A Trick of the Tail – I Think Phil Passed the Audition. #MusicisLife #TedTocksCovers #Genesis #TonyBanks #PhilCollins #SteveHackett #MikeRutherford

Writing Ted Tocks Covers has taken me to thousands of places without ever leaving my little corner of the kitchen where I do 90% of my writing. Typically, with each day of writing I begin by looking out into the darkness. My eyes adjust, and slowly the moonlight reveals the shadow of the back fence and the faint form of the trees in the forest behind my house. As the clock ticks and daylight takes over from the mystery of night, I am frequently distracted by the rabbits searching for whatever traces of food they can find or the squirrels frolicking before chasing each other up a tree then jumping acrobatically from branch to branch. It’s nature’s circus. Always entertaining, and it doesn’t cost a cent.

Today my soundtrack is ‘A Trick of the Tail’ the remarkable seventh album by Genesis which was released 50 years ago today. For this album the range of inspiration was wide and the obvious connections only begin with The Beatles, Led Zeppelin and Santana before heading off into the classical realm.

The fact that such a stunning collection of music could have been created during a period of transition for Genesis is testament to their greatness. ‘A Trick of the Tail’ was created in the wake of Peter Gabriel’s departure. Gabriel had let his bandmates know his intentions during the ‘Lamb Lies Down on Broadway’ tour. Numerous personal reasons had led to this decision and while Tony Banks, Phil Collins, Steve Hackett and Mike Rutherford were disappointed that Gabriel quit, they were not surprised.

Stories of the band’s search for a replacement represent a fascinating chapter in the Genesis history.

We all know how it ends and the journey took them to a familiar place.

Before we move on, here is Genesis drummer, Phil Collins taking on the lead vocal role on ‘For Absent Friends’ earlier in the decade.

Looking back at days of four instead of two.
Years seem so few (four instead of two).
Heads bent in prayer
For friends not there”

This song about aging and the passage of time appeared on ‘Nursery Cryme’ in 1971.

Despite the fact Peter Gabriel’s departure was hanging over them, the band was determined to move forward. While auditions proved fruitless, they had gathered an impressive array of lyrics and music.

‘A Trick of the Tail’ became an effort to prove to fans and critics that the show would and could go on. What is so intriguing is that during this time there was so much going on.

It all began with ‘Squonk’, a stunning piece of music which presented Tony Banks and Mike Rutherford as the primary composers. Tony Banks, who was perhaps Gabriel’s best friend in the band had accumulated a fair bit of material because he had been contemplating a solo album. At the same time, Genesis guitarist, Steve Hackett who was also searching for his own autonomy within the Genesis family was writing material for what would become ‘Voyage of the Acolyte’. Here is that recording. Essential listening for any lover of the ‘prog’ genre and a focused glimpse at the guitar prowess of Steve Hackett.

This is an important stop on the musical timeline that led to ‘A Trick of the Tail’ because it did feature contributions from Phil Collins and Mike Rutherford.

Rehearsals for ‘A Trick of the Tail’ began in the summer of 1975 in a basement studio in the west London town of Acton.

While all of this was happening Genesis placed a cryptic ad in Melody Maker that depicted a band that was searching for;

A singer for a Genesis-type group”

The ad drew the attention of approximately 400 people who cynically could have been accused of pretending to be Peter Gabriel. When word got out that Gabriel was leaving, the music press and fans alike predicted that Genesis was doomed. Prompted by an article penned by Peter Gabriel himself which was headlined “Out, Angels Out”, the word spread.  This piece is so well written that it would not do Peter Gabriel justice to simply isolate a few sentences or one paragraph. It is well worth reading.

Gabriel Out of Genesis; Looking Back it was a Good Decision

This was a different time. Articles in publications like ‘Melody Maker’ drew thousands.

Gabriel Out of Genesis!” 

Chris Webb perpetuated the doom and gloom among the legion of Genesis devotees.

 No longer will Peter startle his fans with apparitions, kinetic structures and theatrical trickery of every description…” 

Among the hundreds of audition tapes were offers from Nick Lowe, Allen Clarke of the Hollies, Mick Rogers of Manfred Mann’s Earth Band and Mike Strickland.

Accounts from this time suggest it was Mike Strickland who came the closest, but it was quickly determined that his voice was in the wrong key for the majority of Genesis material. Audition tapes do exist and try as he did, it was clearly an ordeal, as suggested by Mike Rutherford.

It was in completely the wrong key. The poor guy battled through it, but it was never going to work.”

Band conversations saw Phil Collins floating the idea of becoming an instrumental act.

For a time, I thought we’d carry on as a four-piece without any singing.”

This was swiftly rejected because they all agreed it would be a little too introspective to be financially sustainable

We kept writing songs. But after a while we realized they’d get a bit boring without any vocals.” 

