
And how my coat of many colors
Was worth more than all their clothes

But they didn’t understand it
And I tried to make them see
That one is only poor
Only if they choose to be

Now I know we had no money
But I was rich as I could be
In my coat of many colors
My momma made for me
Made just for me”

Jesus taught that true greatness comes from humility, viewing oneself as a servant, and becoming like a child before God and humanity. Compare and contrast with the egomaniacal, drug addled tyrant that 30% of Americans consider to be their imperfect vessel before God. It’s ludicrous.

For Dolly Parton, the ‘Coat of Many Colours’ goes back almost 55 years, but in many ways it is the story of her humble upbringing. According to Dolly;

It teaches about bullying, about love, about acceptance, about good parents.”

In 1975, Emmylou Harris released her second album, ‘Pieces of the Sky’ which featured a cover of ‘Coat of Many Colours’. That’s Ben Keith on pedal steel guitar.

For years female artists have been sharing their love for Dolly Parton, and in 2003 this respect culminated in a tribute album called ‘Just Because I’m a Woman: Songs of Dolly Parton’. On this album Shania Twain collaborated with Alison Krauss and Union Station on a heartfelt cover of ‘Coat of Many Colours’.

To close out today’s feature enjoy Brandi Carlile with P!nk and the Zac Brown Band who honoured Dolly Parton on the occasion of her Rock and Roll Hall of Fame induction.

Back when I was a child, I used to go to the Catholic version of Sunday School which they called ‘Catechism’. These teachings were an indoctrination to the Catholic faith. As I type I recall some of the teachings and the fervent pleas of the priest standing at the alter proclaiming the virtues of humility under the watchful eyes of God our father.

It all freaked me out, and to this day the whole thing triggers me because of the rampant hypocrisy. Having said that, I do gravitate to the life lessons inherent in some of the teachings.

When Jesus noticed that all who had come to the dinner were trying to sit in the seats of honor near the head of the table, he gave them this advice: When you are invited to a wedding feast, don’t sit in the seat of honor. What if someone who is more distinguished than you have also been invited? The host will come and say, ‘Give this person your seat.’ Then you will be embarrassed, and you will have to take whatever seat is left at the foot of the table! Instead, take the lowest place at the foot of the table. Then when your host sees you, he will come and say, ‘Friend, we have a better place for you!’ Then you will be honored in front of all the other guests. For those who exalt themselves will be humbled, and those who humble themselves will be exalted.Then he turned to his host. When you put on a luncheon or a banquet,” he said, “don’t invite your friends, brothers, relatives, and rich neighbours. For they will invite you back, and that will be your only reward. Instead, invite the poor, the crippled, the lame, and the blind. Then at the resurrection of the righteous, God will reward you for inviting those who could not repay you.”

Somewhere along the way the religious right lost the plot.

Dolly remembers.

Amen!

Half the World – Individually We Are An Ass, Together We Are a Genius. #MusicisLife #TedTocksCovers #Rush #NeilPeart #AlexLifeson #GeddyLee

It is hard to believe that it has been six years since we heard the shocking news that Neil Peart had moved on to his ‘Peaceable Kingdom’.

Talk of a Peaceable Kingdom

Talk of a time without fear

The ones we wish would listen

Are never going to hear”

Wherever that may be.

Today’s feature will focus on yet another thought-provoking set of lyrics presented by Neil and brought to life by Geddy Lee and Alex Lifeson. As a lifelong Rush fan, I love this song and in a broader sense, the whole ‘Test for Echo’ album because it represents this iconic Canadian band as a true creative democracy.

Since Ted Tocks Covers takes me on a lot of musical journeys, it has been a while since I sat down and listened to Rush. Less than five seconds into this song and I was beaming. Everything came flooding back. Alex’s power chord lick meshes with Geddy’s bass line. When Neil comes crashing in, we are transported. Music is my passion, but for this analog kid from a subdivision in Southern Ontario it all began with Rush. I chronicled this discovery several years ago in a feature about ‘Da Doo Ron Ron’ (Read it. It makes sense. I promise you.)

Pound for pound, there has never been such a talented collection of musicians contained within one musical unit. I don’t know any other way to say it.

The raw power.

The diversity of sound.

The virtuosity.

The creativity.

Geddy Lee – Among the best bass players ever.

Alex Lifeson – Until people start including him on their lists of best guitar players ever, please stop releasing lists of the best guitar players ever.

Neil Peart – Among the best drummers and lyricists ever. He is firmly carved into my Mount Rushmore of favourite lyricists.

From my earliest days I became obsessed with Neil Peart’s lyrics. There was something about listening to ‘A Farewell to Kings’ and reading the lyrics on the sleeve while every song was playing. I was lost in the music, and the words took me to another dimension. In many ways Neil Peart’s philosophical spirit helped to chart my course when it comes to a world view.

With regards to today’s feature, the provocative nature of ‘Half the World’ is right up there among his finest offerings. Having said that, we are talking a deep list. Frankly, it speaks volumes about what may be one of his most simply presented pieces. As I type, I wonder if Neil thought the same thing when he laid his pen down after writing this ponderous wordplay.

Half the world hates
What half the world does every day
Half the world waits
While half gets on with it anyway
Half the world lives
Half the world makes
Half the world gives
While the other half takes
Half the world is
Half the world was
Half the world thinks
While the other half does
Half the world talks
With half a mind on what they say
Half the world walks
With half a mind to run away
Half the world lies
Half the world learns
Half the world flies
As half the world turns
Half the world cries
Half the world laughs
Half the world tries
To be the other half
Half of us divided
Like a torn-up photograph
A torn-up photograph
Half of us are trying
To reach the other half
To reach the other half
Half the world cares
While half the world is wasting the day
Half the world shares
While half the world is stealing away
Half the world lives
Half the world makes
Half the world gives
While the other half takes
Half the world cries
Half the world laughs
Half the world tries
To be the other half
To be the other half”

Rush released ‘Test for Echo’ in September of 1996. It was the culmination of about eleven months of diligent work. There is something to be said about turning 40 that gives people pause for thought. Geddy, Neil and Alex all reached this milestone in the first half of the ‘90s. It coincided with a prolific period of song writing, recording and touring. Following their ‘Counterparts’ tour the trio opted to take some time off to enjoy their family and reflect on life. It is not hyperbolic to suggest that setting their lives to cruise control for a short time may have saved the band. Time off served a purpose; of that there is no doubt. If they had of gone right back to the studio it may have been more difficult to avoid a repeat of what they had just completed with ‘Counterparts’. Constant change was Rush’s motto. Evolution as a band was an essential element of their purpose from the time Neil Peart joined the band in 1974. Call it an unwritten rule. Progress was the key. Stagnation would not be tolerated. Here is a quote from a phenomenal interview with Alex Lifeson from 30 years ago. Thanks to Mike Mettler of ‘Guitar’ for this piece that was shared on 2112.net.

It’s always been very important for us to evolve and that’s why it was so critical when we started this record to feel that we were totally into it – and nothing could have convinced me to do it if I wasn’t feeling right about it.”

While Alex Lifeson was talking, he was alluding to the fact that this was a turning point for Rush as a band and for each of them as individuals. Here he speaks to the possibility that Rush may have reached their pinnacle and it may be time to explore other options.

That was worrying for me because I was suddenly confronted with the idea of not wanting to do it anymore, and I’d always wanted to do it. But I wasn’t sure that I wanted to do it in the same format anymore, and I was prepared to say, ‘I’m sorry that’s it for me.’ We’ve always said that if we lose that spark, then that is the end.”

For Lifeson, he used a portion of his time off to realize a personal goal of releasing a solo album. This resulted in ‘Victor’.

Musically speaking, getting back into the groove was a challenge at first, but the band realized they were coming back to the studio from very different personal places. It took some time, but they meshed which a testament to not only their musical connection, but the true root of their success, which is their everlasting friendship. Humorous reminders of their all for one and one for all approach were written on the studio walls, with Producer, Peter Collins at the helm.

Individually We Are An Ass, Together We Are a Genius”

Here is Alex.

The first week was a little rough for me. I just wasn’t comfortable. I was really wondering what I wanted out of the band at that point. And Ged and I spent a lot of time talking about directions in our lives, more than the band and the work at hand. We decided at the end of the first week we’d see how the first couple of weeks went and then make a decision from there as to whether to continue with it.”

For ‘Test for Echo’ Neil’s lyrics were matched to intriguing pieces of music. From there they would listen to the results and develop everything further until the pieces of the puzzle came together.

They didn’t want to get bogged down in the ‘jigsaw puzzle’ of assembling whole songs, but rather keep the momentum going with a flow of fresh ideas.”

This speaks to where the democratic process that is Rush saw ‘Test for Echo’ through to its impressive conclusion. Here is Geddy Lee discussing the band’s commitment to challenging themselves on both a personal and professional level.

I just don’t think we’re capable of standing still. Even if we wanted to, something or another would force us to make things a little different, Mind you, I’m sure in the opinion of some of our critics, we do sound very similar from record to record, so maybe you have to be really close to the music to appreciate the changes in it.”

Geddy Lee reinforced Alex’s point about the time off and in this quote. He alludes to the fact that the music was flowing to such a degree that ideas of a double album were thrown around until Neil begged for mercy.

I’d say the break was overdue. We’ve always been such workaholics. It was a good time for everybody to stretch out a little bit and get their lives in some sort of order. We didn’t realize how refreshed and ready to go we were. A lot of ideas were coming very quickly. We decided to do most of our writing on stringed instruments as opposed to keyboards. As soon as you start writing on a keyboard, a song takes a totally different direction. Actually, I felt it was almost a shame to have to stop writing; in fact, part of me wanted to do a double record. I felt we could have easily written 10 more songs, but I don’t know if Neil had lyrics for 10 more songs. I certainly felt we could keep going, but we stopped at 11, a nice round number…”

These words from Geddy Lee speak to another reason for the album’s success. ‘Test for Echo’ continued their commitment to a more guitar-oriented song structure. This is where two unsung heroes enter the story. Andy Wallace mixed the songs on ‘Test for Echo’. His musical resume included Nirvana, Rage Against the Machine and Faith No More and he came highly recommended. In fact, Wallace represents the first time Rush had used an American engineer. The recording and mixing for ‘Test for Echo’ was done by Clif Norrell who among an impressive list of credentials it is noted that he used to play in a Rush tribute band. Between January and March of 1996, everyone congregated at Bearsville Studios in Bearsville, New York. The decision to head to the south side of Lake Ontario was heavily influenced by the size of Neil’s drum set. Bearsville accommodated Neil quite comfortably and when it came down to establishing the incredible drum sound on ‘Test for Echo’, Neil was enthusiastic.

 I love it. Don’t change a thing.”

Clif Norrell still wears this compliment like a badge of honour.

Speaking of Neil Peart’s drumming on ‘Test for Echo’, Geddy Lee also mentioned that Neil, at the recommendation of Steve Smith (Journey, Vital Information, Montrose and more) had become a student of drumming guru Freddie Gruber who challenged the esteemed percussionist to adjust to a traditional grip in order to get more finesse behind his determined delivery. Neil followed this twisted piece of logic.

 Get out of your own way,” “What’s the difference if you don’t know the difference?” 

This period also yielded Neil’s acclaimed ‘Burning for Buddy’ side projects which paid tribute to legendary jazz drummer, Buddy Rich. For this impressive collection of tracks, Peart gathered some of the finest drummers to ever sit behind a drum kit. Here is Geddy Lee commenting on how Neil brought his new approach to the ‘Test for Echo’ recordings.

He’s been reinventing his style, to a large degree, to accommodate an improvement in his ability to swing and feel things a different way. And that approach has impacted on the tonality and setup of his drums, the end result being that he sounds a little different and plays a little different. That also affects how I work with him. It doesn’t affect the main thrust of the songs, but occasionally it’ll affect the dynamics of a song, which might necessitate a change in the feel of a part.”

Everything was coming together, and as Alex declares in this passage, it was not pre-conceived.

We’d hear completely different takes on these songs that we’d lived with for six or seven months. […] There were things that we really wouldn’t have thought of, and that was really the whole point of him being there”.

It wasn’t just Neil who altered his approach.  Getting back to ‘Half the World’, Alex employed the sound of a 10 string mandola in order to modify the song’s sound. At first Geddy Lee had reservations but the end result won him over. Alex brought it with him from his solo project ‘Victor’.

Over nearly 50 years of being a Rush fan it has become obvious that when Rush played together, they were having a musical conversation. When they hit the studio there was a natural energy because of the mutual respect they had for each other, but the interpersonal dialogue and genuine laughter went to another level. Out of this was born a sense of satisfaction. They are telling a story to each other and only when it was ready could they share it with their audience as a form of musical theatre

I think Rush has always been cinematic in its approach to the way we develop our song writing. We try to be quite visual with it, and you just kind of take it from there. With me, it’s all the instinctive, spontaneous stuff that I do that I think is the best that I do, and Ged’s great at developing things, so we have a really good partnership in that sense.”

When the curtain was raised the level of anticipation was only surpassed by the result.

Somewhere along the way Neil Peart said;

Inspiration exists, but it has to find us working.'”

The band that had been delivering ‘Working Man’ as a crowd favourite since their inception somehow always managed to make it look like fun.

Only three trained chimpanzees could ever have done it better.

Before we explore a couple of cover versions let’s go all the way back to 1997 and the ‘Test for Echo’ tour, live from the Molson Amphitheatre on June 30. One more homecoming for Rush. The Toronto shows were special for Rush, but for Neil Peart they always added an extra degree of angst, but he always rose above.

Now for the covers.

Where are the covers?

I was persistent and I found a couple.

This is one serious performance. Somehow it has a live feel. Enjoy this solo performance from Robert Wright.

Did this many years ago for the same reason I do most RUSH covers that aren’t a chops-fest — because the song deserves a vocal that doesn’t polarize listeners like Geddy’s can. (No bigger fan on the planet than I am, but even so, I realize his voice isn’t for everyone.) So, I try to ‘commercial’ it up a little so non-fans can really hear how great the song is. Fantastic lyric in this one, a stand-out in a catalog full of amazing lyric writing. Not my best drum track, but this was one of those spur-of-the-moment things that was never really intended to see the light of day.”

Checks notes:

Yes, Robert Wright does all of the instrumentation. I kind of hate this guy enough to make this cover the counterpart to the original.

What I am saying is, I love it.

The second cover is from City Line whose solo effort is not as monumental as Robert Wright’s but it works because he stays within himself both through the vocal and on his acoustic playing. It comes across like a history lesson.

Let’s take a break from our regularly scheduled program and listen to a word from our sponsor.

(Don’t change that station, it’s Gangster Nation)

 (Now crime’s in syndication on TV) here we go.”

It’s hard to tell the real world from a reality TV show. We are living in a ‘Gangster Nation’.  A monster regime headed by crime family and a cabal of sycophants are running the show.

Don’t touch that dial. You can’t change the channel anyway because the man in charge of the asylum is on every channel. A complete buffoon holds the narrative and the mindless sheep known as traditional media hang on this vile human being’s every word.

Shameful.

If any of you are shaking your head, you win the prize for proving Neil was right.

You’re in denial.

On some level it is like Neil knew. He checked out. My God, his wisdom is sorely missed.

It’s time to ‘Resist’.

In essence, through ‘Test for Echo’ and a carefully crafted song like ‘Half the World’ Neil Peart was able to capture the fragmented and often contradictory nature of humanity. His words were a warning to those paying attention that people were constantly in conflict with themselves and each other. But in a strange twist, they were also at odds with the potential of actually bridging the gaps. 

In other news, Rush is back on tour in 2026 with the immensely talented Anika Nilles playing drums.

The road unwinds towards them
What was there is gone
The road unwinds before them
And Rush goes riding on”

I can’t wait to see where this goes.

People who are cynical about this reunion are out of their minds. She played with Jeff freakin’ Beck, so I am certain Geddy and Alex have done the right thing. I will defer to them. They made a good decision in 1974 and with Rush, in the end it seems to me it’s all about ‘Chemistry’.