So, the band played on. For what was to become ‘A Trick of the Tail’ Phil Collins brought up the name of producer, David Hentschel who went back to the group’s ‘Nursery Cryme album. Most recently Hentschel had been the engineer on the Elton John masterpiece ‘Goodbye Yellow Brick Road’.  Recording for ‘A Trick of the Tail’ began in October. On a side note, Peter Gabriel visited the studio and was impressed by what he heard.

And still, those who were asking the band were told that there was no singer…

Despite this glaring fact Genesis was churning out the material, lyrics and all. Peter Gabriel’s validation confirmed what they already knew. ‘Ripples’ was written by Mike Rutherford with Phil’s vocal ability in mind. Still reluctant. Phil complied and declared that once the demo was complete, he would teach Peter Gabriel’s replacement.

Tony Banks shines again and Mike Rutherford’s lyrics which are laid down over his beautiful 12 string guitar playing describe the aging process and the helplessness we face against the passage of time.

Sail away, away
Ripples never come back
Gone to the other side
Look into the pool, the ripples never come back, come back
Dive to the bottom and go to the top
To see where they have gone
They’ve gone to the other side”

Wisdom beyond his years.

Then came ‘Squonk’. For this prog rock masterpiece, Mike Rutherford was influenced by Argentinian writer Jorge Luis Borges’ ‘Book of Imaginary Beings’. Tony Banks looked toward industry peer John Paul Jones’s contribution to Led Zeppelin’s timeless track, ‘Kashmir’ as a guiding light. Meanwhile, Phil himself was inspired by John Bonham and ‘When the Levee Breaks’ for his drum track.

All in all you are a very dying race
Placing trust upon a cruel world
You never had the things you thought you should have had
And you’ll not get them now
And all the while in perfect time
Your tears are falling on the ground”

This piece was written almost entirely without Steve Hackett who added his guitar parts after being captivated by what his bandmates had composed. All of this foreshadowed the band’s future.

Ultimately, it was Phil Collins’s wife Andrea who told him he was more than capable of becoming the full-time vocalist for Genesis. 

This sentiment was reinforced in hindsight, by Phil’s friend Bill Bruford who always suspected what would happen. Here he recalls a conversation with Collins;

He said something like, ‘They’re all bloody useless – I can sing better than they can,’” 

Phil got the job.

The rest is history. A steady flow of classic post-Peter Gabriel Genesis tracks had already begun, and they would continue at a prolific pace. 

On the outside many were sceptical but Genesis was unphased. They just started recording and knocked one song off after another. They were energized by what ended up becoming an example of addition by subtraction. Any doubts were quickly dispelled.

From here we will run through a song by song look back at what remains of ‘A Trick of the Tail’.

With ‘Dance on a Volcano’ Genesis was sending a message to every critic and fan who thought they could not go on without Peter Gabriel. It is a sensational album opener. The usually understated Mike Rutherford was pleased with this statement song.

It embodied all that Genesis did well,”

If you didn’t tune in with the full album shared at the outset of this post, then check it out here, or by all mean listen again…

One glaringly obvious characteristic of ‘A Trick of the Tail’ is the fact that clues to Steve Hackett’s eventual departure were beginning to break through the cracks. A major change in the typical Genesis process saw the band move on from listing all tracks as being words and music by Genesis to listing those members who contributed to the composition. With ‘Entangled’ Genesis fans got a taste of one of just three songs for which Steve Hackett was credited.

Over the rooftops and houses
Lost as it tries to be seen
Fields of incentive covered with green”

In this piece Steve Hackett wrote the verse and Tony Banks offered the chorus and captivating synthesizer. Tony Banks lists ‘Entangled’ as his favourite track on the album. ‘Entangled’ begins as a little whimsical but by the time it develops and concludes it becomes quite cynical and thought provoking.

For some reason ‘Mad Man Moon’ appears as a sort of orphan track on ‘A Trick of the Tail’. It closes side one which is a good album placement as it always leaves a moment for the listener to ponder. Tony Banks never performed this song live.

Within the valley of shadowless death
They pray for thunderclouds and rain
But to the multitude who stand in the rain
Heaven is where the sun shines”

The lyrical depth is astounding, and listen to his piano work. This is an epic track that demonstrates that in the world of keyboard players few rivalled Tony Banks.

On to side two Genesis led off with ‘Robbery, Assault and Battery’. For this track, Tony Banks continued with his incredible ability to channel what everyone had always thought was the Peter Gabriel vision. His lyrics embody an element of humour and they offer a window to Genesis’s past as a theatrical act. Here, Phil Collins was able to harken back to his past as a stage actor. With ‘Robbery, Assault and Battery’ Phil let everyone know that his new role in the band was permanent and he did it with a flair that was destined to last.

He’s leaving via the roof, the bastard’s got away!
God always fights on the side of the bad man”

Done me wrong. Same old song. We are living this lament to this very day.

The album’s title track offers one more example of Genesis looking to their industry peers for ideas. Musically speaking the song ‘A Trick of the Tail’ was partially inspired by ‘Getting Better’ from The Beatles classic album ‘Sgt. Pepper’s Lonely Hearts Club Band’. This track has roots that go back to 1972. Tony Banks explains the song’s lyrical influence which were drawn from ‘The Inheritors’ by William Golding.

It’s about a race who were on earth before man and it’s the story of the last survivor of this race. The very last chapter deals with our reaction to him whereas the rest of the story is his reaction to us. It’s about an alien with horns and a tail who appears in a modern city and how people react to him.”

Interestingly, with ‘A Trick of the Tail’ we also get what exists as the first Genesis video. It was produced by Bruce Gowers, who is famous for his work on Queen’s ‘Bohemian Rhapsody’.

Let me take you there
Show you a living story
Let me show you others such as me
Why did I ever leave?”

Watch the video. It’s a cool look back at an iconic band. Enjoy the effect of the four of them dancing on the piano keys.

‘A Trick of the Tail’ concludes with ‘Los Endos’ which is one of just two tracks on the album that credits all four band members.  Paired with ‘Dance on a Volcano’, ‘Los Endos’ serves to book end the album. Musically speaking it was a Phil Collins creation inspired by the Santana instrumental ‘Promise of a Fisherman’. Check this out.

As this Genesis instrumental unfolded its opening section was taken from ‘It’s Yourself’ which had gone unreleased until it was added as a B-side to none other than ‘Los Endos’.

I wanted to get all of that energy and melody in there.”

Here is a live version from the 1976 tour to support ‘A Trick of the Tail’.

Logistics for the ‘A Trick of the Tail’ tour required that Genesis find someone to play drums while Phil Collins was handling the vocal responsibilities. It was Bill Bruford, formerly of Yes and King Crimson. Who took on the role. How good does it get?

Here is Bill Bruford commenting on the band he so famously joined for this brief period. This is from an interview with ‘Sounds’.

I’d never seen Genesis or heard their albums before. But I respected Phil and knew he wouldn’t be involved in any rubbish.”

Bruford’s presence actually enhanced Genesis and their street credibility in North America. The North American Tour began in London, Ontario in late March and it ended in July of 1976 in Stafford, England.  The live tour served to complete the transformation. Reviews from the tour were almost unanimous. Phil Collins had a natural humorous rapport with the audience. Gone were the theatrics that were Peter Gabriel’s captivating calling card. Collins had a different approach. He came across as likeable, and an everyman which was a persona he developed to mass acclaim over the next couple of decades.

For Genesis, a new era had begun.

Music is magic.

Clearly, ‘A Trick of the Tail’ represents Genesis at their finest. Debate amongst yourselves as to where it stands on the list of their finest releases, but its level of quality at what was a very challenging time speaks volumes. Tony Banks resides as the album’s unsung hero. He received song writing credit on every track. For this contribution he remained somewhat humble.

It was very satisfying for us to show that we could carry on … It was great not to have to involve another person too.”

He was also very realistic about the cloud that was hanging over the band.

But there was a lot of fear about whether we could carry on without him,”

In hindsight they recognized that the creative process was easier with one less person to cast doubt on their ideas. Here is Mike Rutherford from an interview in ‘Prog’ magazine.

 I think we knew we’d made a good album. It already felt like a new chapter.”

Tony Banks concluded this combination of thoughts when he told Melody Maker;

We had to prove we could do it without Peter. We think it’s the best album we’ve ever done.”

At the time Tony Banks’s words were supported by the success of ‘A Trick of the Tail’ in the U.K. where the album went to #3, matching the success of ‘Selling England by the Pound’. Globally the album climbed into the top 20 in eight countries.

In the end, one person was not surprised by the continued success of Genesis. Here is Peter Gabriel with a succinct assessment.

I had much more confidence in the band’s ability to transcend my departure than they did.”

Through it all the biggest star that emerged was Phil Collins. Reluctant at first, he adapted to the role of front man in his own way. Within a decade he became one of the biggest and most sought- after names in music history.

Today’s look at ‘A Trick of the Tail’ would not be complete without a track-by-track glimpse at the album through the eyes of a variety of musicians over the past 50 years.

Fittingly we will begin with Steve Hackett in a live setting back in 2013. Here is ‘Dance on a Volcano’.

Next up is a Ted Tocks Covers favourite. Here is Fleesh and their cover of ‘Entangled’ which appeared on their 2020 tribute to Genesis called ‘Here it Comes Again’. Fleesh has been shared on several occasions through the years.

A little over thirty years ago a band called Cairo participated in a phenomenal Genesis tribute album called ‘Supper’s Ready’. The whole album is worth listening to, but here is ‘Cairo’s amazing cover of ‘Squonk’.

Perhaps the most under-appreciated track on ‘A Trick of the Tail’ is ‘Mad Man Moon’ which truly resides as a Tony Banks showcase. Enjoy this instrumental cover by Francesco Gazzara who performs simply under just his last name. He released tribute in 2014 on his album ‘Play Me My Song’.