Ted Tocks Covers – Eleven Artists We Lost in 2025. #MusicisLife #TedTocksCovers

Today’s feature is a Ted Tocks Covers first. This post will pay homage to eleven significant musical figures who sadly departed in 2025. They made the world a better place through their artistry. Admittedly, this feature will leave way too many people off the list but it is a positive place to start. For a much more comprehensive list, click on the link below. Just know that even this list admits that they may have missed some important names.

https://en.wikipedia.org/wiki/List_of_2025_deaths_in_popular_music

No doubt, Ted Tocks Covers may also feature these artists somewhere down the road but for the purposes of this piece I will share their name, a significant song that connects strongly to their impressive contribution to music history and a portion of thought-provoking lyrics within that piece of music. I will conclude with a brief passage that attempts to capture their role in the soundtrack of our lives.

Enjoy!

Peter Yarrow – Don’t Ever Take Away My Freedom  

Peter Yarrow’s significance to music lies in his pivotal role in popularizing folk music in the 1960s as a member of the iconic trio Peter, Paul and Mary. He used his music as a powerful tool for social and political activism. Yarrow blended entertainment with advocacy, providing a soundtrack for movements of the era. 

Briefly, his musical contributions stem from his efforts to commercialize the folk music genre from the late 50s on. Along with bandmates Mary Travers and Noel Paul Stookey, Yarrow brought folk music from coffee houses to the mainstream airwaves, paving the way for a litany of other artists. He was a hit songwriter who captured his listener’s imagination through pleasing harmonies and sound. Peter, Paul and Mary was known for their seamless three-part harmonies, which set them apart from the more basic styles of other folk acts.

In addition to the music, Peter Yarrow was instrumental in blending his musical performance with social and political commentary. Yarrow through his solo work or as part of Peter, Paul and Mary was deeply intertwined with the socio-political issues of his time. The trio’s cover of Bob Dylan’s “Blowin’ in the Wind” became an anthem for the civil rights movement and was performed at the 1963 March on Washington. Following similar themes, here is a passage from ‘Don’t Ever Take Away My Freedom’.

Don’t ever take away my freedom, don’t ever take it away
We must cherish and keep that one part of our lives
And the rest we’re gonna find one of these days…
One of these days”

Through this form of advocacy Peter Yarrow advocated for civil rights, peace, and environmental causes, performing at anti-Vietnam War protests and anti-nuclear benefits. In his later career, Yarrow remained a dedicated activist, most notably by founding the non-profit organization Operation Respect which still promotes tolerance and anti-bullying education in schools.

Above all, Yarrow believed strongly in the power of music to create community and inspire social change, seeing it as a tool for connection and justice that endures across generations. 

This will forever be Peter Yarrow’s legacy.

Sam Moore – Better to Have and Not Need

Three days after we lost Peter Yarrow in January 2025 we learned of the passing of Sam Moore.

Sam Moore’s primary significance to music lies in his role as the high tenor voice of the iconic soul duo Sam & Dave, where he helped define the Memphis soul sound and brought the energy of Black gospel music to pop audiences. 

In essence, Sam Moore played a role in pioneering the soul sound. Sam and Dave is a pivotal act for Stax Records.  Moore, alongside his partner Dave Prater, was instrumental in shaping the label’s signature sound. Their music blended gospel, R&B, and blues, backed by the legendary Stax house band, Booker T. & the M.G.s. (See Steve Cropper below).

Sam and Dave were famous for their call-and-response vocal style, directly adapted from the Black gospel church tradition, which became a defining characteristic of Southern soul music and subsequently a major influence on pop music.

They produced a string of enduring classics, many written by Isaac Hayes and David Porter. These hits include:

‘Soul Man’

‘Hold On, I’m Comin’

‘I Thank You’

Sam Moore has left his mark on generations of musicians through his powerful, gospel-drenched tenor voice and dynamic delivery. He influenced a wide range of subsequent artists, including Michael Jackson, Al Green, and Bruce Springsteen, who once called Moore “the greatest living soul singer”. Beyond this contribution, Sam Moore became a vocal advocate for musicians’ rights, fighting for fair royalties and “truth-in-marketing” laws for performing acts. Moore’s list of accolades also include being inducted into the Rock and Roll Hall of Fame in 1992, and being honoured by the Grammy Hall of Fame for ‘Soul Man’, and receiving a Recording Academy Lifetime Achievement Award in 2019.

Garth Hudson – The Last Garth Hudson Solo

January of 2025 was a tough month for music fans. Four of the eleven artists featured in today’s piece died in January. Simply stated, there are no superlatives to describe the significance of Garth Hudson of The Band. He was the last surviving member of this seminal act. In this writer’s opinion, the greatest band in music history. Garth Hudson’s role was analogous to being the architect of The Band’s unique sound. In the early days he served as the group’s big brother. Far beyond this role he remains one of rock’s most innovative and versatile multi-instrumentalists. He brought a sophisticated, classically trained sensibility to rock and roll, blending various genres and expanding the sonic possibilities of keyboard instruments. Hudson was a musician’s musician; a multi-instrumentalist who played piano, organ, accordion, saxophone, clavinet, and synthesizers. He was the only member of The Band with formal musical education, which allowed him to introduce complex harmony and counterpoint to the group’s arrangements. Bandmate Robbie Robertson noted that Hudson could find; “musical avenues on the keyboard we didn’t know existed.”

As noted above Hudson was the driving force of The Band’s unique blend of rock, country, folk, R&B, and jazz. His innovative use of instruments, such as running a clavinet through a wah-wah pedal to create a distinctive “swampy” sound on “Up on Cripple Creek,” helped define their genre-bending style. Keyboard Magazine called Garth Hudson the most brilliant organist in the rock world.  He made the Lowrey organ a common instrument in rock music, a notable departure from the more traditional Hammond B-3. His improvisational organ solo, ‘The Genetic Method’ which served as the intro to ‘Chest Fever’, became a legendary live performance showcase, often incorporating elements of classical music that would have made Bach do a double take.

To this day The Band’s organic, roots-rock sound, heavily shaped by Hudson, is often cited as a primary influence on the entire Americana genre, inspiring countless artists across different decades.

Beyond The Band, Garth Hudson was a highly sought-after session musician, performing with a diverse range of artists including Bob Dylan, Elton John, Van Morrison, Leonard Cohen, and Norah Jones. 

Through it all, Garth Hudson’s legacy is one of humble virtuosity. Quietly, he expanded the technical and expressive boundaries of traditional instruments. Within this rock context he helped to create some of the most enduring and influential music of our lifetime.

Marianne Faithfull – Go Away from My World

The fourth loss associated with the month of January is Marianne Faithfull.  No mention of Marianne can be shared without discussing her significance as a muse and/or conduit for some early songs by The Rolling Stones. Her status as a musical icon is more associated with being a survivor. Marianne Faithfull’s artistry portrays a life of addiction presented in a style so raw she drags you in. Her hard-won wisdom makes her a sympathetic character in a vicious game. Here is her poetry transcribed to music known as ‘Go Away from My World’.

Go away from my world
Let me dream alone
And you see it never worked from the start
All I got for all of my love was a broken heart

Go away from my world
And let me dream alone
I’ll dry my eyes and comb my hair
And I’ll pretend you’re never there

Now you’re gone the breezes blow so sadly
You never could understand the love I wanted so badly

Go away from my world
And let me walk all alone
All alone in my room
All alone and so sad

I can dream of how I wanted us to be
Dreams I have are kinder than you could ever be

Go away from my world”

Harrowing and gripping, Faithfull’s artistry was captivating, and it was done with no pretence. She transformed personal pain into art and against all odds she lived a long and productive life

Roberta Flack – Tonight I Celebrate My Love

I began this portion of the feature searching for a Roberta Flack original but it became clear that Roberta’s significance lies in her revolutionary approach to musical interpretation. Much like Garth Hudson did with his instrumental versatility, Roberta Flack did it all with her voice and commanding stage presence. She fused classical, jazz, folk, and soul elements to create a unique, emotionally profound sound that influenced genres like soul and R&B. She was a pioneer who defied genre and racial categorization and became the first artist to win the Grammy Award for Record of the Year in two consecutive years. 