Next up is a cover that was recorded and released on YouTube just two weeks ago in advance of the 50^th anniversary of ‘A Trick of the Tail’. Here is ‘Robbery, Assault and Battery’ by Arianna De Lucrezia and Francesco Vaccarezza. Arianna puts her bass prowess on full display and Francesco lays down the drum part in a way that would make Phil Collins proud. Where it really shines is in the vocal interpretation as the pair interpret this piece like a one act play.

Every cover shared in today’s feature exists in reverence to Genesis but this version by Ray Wilson in 2013 demonstrates the magnitude of what it takes to portray this iconic act in the live setting. After Phil Collins announced his departure in 1996, this talented Scottish musician spent three years touring with Tony Banks and Mike Rutherford as Genesis before the remaining duo decided to shut things down.

They basically phoned me up and said, “Ray, we’re not continuing.” I’ve never really felt that I was out of the band as such; it’s just that the band doesn’t exist anymore (laughs). When I heard that, it was just after the Cut tour, about a year and a half ago. I’ve read some articles saying that I was fired and stuff, but to be fair to them, they didn’t phone me up and say, “Ray, you’re fired. We’re going to carry on and we’re going to get somebody else to sing.” Or, “We’re going to carry on and get Phil back.” There was never any of that. They just said, “We’ve decided not to continue because the market doesn’t want us.” I think they didn’t want to completely close the door to ever doing anything again.”

Here is Wilson ‘Live at Radio Trojka’ in 2013. Enjoy!

Next up is Holly Wilson and her cover of the title track from ‘A Trick of the Tail’ which she released on her album ‘Los Éxitos De Genesis En Bossa Nova’. It is this unique interpretation that drew me to this cover and I was not disappointed.

Time for a big finish and appropriately it includes Phil Collins with The Phil Collins Big Band

in 1996. Enjoy ‘Los Endos’ as conducted by the great Quincy Jones live at Montreux Jazz Festival. The ‘Los Endos Suite’ was the 40^th anniversary of this celebrated music showcase.

All these years later, as we listen, we reflect on the magnificence of ‘A Trick of the Tail’ and Genesis on the whole. Some may argue that they drifted over the years into something that became a little too commercial but if you spend time with any album released in the ‘80s and ‘90s their prog rock roots were always evident.

One of many remarkable things about ‘A Trick of the Tail’ is that the maturity of the musicianship and resilience belied their years. Steve Hackett is celebrating his 76^th birthday as I write which would have made him 26 at the time of the album’s release. Mike Rutherford was only 25. Tony Banks would turn 26 a month after the album’s unveiling and Phil Collins had just turned 25. The fact that they endured such a significant personnel change as losing Peter Gabriel is one thing to consider. Still, the fact they surged forward in the face of industry pressure and financial constraints borders on unimaginable. Yet the band played on and turned a negative into a rebirth worthy of the band’s moniker. The more I listen, the more I respect the band and every musician connected with this recording through the years. Genesis fans will debate the band’s library of music and their lexicon of great albums forever. Casting this conversation aside Ted Tocks Covers will state that in terms of the human spirit ‘A Trick of the Tail’ exists as the band’s greatest triumph.

Presently, Phil Collins embodies the very same resilience he and his bandmates displayed half a century ago. Due to several health issues that includes five knee surgeries, kidney failure and a debilitating spinal injury, Collins is presently under 24-hour medical care at the age of 75. Despite all of the setbacks, he still has the resolve of a 25 – year-old declaring that he would love to record and tour again.

I can’t dance
I can’t talk
Only thing about me is the way I walk
I can’t dance
I can’t sing
I’m just standing here selling everything”

Do you know what?

He just might do it.

In the meantime, if you are selling Genesis by the pound, ‘A Trick of the Tail’ is worth its weight in gold.

Celebration – It’s About the Creation of Mankind and Everyone is Invited. #MusicisLife #TedTocksCovers #KoolandtheGang #RonaldBell #RobertBell #KhalisBayyan #MuhammadBayyan #JTTaylor

Here is a good one.

Could somebody knock on the door of Stephen Miller’s crypt and give him a nudge? Let the Nazi ghoul know that ‘Celebration’ by Kool and the Gang was written by…

…Wait for it…

A Muslim.

Gasp!

MAGAts everywhere are scattering.

Muslims! Nooo!

Not even the proud boys of I.C.E. can save them. They’ve been dancing to Kool and the Gang at weddings, parties, sports venues and even in the aisles at WalMart.

It’s about good times.

It’s inclusive.

Again, the MAGAts shudder.

‘Celebration’ was written by Ronald Bell of Kool and the Gang. He was the Rock and Roll Hall of Fame band’s co-founder, sax player and musical arranger. His mother was Aminah Bayyan and his father was Robert ‘Bobby’ Bell. Bobby Bell was a professional boxer who while training in New York lived in the same building as Miles Davis and Thelonious Monk. This fostered a love of music for the elder Bell and he passed his passion for jazz onto his sons Ronald and Robert whose Muslim names are Khalis Bayyan and Muhammad Bayyan respectively.

In interviews, Ronald Bell acknowledged the connection to the teachings of the Quran.

I was reading the passage, where God was creating Adam and the angels were celebrating and singing praises. That inspired me to write the basic chords, the line, ‘Everyone around the world, come on, celebration.”

In some degree of contrast Ronald ‘Kool’ Bell has suggested that ‘Celebration’ was also inspired by the Kool and the Gang song ‘Ladies Night’ which came out in 1979. Ronald heard the line;

This is your night tonight, come on, let’s all celebrate.”

Robert contends that Ronald used that line as a catalyst for what would become ‘Celebration’.

No matter how one dissects the origin ‘Celebration’ it became a universally recognized song and for Kool and the Gang it became their first and shockingly, only U.S. #1 song. Here I will add that it was Kool and the Gang’s eighth top 40 single, so they were definitely no stranger to success.

In addition to the obvious galvanizing theme of ‘Celebration’ its release in the fall of 1980 and rise up the charts was also an example of perfect timing. This is where art becomes connected to the socio-political realm. In early November of 1979 the Iranian students who were loyal to the Ayatollah Khomeini occupied the U.S. Embassy in Tehran. Initially they took 66 American citizens hostage. Over a delicate 444-day period this drama unfolded. Through various circumstances 14 of the hostages were able to find freedom, and ultimately on January 20, 1981; Ronald Reagan’s inauguration day, the 52 remaining American hostages were released. Naturally, the relief felt in the Western world was immeasurable, and in an effort to unwind, people turned up the music and ‘Celebration’ by Kool and the Gang was top of mind.

Everywhere people went between late January and early February, ‘Celebration’ was playing and  ‘Celebration’ became Kool and the Gang’s first #1 single on this day exactly 45 years ago today.

Here are the words that everybody sang.

Yahoo!
Celebration
Yahoo!
This is your celebration

Celebrate good times, come on!
(Let’s celebrate)
Celebrate good times, come on!
(Let’s celebrate)

There’s a party goin’ on right here
A celebration to last throughout the years
So bring your good times and your laughter too
We gonna celebrate your party with you

Come on now, celebration
Let’s all celebrate and have a good time
Celebration
We gonna celebrate and have a good time

It’s time to come together
It’s up to you, what’s your pleasure?
Everyone around the world come on!

Yahoo!
It’s a celebration
Yahoo!

Celebrate good times, come on!
(It’s a celebration)
Celebrate good times, come on!
(Let’s celebrate)

There’s a party goin’ on right here
A dedication to last throughout the years
So bring your good times and your laughter too
We gonna celebrate and party with you

Come on now, celebration
Let’s all celebrate and have a good time, yeah yeah
Celebration
We gonna celebrate and have a good time

It’s time to come together
It’s up to you, what’s your pleasure?
Everyone around the world come on!

Yahoo!
It’s a celebration
Yahoo!
It’s a celebration

Celebrate good times, come on!
(Let’s celebrate come on now)
Celebrate good times, come on!
(Let’s celebrate)

We’re gonna have a good time tonight
Let’s celebrate, it’s all right
We’re gonna have a good time tonight
Let’s celebrate, it’s all right, baby

We’re gonna have a good time tonight
(Celebration)
Let’s celebrate, it’s all right
We’re gonna have a good time tonight
(Celebration)
Let’s celebrate, it’s all right

Yahoo!
Yahoo!

Celebrate good times, come on!
(Let’s celebrate)
Celebrate good times, come on!
(It’s a celebration)

Celebrate good times, come on!
(Let’s celebrate)
(Come on and celebrate tonight)
Celebrate good times, come on!
(‘Cause everything’s gonna be alright, let’s celebrate)

Celebrate good times, come on!
(Let’s celebrate)
Celebrate good times, come on!

On its own ‘Celebration’ was obviously destined for something special but suddenly it was everywhere. Record World described it this way;

One big party hook with cool chorus chants & a boss bass”

In the words of J.T Taylor, Kool and the Gang’s front man who joined the band in 1979 just in time to co-write ‘Ladies Night’, his mother knew ‘Celebration’ was going to be a hit as soon as she heard the song.

My mother told me when she heard it, ‘You’re gonna play this song for the rest of your life – so get ready!”

Nothing like a proud momma.

Can anybody explain to me how it is possible that mothers are always right?

Getting back to a veiled point I was trying to make in today’s introduction, I strongly believe we need a woman to take the leadership reigns.

The United States have had two cracks at it and failed miserably. Presently, the men are not the answer. Here’s a thought.

Round up the wealthy old ball sack scum in the Epstein files.

Execute them all.

Seize all assets associated to them and their families.

Feed the hungry.

House the poor.

Invest in education

Cure the sick.

Let’s make the world a better place.

Greed is a disease and the plague has laid itself before us all for centuries.

Revolution will lead to a global celebration.