As noted, Flack was not primarily a songwriter but a magnificent interpreter who took works by others, like Ewan MacColl’s ‘The First Time Ever I Saw Your Face’ and Lori Lieberman’s ‘Killing Me Softly with His Song’ and transformed them through pure emotion. Her interpretations often felt entirely authored by her.

Much like Peter Yarrow, Roberta Flack used her platform to sing about civil rights and social issues, and she was a fierce advocate for gay rights. As a Black woman, she broke barriers in production roles within a male-dominated industry. In 2020, she received the Grammy Lifetime Achievement Award. 

Roy Thomas Baker – Wheel in the Sky

Roy Thomas Baker played a significant role in the sound of three of the 70s biggest acts. Ted Tocks Covers has featured his work with The Cars and Queen on several occasions, but he was also instrumental in Cheap Trick and Foreigner’s rise to the top of the charts, in addition to the sound that came to define Journey. Listen to the thunderous dynamic of ‘Wheel in the Sky’ by Journey almost 50 years later and you still appreciate this timeless track. It could be released today and still be a massive hit.

I’m stranded in the sleet and rain
Don’t think I’m ever gonna make it home again
The mornin’ sun is risin’, it’s kissing the day”

Maybe it’s about the multi-tracking, or perhaps it is about the theatrical presentation designed for the big stage? The success comes down to an ability to work with some incredible artists and filter everything into an unforgettable sound, no matter the group’s intended approach. Hell, he even produced Devo. Every record with his name on it, contained his signature and as we listen five decades later, we can still say to ourselves, I hear the patented Roy Thomas Baker influence.

Sly Stone – Stand

As much as ‘Everyday People’ reached out and grabbed listeners, it may be ‘Stand’ that reflects Sly Stone’s most meaningful contribution to music. There is an inspiration here that should be celebrated.

Stand, in the end, you’ll still be you
One that’s done all the things you set out to do
Stand, there’s a cross for you to bear
Things to go through if you’re goin’ anywhere”

This serves as Stone’s legacy because he walked the walk. Sly Stone was a revolutionary figure in music, best known as the frontman for Sly and the Family Stone, who pioneered psychedelic soul and funk by blending rock, gospel, R&B, and pop. His most profound significance lies in his innovative production techniques, socially charged lyrics, and the creation of the first commercially successful racially and gender-integrated band in American rock history. That last point speaks to his stance. If you are going anywhere you need to be true to the cross you bear. It won’t always be easy but if you are committed you will arrive at your destination.

To this point, Sly Stone’s music is still alive and well in its own right and through samples by hip-hop and electronic music acts like Public Enemy, LL Cool J, and Fatboy Slim. 

Sly Stone’s impact was so vast that it redefined the possibilities of popular music, leaving a legacy that continues to resonate with contemporary artists and audiences to this very day.

Brian Wilson – In My Room

I began my mini tribute to Garth Hudson using the compliment that his work knew no superlatives, but when it comes to Brian Wilson we almost need to go to another universe.

Brian Wilson’s significance to music lies in his role as one of the 20th century’s most innovative and significant songwriters and producers. Needless to say, Wilson was the creative force behind The Beach Boys. In the ‘60s he revolutionized popular music by pioneering new recording techniques, using complex harmonies, and infusing pop songs with introspective, emotional depth. 

Wilson’s primary contributions included beautiful harmonies and arrangements. It wouldn’t be a stretch to suggest that Roy Thomas Baker and Queen were drawing from these influences. Musicians from Paul McCartney to Elton John have cited him as a mentor. Sadly, Wilson’s life story is marked by a diametrical combination of immense talent and struggles with mental illness. He faced personal adversity that has made his legacy, one of a tormented genius who managed to channel profound pain into universal joy and beauty. Listen to ‘In My Room’ and you will get a sense of his internal struggles.

There’s a world where I can go and tell my secrets to
In my room
In my room (in my room)

In this world, I lock out all my worries and my fears
In my room
In my room (in my room)

Do my dreaming and my scheming
Lie awake and pray
Do my crying and my sighing
Laugh at yesterday

Now it’s dark, and I’m alone, but I won’t be afraid
In my room
In my room (in my room)
(In my room) in my room
In my room, in my-“

Millions of people identified with these lyrics. They too felt misunderstood. Lost; and trying to find their way. Few recognized the toll it was all taking on Brian Wilson. His music offered solace to millions and expanded the possibilities of what popular music could achieve. Over six decades later people still marvel at the complexities ingrained in his universally accessible sound which influenced countless artists across multiple genres, includes art pop, psychedelia, progressive music, indie rock, and emo.

Ozzy Osbourne – Flying High Again

We had a sense that Ozzy Osbourne was failing, but somehow there was a prevailing sentiment that as through his persona as the Prince of Darkness, he would never leave us.

Ozzy Osbourne’s music will always soar.

Got a crazy feeling I don’t understand
Got to get away from here
Feeling like I should have kept my feet on the ground
Waiting for the sun to appear”

The man was larger than life. His durability may have only been surpassed by Keith Richards.

As the original lead vocalist of Black Sabbath, Osbourne helped create a new musical genre in the late 1960s and early 1970s. Black Sabbath’s music was characterized by heavy, down-tuned, blues-based riffs, dark aesthetics, and gothic themes that provided the blueprint for all heavy metal that followed, influencing countless bands across generations.

Ozzy was the perfect complement to Sabbath. His unique, vocal style blended perfectly with his magnetic, theatrical stage presence were central to the band’s sound and heavy instrumentation.

Along with Deep Purple and Led Zeppelin, Black Sabbath were heavy metal pioneers and Ozzy Osbourne was the front man; the face.

All of this has been said without mentioning his solo career. Ozzy was fired from Black Sabbath in 1979 due to substance abuse issues. Against all odds, through the guidance of his wife Sharon, Osbourne launched a highly successful solo career that further expanded his musical legacy. 

Wisely he surrounded himself with talented players such as guitarist, Randy Rhoads, who introduced a new level of musicianship and melody to the hard rock genre.

Through it all, for Ozzy his legacy managed to flow beyond his music. He became a significant figure in popular culture and despite decades of personal struggles, including addiction and health battles, his ability to overcome adversity and continue creating music made him a symbol of survival and strength. He was inducted into the Rock and Roll Hall of Fame with Black Sabbath in 2006 and as a solo artist in 2024. A fitting memorial to an incomparable legacy.

Todd Snider – Working on a Song

To some, this inclusion may appear somewhat forced but frankly, it‘s my blog and I humbly state if you were not paying attention to Todd Snider while he was alive you should have been. Further to this point I can tell you it’s not too late because in death he has likely never been more popular. Todd Snider would not have been comfortable with any form of mainstream limelight anyway.

Spend some time with his words and music and you will soon recognize that he was as profound as fuck. Todd Snider was genuine, funny, and yes, maybe somewhat flawed, but that made him eternally relatable. Check out the lyrics to ‘Working on a Song’.

On my first day in Nashville didn’t seem like much of one
Drinkin’ ’til I had fallen asleep out in the sun
I was workin’ on a song that I guess I’m still workin’ on
It’s called, “Where will I go now that I’m gone?”

When that idea first came to me, I was only 22
At 25, I had realized it was all that I could do
To make it to the end, but then again I always knew
If I never got it finished, I could die tryin’ to

And then last night I almost had it, right here in my hotel
But it faded out the further asleep that I fell
When I woke up this mornin’, I was more than twice my age
And I had left myself this note here on another empty page

“Where will I go now that I’m gone?”
They said, “Maybe you’ve been chasin’ a song too long
Hell, it’s turned into a song about a song you’re workin’ on, man, come on
It’s gone, let that sun bitch go”

But you know, givin’ up a dream is a lot like makin’ a dream come true
It’s easy to sit around talkin’ about, it’s a little harder to just go out and do
And but for this one last question, I would give up on this song
Where will I go now that I’m gone?”

Sing this to yourself the next time you find yourself procrastinating. It may inspire you to get your ass in gear, or maybe it won’t, but at least you will be smiling the whole time you are listening.

Here’s the point.