Speaking of a change of direction, that is exactly what Kool and the Gang did in the late ‘70s. It all began with the arrival of J.T. Taylor who added a layer that this classic R&B band never had. He was a strong front man who helped to deliver the music and sell the soul spirit.

The shift worked for them too. The evolution began with the album, ‘Ladies Night’ which was shared above and it flowed into their next studio release which of course was ‘Celebration’. Over the following half decade Kool & the Gang moved toward their album related commercial peak with Joanna;

And ‘Cherish’

This was all a far cry from the soul and funk classic ‘Hollywood Swinging’ but no one can argue with the cross-genre success.

In March of 2002, Kool & the Gang performed at the now destroyed Kennedy Center. Good memories from a once proud venue that has been erased by a grotesque man with an uncanny ability to turn everything he touches into a pile of shit.

With so little to celebrate these days it is good to know that we can turn to the music for escape or celebration. For 45 years ‘Celebration’ has served as a global source of positivity. The fact that the first two covers are presented by Australian acts emphasizes this point.

We begin with Dragon whose roots also reach to New Zealand. This popular act released ‘Celebration’ in 1987 as the lead single to what was to become their ninth studio album, ‘Bondi Road’. This has a definite’80s sound.

 Kylie Minogue used ‘Celebration’ as an effective way to promote a new ‘Greatest Hits’ package in 1987 This video was shot in Rio De Janeiro.

Here is the first of two acapella covers. This is Speak of the Devil in 1996 from their ‘Speak No Evil’ album. This style just works because it avoids the temptation to overproduce.

In 2004, Kool and the Gang joined forces with popular Scottish singer, songwriter, actress and television personality, Lulu and the London Community Gospel Choir. This collaboration was part of Kool and the Gang’s ‘Reloaded’ package.

While scouring the globe for interesting versions of ‘Celebration’ I found this energetic cover by Cuban Jazz Combo.

Bringing the world tour back to American soil, here is Ken Tamplin from his album ‘Got You Covered Vol. 3’.  Kind of a weird background here, which makes me wary, but it does have a positive vibe.

Any time Playing for Change enters the cover orbit Ted Tocks Covers is all in. In 2015, Playing for Change released a cover of celebration” of Universal Children’s Day.

We are proud to release this Song Around The World featuring children from all across the globe. Children are our hope for the future and it is up to us to pave the way so that their future is bright. Come one, come all and join together to make this world a better place for us and the generations to follow.”

This is fun to watch. Incredible talent. A true celebration of our future.

One year later in 2016, here is Perpetuum Jazzil,e, a Slovenian acapella act with a mind-blowing presentation. This is a positive portrayal of ‘Celebration’ and sends a message that the nation of Slovenia should be known for something more than a woman who is closely connected to individuals associated to a global sex trafficking ring. The photos exist. The public record shows documents that she is connected. to a group of monsters. By contrast, this is just a quality version of a globally renowned song performed by several singers who love music.

Finally, from 2020 here is my favourite cover. This is Debbie Downer and the Mascara Stains from a SoundCloud recording. Click on it and scroll down. This is from their 2020 release called ‘Summer Bummer’.

13 happy summer classics rendered in depressing fashion.”

Led by Greg Moodie, Debbie Downer and the Mascara Stains were trying to bring their fans out of a COVID funk. Love it.

Debbie Downer And The Mascara Stains

Before concluding today’s feature, let’s head to the 2024 Rock and Roll Hall of Fame induction of Kool and the Gang. Say hey, hey, hey! In the words of Chuck D of Public Enemy fame;

This is a long overdue celebration.”

Here is the Chuck D’s induction along with Robert ‘Kool’ Bell and J.T. Taylor and their acceptance.

This was a thought-provoking delivery. A couple of lines really grabbed my attention.

When you mention someone’s name in reverence draw their spirit into your presence.

Music always helps you do just that.

Ted Tocks Covers has done its best to do that for over 8 years.

Let’s stand in reverence so tomorrow we can climb higher.”

The first step is to understand who is worth celebrating.

So Hard Done By – Sorry I Can’t Go on With This. #MusicisLife #TedTocksCovers #TheTragicallyHip #GordDownie

Every time I listen to ‘So Hard Done By’ by The Tragically Hip I picture a hopelessly second-rate politician in the midst of a lap dance. So obsessed in his self-importance he completely ignores the stripper who is aiming to entertain him.

Degrading on every level. The sexual performance is only a background prop in his aimless existence. He considers himself to be interesting and sophisticated, and cannot comprehend why millions reject him time after time. In this chair he laments openly while the objectified individual preens in a struggle to at least momentarily capture his attention.

Yet, he is too self-absorbed.

Like a modern-day Stuart Smalley, he gazes into the strippers’ eyes, but only to see his own reflection. This reveals the magnitude of his narcissism.

I’m good enough, and I’m smart enough and doggonit people like me.”

The scene plays out like this. There is no monumental big screen kiss. The shallowness of the moment is what renders it meaningless. The song is over. The woman who plays the role; the object of his flaccid desire whispers that it is time for her to leave.