Todd Snider died relatively suddenly in November under some strange circumstance. He was only 59. This hit me hard because he was a little more than three weeks older than me.

Life is short.

Try not to just sit around talking about what you want to do.

Just do it.

But, if you want to just sit around and talk about the things you want to do, do yourself a favour and get to know Todd Snider.

By all indications he was a good friend to many.

Figuratively, much like John Prine, Todd and his music was a friend of mine.

I know I am not alone.

Steve Cropper – 634-5789

Closing out today’s feature we must say goodbye to the one and only Steve Cropper who has almost been around as long as rock and roll, soul and R&B…Almost.

Steve Cropper’s legacy borders on immeasurable.

To begin, he was front and centre in defining what has become known as The Stax sound.  As the guitarist for Booker T. & the M.G.’s, the integrated house band for Stax Records, Cropper provided the musical foundation for an endless stream of hits in the 1960s. Where the Motown sound relied on polished orchestration, Stax recordings were more raw and more stripped-down. This sound was largely shaped by Cropper’s sharp, rhythmic guitar parts. His style and discipline came from his ability to say more with less. For lack of a better definition, it became the blueprint for rhythm guitar in soul, rock, and funk music. 

Beyond his instrumental contributions, Cropper was an equally influential songwriter and producer. He co-wrote several timeless soul anthems, including: 

‘(Sittin’ On) The Dock of the Bay’ with Otis Redding.

‘In the Midnight Hour’ with Wilson Pickett.

‘Knock on Wood’ with Eddie Floyd. 

These songs exist as just a few examples of Cropper’s influence. An influence that extends across generations and genres. He was inducted into the Rock and Roll Hall of Fame as a member of Booker T. & the M.G.’s and received a Grammy Lifetime Achievement Award. His legacy extends beyond that though. Praise of his work comes from some of the most renowned guitarist players in rock and roll history. Players like Keith Richards, Neil Young and Jeff Beck have cited his work as a driving force. Perhaps most memorable was Cropper’s role in the Blues Brothers band where he introduced his style to new audiences in the late 1970s and 80s. Music fans and guitarists the world over can look to Steve Cropper as the prototype for the power of restraint, while sharing a groove. He personified the musician’s role which is to place the song above ego. It was never about him. It was always about what he could do to make a song better.

Ted Tocks Covers takes pride in delivering content that appeals to a diverse range of tastes. Speaking to this mission it is appropriate that the eleven figures highlighted in this feature represent everything from heavy metal to folk, soft rock to psychedelia and soul/R&B to Americana. It would be difficult for any music fan to open today’s post and not gravitate to at least one artist whose death did not impact them on a personal level. It is Ted Tocks’ contention that the music we listen to, is the soundtrack of our lives. When those who create this material leave us there is a small hole in our lives that needs to be filled. Being able to go back and listen to the music helps. So too, does reflecting on the memories connected to the songs. Because when music is playing people are happier and everything just feels a little bit better.

Turn it on and turn it up. Maybe dance a little.

Momentarily, you can be sad that they are gone, but most of all take solace in knowing that the treasure they left behind will always be there for you to enjoy, and perhaps importantly, share.

Ted Tocks Covers – The Top 10 Ted Tocks Covers Features for 2025. #MusicisLife #TedTocksCovers

I will begin this feature with a strong message from Woody Guthrie who wrote ‘Tear the Fascists Down’ back in 1944.  Over eight decades later we are in a brand new war against the worst of humanity in three theatres; Russia, Israel and the United States.

There’s a great and a bloody fight
‘Round this whole world tonight
And the battle, the bombs and shrapnel rain
(Insert your monster here) told the world around he would tear our union down
But our union’s gonna break them slaver’s chains
Our union’s gonna break them slaver’s chains”

We need resolve.

No kings. No tyranny.

The crime syndicate running roughshod over the constitution south of the border need to be captured, locked up and punished severely.

Please remember that all of this is a result of one person’s efforts to stay out of prison for numerous criminal acts.

Back to my original point, the same needs to happen to other perpetrators of crimes against humanity.

End of rant. On to the music.

Let it be said that I hate lists. Top 10 this, and top 20 that…

…Do away with them.

They are way too subjective and inevitably they fail to speak to anything more than one person’s opinion, resulting in a barrage of “what about ______”, and “You forgot_____” and no list would be complete without the comment “LOL! This list sucks. You suck!”

Actually, while you are at it. ban ‘LOL’.

Having opened with my contempt for both the oppressive, and the mundane, please enjoy my list. But this is no ordinary list because it is in no way influenced by me. It reflects the readership statistics which is 100% dictated by you the reader. Therefore, I see it as beyond reproach. In fact, this list may reside as a true example of democracy in a world where the democratic process is being threatened.

Concluding my introduction, I will boldly state that you will experience no ‘list’ quite like this one when you are looking back on the horrific year that was 2025.

So here goes, I give you Ted Tocks Covers Top 10 list for 2025 based on page views. There is no other measure. Just readership of my original posts shared in the calendar year 2025. (See further below for the Top 10 list based on actual page views. A very different yet equally interesting list).

10. Dear Abby

Since I have been writing Ted Tocks Covers there has been no Top 10 list that has not included a song by John Prine. ‘Dear Abby’ is a humorous folk tune that compiles a series of absurd and trivial letters written to the real-life advice columnist Abigail Van Buren who operated under the pen name ‘Dear Abby’. The song gently satirizes people who write to advice columns with minor, self-inflicted problems, encouraging them to count their blessings. The song is structured as a series of letters from various characters, each detailing a minor complaint or a quirky personal situation. Prine sings these letters and their simple, mock-earnest questions to ‘Dear Abby’. The underlying theme is one of lighthearted social commentary: in a world with genuine suffering, many people worry about insignificant issues. Prine found the inspiration for the song when he was in Rome, Italy, and noticed that the ‘Dear Abby’ column was the only bit of lighthearted relief in an otherwise tragic international newspaper. All these years later and so little has changed. The beauty of ‘Dear Abby’ is the fact that no studio version of this song could capture the spontaneity of the live performance captured at a New York university. That take, warts and all, became the version we all love. Raise your hands if you still laugh in all the right places.

Thanks John! The world has not been the same since you departed.

9. I Just Called To Say I Love You

Admittedly, this is way down the list of Stevie Wonder’s finest contributions to music, however

‘I Just Called to Say I Love You’ when accepted for its sentimental message could be his most important next to ’Higher Ground’.

‘I Just Called to Say I Love You’ is Stevie Wonder’s iconic 1984 song from the film ‘The Woman in Red’. Ostensibly, it is about expressing love spontaneously, not needing a special holiday like New Year’s or Valentine’s Day. The song’s simple yet profound message is that love should be celebrated daily, on what we would deem an ordinary day, without waiting for a major event.

Admittedly, it was the John Prine cover that suggested I should listen to it all over again.

Yes, John Prine’s fingerprints are all over Ted Tocks Covers.

8. Hair of the Dog

Okay Ted Tocks Covers Readers, please do your best to find a 2025 reflection that takes you from Stevie Wonder sentiment to mid ’70s classic rock from a hard rockin’ Scottish act called Nazareth. This took me back to my early days as a music fan. This song harkens back to the rock and roll adage that if you want a good song, you need a hook that people can sing along to.

Now you’re messin’ with a son of a bitch”.

This is raw, gritty, salt of the Earth music coming right from the soul, and 50 years later it is riff rock with an edge that still makes me listen and smile.

7. The Wreck of the Edmund Fitzgerald 

Here is a feature that speaks to procrastination. For well over seven years Ted Tocks Covers delayed writing about this Gordon Lightfoot classic.  I looked at ‘The Wreck of the Edmund Fitzgerald’ as a daunting task. How does one write about this epic and haunting folk ballad and come up with anything remotely unique? The 50th anniversary of its sinking in November of 1975 was the perfect occasion, and in order to approach it in an interesting way I reached out to lifelong friend Rhys, because he has sailed the very routes that the Edmund Fitzgerald traveled on that fateful voyage. Through ‘The Wreck of the Edmund Fitzgerald’ Gordon Lightfoot narrates the final, fatal voyage of the Great Lakes freighter, detailing its sinking in a massive storm on Lake Superior and the loss of all 29 crewmen. This classic song serves as a vivid memorial and historical account that humanizes the sailors and preserves their story. The song effectively describes the ship, the brutal November gales, its struggle against immense waves, and the mysterious circumstances of its disappearance, emphasizing themes of nature’s power, human frailty, and enduring grief, using lyrical storytelling to transform grim statistics into a deeply felt tragedy. ‘The Wreck of the Edmund Fitzgerald’ remains as important today as the day Gordon Lightfoot released it back in 1976. That steel guitar riff…Wow! It still makes me stop and listen.

6. Turn, Turn, Turn

Here is another song that is so significant that it too represents a feature that Ted Tocks initially deemed too broad-based to tackle. Essentially ‘Turn, Turn, Turn’ has historical roots that go back countless centuries, all the way to the Bible and the ‘Book of Ecclesiastes’. The Byrds adapted the lyrics from the Pete Seeger offering which conveyed that life has cycles of opposites such as birth/death, war/peace, love/hate.  Seeger added the title and a plea for peace, making it a timeless anthem about the universal rhythm of life and a call for harmony amidst global turmoil like the Vietnam War. It was this message that resonated so deeply with 1960s youth. The song speaks to the universal experience that for everything there is a season. While first recorded by Seeger, The Byrds’ 1965 folk-rock adaptation made it a worldwide hit. Its message of inevitable change and a call for peace struck a chord with a generation facing significant social upheaval, including the Vietnam War and civil rights struggles. The song became an emblem of the era, perfectly blending ancient wisdom with modern relevance. In a period where everything old is new again, ‘Turn, Turn, Turn’ remains as important as ever.

5. Sundown

I began this feature with a tenuous connection. I know a guy who shared a very believable story that he was among the people who inspired Gordon Lightfoot to write ‘Sundown’. That is all I will say about that, but his story was quite detailed and plausible. His connections to the people in Gordon Lightfoot’s orbit in 1974 are impeccable.

When Gordon Lightfoot wrote ‘Sundown’ he was a somewhat vulnerable, internationally acclaimed singer, songwriter who was dealing with the trappings of stardom.

“Sundown” is a paranoid, jealousy-fueled song about a troubled relationship where Lightfoot as the narrator was left alone while his girlfriend goes out. He imagines her infidelity and issues dark warnings to her potential lovers. It reflects the frustration and insecurity of a man feeling mean and powerless, contemplating destructive actions, while also serving as a bitter message to his partner about loyalty, even as he struggles with his own feelings.  The title refers to the time of night when his girlfriend goes out, fueling his anxiety, and the phrase “Sundown” becomes a menacing figure representing anyone she might be with. The lyrics reveal Lightfoot’s own inner turmoil, as he addresses the potential lover, his girlfriend, and even himself, questioning his own actions and feelings. Lightfoot confirmed the song was inspired by a real-life girlfriend, cited as Cathy Smith. Despite its mellow sound, the lyrics carry threats and a sense of impending violence, fueled by alcohol and emotional pain, creating a tense atmosphere. In essence, “Sundown” captures a moment of intense possessiveness and anger in a failing relationship, expressed through vivid imagery and a memorable, menacing chorus. Again, this song hits hard. Fortunately, Gordon Lightfoot was able to rid himself of these demons, but all these years later, the song remains as gripping as ever.

4.Sweet Emotion

Another song that hit the 50-year milestone in 2025 was ‘Sweet Emotion’ by Aerosmith. This track captures the best and the worst of the fifty-year career of this essential act. Credit for this funk-rock anthem belongs to Tom Hamilton, whose iconic bassline drives the song along with Steven Tyler’s brilliantly suggestive lyrics. The underlying theme speaks to the internal tension within the band, particularly Tyler’s anger and jealousy towards Joe Perry’s wife, Elyssa, who Tyler felt stole his partner and friend. This rage fueled a dark undercurrent of animosity leading to other well documented band conflicts. ‘Sweet Emotion’ effectively captures Aerosmith’s turbulent dynamic which from about 1979 on became so boring and predictable I struggled to even pay attention. Having said that, the first half decade of Aersosmith represents classic rock at its finest.

3. Well Respected Man

Ted Tocks Covers loves The Kinks so every time I am able to feature a song by this band is special. In addition to revering Ray Davies and his astute lyrics which capture British society perfectly, this feature pays tribute to one of the finest producers to emerge from the British Invasion. In Ted Tocks opinion, Talmy does not get the credit he deserves. ‘Well Respected Man’ paints a vivid picture of a man defined by conformity: he’s punctual, works nine-to-five, takes the same train, and values tradition and materialism all in an effort to one day inherit his father’s wealth. Davies’ employs his British wit to poke fun at this amalgam of many people he knew. Few songwriters have ever been as good at writing character driven social commentary as Ray Davies. Here it must be said that every time I share a song by The Kinks I send it to my on line acquaintance Dave who operates https://www.kindakinks.net/ and he graciously shares it on his comprehensive Kinks website. If you love this band, please visit what truly resides as a museum to all things related to The Kinks.

2. Bertha

Another one of Ted Tocks favourite lyricists makes an appearance in this year’s top 10. Enjoy ‘Bertha’ by the Grateful Dead’ which is one of countless examples of the Robert Hunter lyrical mastery. ‘Bertha’ is fast-paced rocker with ambiguous lyrics, often interpreted as a plea to escape the cycle of birth, death, and reincarnation, with “Bertha” potentially symbolizing ‘birth’. See what he did there? He personified ‘birth’ as a woman. While a popular story suggests it’s about a rebellious office fan, lyricist Robert Hunter explained the fan was named Bertha after the song, confirming the deeper themes of existence and rebirth, a cycle the narrator begs to be released from. Anyway, ‘Bertha’ is full of fascinating symbolism and through the years it was a high-spirited fan favourite which immediately got Deadheads dancing, and still do, to this very day.

  1. Justice in Ontario

Okay, the fact that this feature managed to become the number one Ted Tocks Covers feature of 2025 is a point of personal pride and satisfaction. Of the well over 100 Ted Tocks features I wrote in 2025, ‘Justice in Ontario’ by Steve Earle is an example of my propensity to go down many a rabbit hole. I could still be writing. Books have been written about both the ‘Port Hope 8’ and the Black Donnellys of Lucan, Ontario. I would definitely recommend you look into these stories that Steve Earle managed to meld into one eternally captivating song. Through his sneering delivery and distinct background music Steve Earle tells everybody who is willing to listen that our system is rife with bias, and that the issues we face today, as they were in the late ‘80s, and even as far back as post confederation Canada, reflect class struggles inherent in the legal system. Most of the ills in today’s society tend to stem from the chasm that exists between the haves and the have nots. As long as we continue to fight over the crumbs the masterminds who possess 99% of the power and wealth will continue to run roughshod over us all.

You could swear you heard Jim Donnelly’s ghost cry”

None of these people are perfect. That is for sure, but their crimes are a result of the imbalance and their crimes pale in comparison to what the billionaires of this world get away with every hour of every day. Yet they operate with impunity.

Think about it.

It’s hard to believe that today’s feature is summarizing year 8 of Ted Tocks Covers. When I set out to launch this project back in 2018, I had no idea where it would lead me. Those closest to its origin may even recall its original name.

 ‘Cover Your Face’ was simply a daily Facebook post. My wife Heather and friend, Joanne gently urged me to improve upon the title and Ted Talks became the nucleus but we realized that had been taken. Heather and Joanne, who are both more musical than me suggested I just switch Talks to Tocks like a metronome counting time. I, in all my brilliance added ‘Covers’ and it was decreed that ‘Cover Your Face’ shall change its name to Ted Tocks Covers. That was early in the second quarter of 2018 and it has been Ted Tocks Covers ever since.

Ted Tocks Covers grew from a daily post on Facebook to a blog site on December 23, 2018 at the urging of my son Sebastian. On that day Ted Tocks Covers added a WordPress site to its means of sharing.

https://wordpress.com/view/tedtockscovers.wordpress.com

The first post was ‘Society’ by Eddie Vedder.