As he heads to his home in the nation’s capital, where his wife and two children await, he deludes himself into thinking he was close to a moment of true human connection.

It couldn’t be his own fault that he is loathed by so many. He appreciates your vote, but he is hopelessly incapable of expressing gratitude. As he pulls into his driveway, he summarizes everything the way he always does.

I’m so hard done by.”

Tomorrow, he will do it all over again. If he can fool his family, he can definitely fool the whole country?

Right?

It’s a true cinema-a-clef. At what moment did you figure out who I was talking about?

Figurative or literal this is how the story plays out, often in three-word verb the noun slogans. Keep it simple. Repeat.

Art imitates life.

The credits roll and Gord Downie’s voice can be heard singing this song from The Tragically Hip’s ‘1994 album ‘Day for Night’.

Interesting and sophisticated
Refusing to be celebrated
It’s a monumental big screen kiss
It’s so deep it’s meaningless

One day you’ll just up and quit
And that’ll be it
Just then the stripper stopped in a coughing fit
She said, “Sorry, I can’t go on with this”

Yeah, that’s awful close but that’s not why
I’m so hard done by

It was true cinema-a-clef
You should see it before there’s nothing left
In an epic too small to be tragic
You’ll have to wait a minute ’cause it’s an instamatic

Yeah, that’s awful close but that’s not why
I’m so hard done by

Just then the room became more dimly lit
As the MC carried on with it
And now that I’ve got you all strangely compelled
I’m afraid Candy’s not feeling well

Close but that’s not why
I’m so hard done by”

There are not many lyricists who could drop the term cinema-a-clef into a song so effortlessly but that resides as one of the many gifts Gord Downie bestowed upon us all. By channeling the words through the music of The Tragically Hip, it all became a mystical soundtrack that forced us to contemplate what he was aiming to portray.

In the end, it never really mattered. We have the instamatic to hold onto forever.

We were strangely compelled.

Candy is gone. The MC suggested she wasn’t feeling well, but I suspect she felt so diminished in his presence that if she didn’t leave immediately, she may have been forced to do something drastic.

He has that effect on people.

They walk among us.

Life goes on, but nightmares can be recurring.

Back in September of 1994, The Tragically Hip released ‘Day for Night’ to a devoted fanbase that was salivating in anticipation. Following the success of ‘Fully Completely’ the band was on the brink of taking their popularity to another level. In hindsight, what transpired was the epitome of integrity. The track list of ‘Day for Night’ captured the band at their deepest, darkest, mysterious best. By following the courage of their own conviction, they cemented the legacy that will be forever associated with their name. Take a moment and reflect on this astute quote from MacKenzie Wilson of AllMusic.

Gordon Downie’s signature lyrical mysteries are just as lush, but much more dark-spirited. And that’s the intent, for he’s looking for a listener to identify with his passionate wordplay, which is both sturdy and sensitive.”

The Tragically Hip were not intentional hitmakers, but somehow, they wrote hits. It happened organically. They were never contrived. Today’s feature was released as the fourth single from ‘Day for Night’ and frankly, it was as eclectic as the three previous releases.

It was part of a succession that began with ‘Grace Too’.

The secret rules of engagement are hard to endorse
When the appearance of conflict meets the appearance of force”

If pressed, I would call this my favourite Tragically Hip song.

Grace, Too – For a dear friend. We miss you every day. #MusicisLife #TedTocksCovers #TheTragicallyHip #GordDownie #JustinRutledge

Then came ‘Greasy Jungle’.

I saw your hands melt
Into one another
I saw you grieve and grow
Care a lot about one another”

Just then it hit me…Hypnotizing, until we are awakened by the chorus. We need real human connection.

All of this occurred before giving way to the haunting dream that was Nautical Disaster.

One afternoon, four thousand men died in the water here
And five hundred more were thrashing madly
As parasites might in your blood”

Show me another single with such astounding wordplay. Yet Hip fans sang along with every word for over two decades.

Nautical Disaster – The screaming filled my head all day. #MusicisLife #TedTocksCovers #TheTragicallyHip #J.P.Cormier #BillyTalent

In Canada ‘Day for Night’ went six times platinum which was no doubt validating for the band. From a personal standpoint I revel in this fact because it has long been my favourite Hip album. Here is another favourite track which defines Gord Downie’s brilliance in capturing the characteristics of society in the face of mass manipulation.

Tests have shown that suspicious are hostile
Their lives need not be shortened
Truth be told, they can live a long, long while
Tickled to death by their importance”

Themes are repeated…

He was writing in the moment, but the foreboding in ‘Scared’ exists as a clear warning that sadly went unheeded.

Scared – It’s been a pleasure doing business with you. #MusicisLife #TedTocksCovers #TheTragicallyHip #GordDownie #ConnorMacNeil

In ‘Have Not Been the Same: The Can-Rock Renaissance 1985-1995’, which Jason Schneider co-wrote with Michael Barclay and Ian A.D. Jack, he offered this assessment.