Oh, it’s a mystery to me
We have a greed, with which we have agreed
And you think you have to want more than you need
Until you have it all you won’t be free

Society, you’re a crazy breed
I hope you’re not lonely without me”

I wish I could say that society has evolved since that day.

What I am saying is we have regressed.

On a more positive note, since 2018, I have shared 1955 posts including the one you are reading right now. Over that time Ted Tocks Covers has generated over 288,300 page views and approximately 235,000 unique visitors. Over the years, it is the steady growth of Ted Tocks Covers that has been most satisfying. In 2025 alone, the readership exploded to over 104,100 page views and over 85,300 visitors. Perhaps the most satisfying thing is the diversity of the readership. What began as a daily post on Facebook that was shared with my circle of family and friends made its way out there into the blogosphere. As people began to gravitate to my posts, the search engines began to direct music lovers to my blog.

In 2025 alone Ted Tocks Covers reached people in 176 countries worldwide. The top five countries were the United States, Canada, the United Kingdom, Australia and Spain. The top ten is rounded out by Germany, the Netherlands, France, Ireland and Sweden. A quick math exercise has determined that Ted Tocks Covers generates an average of 285 page views a day which is up from approximately 230 per day in 2024. According to my site analytics this represents a 20% increase in page views year over year. I will take that growth any day because that means my love of music and the stories behind the songs, I discuss is resonating with music lovers, virtually everywhere. A demonstration of this fact can be shown by googling any of the top ten Ted Tocks Covers posts for 2025 with the tag ‘song meaning’ and the Ted Tocks feature will (likely) appear anywhere from one to five in the list. I would like to think this is a result of a combination of credibility, frequency of content sharing and perceived popularity. This is an example of SEO at its finest. Ted Tocks Cover greatest resource.

Top 10 by page views

  1. Mack the Knife
  2. Silent Lucidity
  3. Ode to Billie Joe
  4. Keep Me In Your Heart
  5. Fool’s Overture
  6. Tiptoe Through the Tulips
  7. Mr. Bojangles
  8. Black Betty
  9. Fiddler’s Green
  10. Red Barchetta

Other than the order of the top 10, the only difference from year to year is that ‘Scared’ by The Tragically Hip was knocked out of the top 10 by ‘Black Betty’ which is a song of fascinating etymology. These ten songs alone, actually represent about 25% of Ted Tocks readership since 2018. Just another interesting fact.

As I so often say, Ted Tocks Covers is ME sharing my passion for music with YOU and when the music is playing, the world is a better place. Today, more than ever we need to share that message because if I was to give the global scene a report card grade it would be an emphatic, ‘Needs Improvement’.

My recommendation for a remedy would be to listen to the music and pay close attention to what the artists who share their vision are trying to get across through their words, because:

 #MusicisLife.

Inevitably, the question comes around to why do I write?

Ted Tocks Covers is about creating a community of music lovers. Any community needs to be built with a clear intention. It also needs to have standards. Presently, it exists as a village. The people who visit the village wouldn’t find much more than a guy listening to his record collection and looking for additional insight into why an artist sat down to write and record. That is the intention. From there the back story flows into an exploration.

If a song moves me to such an extent that I want to know more, I suspect many talented musicians and artists worldwide were similarly affected to the point that they opted to cover the song in question. From here my own journey of discovery evolves into something that can so easily be shared. The benefit is we learn together.

I believe in what I am doing and I think in some small way it matters.

Frequently, I find myself in some form of a confused state. The world is scrambled. People have lost their minds and too often they are turning to the worst of people for answers. You know who I am talking about. As I type the fascist regime to the south is carrying out an illegal attack on Venezuela. The ‘Rapist in Chief’ is following the lead of his Russian puppet master. Where will this lead? Pay attention.

None of this would have happened if 77 million ignorant Americans had not been so willfully ignorant.

My personal observations are gathered from over 50 years of music appreciation. My ongoing perception is that during the worst of times we tend to be presented with the best of creativity. This Dickensian sentiment is my way of saying, stay positive. Look out for each other. Embrace progress and condemn hatred. Do one good thing for somebody else every day, and above all, please remember to take care of yourself.

This is where my intention of sharing quality music with a strong message becomes the standard I set. Over 1955 posts that have literally been shared all over the globe, I can honestly say that I have not had any negative comments about my content, or my interpretation of the music, or the perceived message.

Maybe I am on the right track? I will keep moving forward, one post at a time and in the words of Robert Hunter if I get confused, I will listen to the music play.

Hopefully you will join me.

Thank you for coming to my Ted Tock.

Top Three Posts for December and a Whole Lot More. #MusicisLife #TedTocksCovers

A brief ode to 2025 through the words of Edie Brickell.

I remember you put a chill across my face
Like the air of December, I swear I remember it that way”

Today’s preamble is going to be relatively short because I am about three days behind in my writing and fading fast.

December marked the final month of my eighth year of writing Ted Tocks Covers. While the page views took a bit of a downturn over the fall, Ted Tocks hit the 100,000 pageview milestone for 2025 early in December. For this blog that is an achievement worth celebrating and sharing.

I share it with you all today, because without your support it would not have been possible. Ted Tocks Covers is about the music, and it is a reflection of how music connects us all.

Because #MusicisLife.

When I began writing Ted Tocks Covers 8 years ago, I had no concept of how strongly my passion would resonate. It is deeply satisfying to be able to offer a brief form of escape every day.

Now let’s turn the focus toward a Ted Tocks Covers reflection on the month that was, through the music I shared. In other words, the music flows and my thoughts become the content offered in this blog, all aided by the words and music of some of the greatest creators of our time.

Somehow, throughout December, I was able to share twelve new features. I am proud of this output that I managed to churn out during an increasingly busy time in my life. There never seems to be enough hours in the day. I was able to combine this new production with 19 songs I brought back from past Ted Tocks Covers features. Overall, these posts generated approximately 250 page views a day. During this past month Ted Tocks Covers was enjoyed by people in 96 countries worldwide. The highest engagement by far comes from residents of the United States. The U.S. represented approximately 65 percent of Ted Tocks Covers readership during the past month. Keeping it in North America, my native Canada resides at #2, followed by the United Kingdom and Australia. India took over from Germany at #5. In fact, India was way ahead of Germany who edged out the Netherlands for #6. They were ahead of a host of other countries. This month the top ten also featured France, Spain and Italy.

Just think about the diversity of cultures that are represented in this group of nations alone, and then consider that through this blog they have all momentarily been connected by a common interest…

…, A love for music

I am grateful that my love of music is relatable to so many. Because wherever music is playing there is hope.

In order to share this passion, Ted Tocks focus is on the music and the magic that brings us together. The anecdotes behind what brought these songs to our ears are endlessly fascinating, and I am happy to say the reader engagement is still positive despite everything that is going on in the world. This past month over 500 Ted Tocks features generated page views. That is more than one quarter of my library.

This is all important to me, because by sharing Ted Tocks Covers, I am aiming to tell a story. It begins with the music I discuss, and on occasion it flows into what is happening in my life. Here, I must repeat myself by saying that your support provides validation, because some days the readership this project enjoys is the fuel that motivates me as I enter the day…The real world, so to speak.

It is all about connection. Because, if you didn’t identify with the songs I share, and the artists I present, none of what I am saying would matter because I would be writing for an audience of one; and that audience would be me. If that were the case this blog would be nothing more than a journal, which is exactly how Ted Tocks Covers began. 

In life, it is the journey we should celebrate. From the perspective of where we presently stand there is value in looking back and seeing how much you have accomplished. Knowing one has come this far should make it easier to tackle what lies ahead.

Because YOU have done it all, many times before.

So often in my life, music is the engine that drives the vehicle I call Ted Tocks Covers, and I continue to maintain that you, the reader, are the passenger. Thank you for coming along for the ride. Quite often, it is music that serves to soften the most hardened among us. It definitely gives us a place to land safely.

Ted Tocks tradition has come to dictate that I pay respects to artists who left us over the past month, but I have a feature planned in the coming days that will feature a short list of artists who left us in 2025.

As always, before I move on to the top three Ted Tocks Covers features for November, I would like to give a nod to a Ted Tocks Covers feature from the past that generated a significant number of page views over the past month. Once again, I turn to a classic from Jackson Browne.

On Christmas Eve I shared Jackson Browne’s cynical reflection on the holiday season. ‘The Rebel Jesus’ serves as a prophetic call to examine personal and societal values, using the Christmas story as a lens to critique inequality and the misalignment of some Christian practices with Christ’s teachings. Set to a serious, haunting Irish melody, ‘The Rebel Jesus’ begins by describing the familiar, cozy scenes of a modern, commercialized Christmas: streets filled with light, cheerful music, bright merchant windows, and families gathering to give thanks and exchange gifts. 

The tone then shifts as Browne highlights the disparity between this festive display and the true message of Jesus. Browne, who describes himself in the lyrics as a “heathen and a pagan,” ends the song by bidding listeners pleasure and cheer, acknowledging that people need anything that frees them in a life of hardship, while still aligning himself “on the side of the rebel Jesus”.

It was my decision to share ‘The Rebel Jesus’ to a couple of Jackson Brown fan pages on Facebook that led to a strong engagement. In December alone ‘The Rebel Jesus’ had over 500 page views, becoming one of only 53 Ted Tocks features to surpass 1000 page views.

Now for this month’s top three songs. There was a three-way tie at #3 and ironically the first two I will share are from Beatle bandmates John Lennon and George Harrison.

#3. The Inner Light

‘The Inner Light’ shares the fascinating story of how George Harrison gravitated to transcendental meditation and eastern philosophies. The message was to quiet your mind and look for the ’Inner Light’, using the 47th chapter of the ancient Chinese text, Tao Te Ching as a guide. Generally speaking, ‘Inner Light’s message is that true knowledge and spiritual enlightenment can be found through inner reflection and meditation, rather than external exploration or physical senses. George’s insightful lyrics were accompanied by his use of the sitar, and it was the focus on George’s friendship with Ravi Shankar that made this feature an intriguing exploration into the man and his music.

If I was to list a group of ten artists that made Ted Tocks Covers possible, I am certain George Harrison would be among that group.

#3. Power to the People

As mentioned, John Lennon was right there with George. Shared on the 45th anniversary of John Lennon’s assassination, ‘Power to the People’ focuses on the political themes that drove much of Lennon’s writing at the time. His goal was to inspire public action, in an effort to challenge dubious regimes on a global level. In an effort to avoid being seen as a hypocrite Lennon kept the lyrics vague so it could be adopted by any movement seeking liberation. As a result, ‘Power to the People’ functions as a chant for marches to this day.

#3. Still the One/Dance with Me

This was a fun feature to write because I reached out to a ardent supporter of Ted Tocks Covers. It was Dave from Michigan who turned me to the story within the story. I asked him to join me in offering some thoughts on the fascinating life of John Hall who was not only a driving force behind the band, Orleans, but also became a member of the U.S. House of Representatives from 2007 to 2011. In addition to discussing two massive Orleans hits, ‘Still the One’ and ‘Dance with Me’, this feature also delves into John Hall’s involvement with the No Nukes Concerts at Madison Square Garden in 1979 where John Hall shared the stage with artists like Jackson Browne, Bruce Springsteen, The Doobie Brothers, Bonnie Raitt, Tom Petty, Graham Nash and Pete Seeger. This was a fun collaboration. I was happy to see it make the top 3 for the month.

#2. What’s Up/Beez in the Trap

Admittedly, when Ted Tocks embarked on this feature there was a semblance of pride in thinking I was being cutting edge. This was written as a birthday greeting to my wife Heather who was a big fan of this mashup as a result of it becoming a TikTok sensation. The combination of styles incorporated by the generational anthem, ‘What’s Up’ by Four Non Blondes and the colloquial ‘Beez in the Trap’ by Nicki Minaj made for a fascinating exploration. It was fun to write. Of course, within a week the self-serving Minaj went full on MAGA, appearing on stage at Turning Point U.S.A.’s annual gathering of the religious right hypocrites.

Every person has a price.

#1. London Calling

This feature was a ton of fun to write. The intention was simple. On the anniversary of ‘London Calling’ by The Clash, Ted Tocks took a brief run through the timeless album which was released on December 14, 1979.  It is more of a personal reflection on how I was a little slow to come around on this generational album. I had my reasons.

Frequently, Ted Tocks Covers readers reach out to me and offer interesting insights on what the songs I feature mean to them. Once again Ted Tock friend, Bludgeon, from (East)  Germany shared his reflections, this time about ‘London Calling’.

Well, well, well! – When the “London calling” Album came out, I was 19. And I had in December’79 my first break, (or Holiday) from the barracks. I had to do my Army Service for 18 Months far away from home and in an NVA-Corps full of losers of society. Alcoholics, Prison-Vets, men without any kind of education and a handful un-sporty Highschool-Pupils like mine. And Pink Floyd sang at that time “We don’t need no education!” Fuck you Floyd! I felt pissed by these Prog-Gods! Gone shut you down at your bloody wall! I need other songs! So, I was very alone.

And on the second evening at home, I sat by the radio and they played “a new one from the Clash” and it was “London calling”! So, I caught it on tape, and it guides me through the next months of all that military dumpiness. “A war is declared! A battle comes down!” One time I shoot you all! Bam-Bam-Bam! I’m Tommy Gun! Got guns, guns! Guns on the roof!” – Because 14 Days before the service starts a friend of mine gets The Clash album, “Give ‘em enough rope”. So, I got it too. On tape. And I prepared myself for that period of shit, that will come along in 14 days!

I became a real Amok-Rider in mind. But God blessed me from that. He sent me a comrade. He got calming books to read. Herman Hesse. Jack Kerouac. And he got Uncles and Aunts in West-Germany, so he was able to sell West-Records by order. That leads me in a better direction. He became my best friend for 18 Months. And when I came out of this, the darkest period of my life, I was the owner of 15 West-Records by Oldfield, Bowie, Jackson Browne,… Everyone paid with 120 East-Mark. That’s exactly the monthly wage of a Soldier, so I’d done my Service for West-Vinyl. And in East-Germany in the early 80s, you’re a kind of Royal, if you own Bowie Records, ’cause behind the wall of Berlin they were so very rare! Everyone tries to be my friend, to get my three Bowie Records on tape. 🙂 So the sun came back into my life.

But everytime someone triggered me with “London Calling’ that memory comes back to life.

“…if (Berlin) is burnin’ out – I live by the river!” Calmed and settled. Don’t need this Clash-Record anymore.
Got not much punk in my collection now. But once it gave me courage to held my head up high! In the Crap-Corps of the NVA. Somehow.”

This perspective on a Clash masterpiece is incredible. It means one thing toa closed-minded and somewhat privileged high school kid in Ontario, but this takes it all to a much different place.

This is the essence of Ted Tocks Covers.

Thanks Bludgeon!

December also saw Ted Tocks Covers feature ‘Clampdown’ from ’London Calling’ which further demonstrates how timeless Joe Strummer’s lyrics and the music of The Clash is to this day.

If there is any theme running through the songs that dominated Ted Tocks in December, it truly is the timeless relevance of the songs that made us stand up and take notice.

The challenge is taking the time to figure out which artists are genuine and which ones are just capitalizing on the gullible nature of society in today’s world of 8 second reels and gimmicky headline style messages.

Keep them poor, sick and stupid.”

This could become the ‘RepubiCON’ creed.

If you missed the features listed above the first time around, by all means enjoy them now. If you think a friend might like to spend a few minutes with some good music, please share because…

It all ties together through the messaging.

Music, when done right is eternally relatable. This is why every post begins, and sometimes even ends with the hashtag #MusicisLife.

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You can always follow Ted Tocks Covers on Facebook, Instagram, Mastodon, Threads, Bluesky, Spaces Burlington/Spaces Oakville or LinkedIn where I post every day, with either new content or reposts of past features. Here, I have also created a Linktree account so everything is together.

Thank you for continuing to read Ted Tocks Covers. I will be in touch. You can count on that.

There are many great stories to come in the days ahead.

This is all part of the plan.

Stay safe and have a grateful day!