‘Day For Night’ got inside the Canadian psyche in a terrifying way that simple nationalistic tall tales never could. The songs remain gloriously impenetrable, but their landscapes feel like home.”

With no intention to be cliché or to feed into the long-held notion that The Tragically Hip is Canada’s band, this quote speaks to the value of ‘Day for Night’ and the allure of ‘So Hard Done By’ as a Hip deep track.

There’s this fuckin’ band you gotta see
They used to scare the living shit outta me
No frothing dog, no cool insanity
No rock ‘n roll, no Christianity”

The Tragically Hip went in one direction, and some days it feels like humanity went the other way. I would rather be frightened by the truth and work to enact change than blindly follow the ones that are orchestrating our destruction.

Are we helpless?

Like Gord said…More with the people than the space.

We’re awful close, but never wallow in self-pity. That’s when we all lose.

Whenever I write about The Tragically Hip I look forward to tracking the songs through the years. Despite the fact that ‘So Hard Done By’ came out of a period where the band wrote so much strong material it still managed to make its way onto several tour setlists over the years.  No doubt this speaks to the way the band perceived the message. They were truly speaking to us from the stage.

Here, The Hip are performing in the belly of the beast. The band’s support in the United States came in small pockets but where it occurred, it was devoted. Here they are at Stubb’s BBQ in Austin, Texas.

I’ve been all alone for too long. Take me home.”

Gord takes the audience back into the cabaret. This is fantastic. Gord stands as more than a front man. He is a one act play with his own orchestra.

Later in the same decade The Tragically Hip performed ‘So Hard Done By’ during a legendary gig at The Phoenix.

Famously, following Gord Downie’s terminal diagnosis in 2016, The Tragically Hip embarked on a one month, 15 show tour cross Canada tour that concluded in their hometown of Kingston, Ontario. Here they are performing in Hamilton on what was their third last show.

Before moving on to the cover versions of ‘So Hard Done By’ listen to this bonus track that was released as part of the 25^th anniversary of ‘Fully Completely’. It’s interesting, but it lacks the blues inspired musical depth of the version released on ’Day for Night’. What this version does reveal is the purpose. They were at a crossroads. They could have released what would have amounted to ‘Fully Completely II’, or forged a slightly different path. Fortunately, they chose the latter direction, and remained essential. In fact, the legend only grew.

When writing about The Tragically Hip the deeper one gets into their catalogue the more challenging it becomes to find cover versions. Having said that, the exploration is enjoyable because what ends up happening is we get a glimpse at how influential The Tragically Hip is not only within the Canadian musical landscape but also among their devoted fans.

We begin in 2017 with a Kingston band by the name of Kasador. Here they are opening for the Sam Roberts Band across the border in Buffalo. They have the courage to interpret the song their own way and it works. Great intro.

I was pleasantly surprised by this live performance by The Strictly Hip. In order to deliver ‘So Hard Done By’ the lead singer needs to sell it, and Jeremy Hoyle does just that. This act was founded in St. Catharines, Ontario about the time ‘Day for Night’ was released. They are now based in Buffalo, New York.

More recently, as the calendar flipped over to 2026, Remedy offered this acoustic cover. It flows. Two thumbs up.

In the end what we all need to recognize is that when we are being implored to pay attention to what is going on around us we really need to tune in.

You should see it before there’s nothing left
In an epic too small to be tragic”

Nothing is too small to become tragic, if it is allowed to simmer to the point of boiling over.

We are the boiling frogs, and they are turning up the heat by degrees.

Take Me to the Pilot – One Simple Ad Changed Music History.#MusicisLife #TedTocksCovers #EltonJohn #BernieTaupin

Cynics will tell you that advertising doesn’t work, but these people are oblivious to the reality that the world is moving rapidly all around us and like it or not we are swept into the vortex of the words and imagery that forms our experience. It is difficult to understand how and why any combination of messages come to influence us when we do take the time to focus, but ultimately there is a moment when everything resonates. The element of persuasion connects with one’s perceived need which triggers a response. It’s a constant cycle. A fascinating example of human behavior that has been happening since about 3000 BC.

Tell that to the person who is sitting in front of you trying to convince you that their strong will simply won’t allow them to be persuaded. Stifle a smile, as they clutch an 8 dollar vanilla bean crème frappuccino from Starbucks. 

Here is one more example of the right message being presented in the right place, connecting to the right person at the right time. This ad ran in a 1967 edition of the New Musical Express.

LIBERTY WANTS TALENT. ARTISTES/COMPOSERS SINGER-MUSICIANS TO FORM NEW GROUP. Call or write Ray Williams for appointment or mail audition tape or disc to 11 Albamarie Steet, London W1. Tel. Mayfair 7382”

In this interview with Steven P. Wheeler of ‘ROKRITR.COM in 2019;

Bernie Taupin: Elton’s “Write” Hand Man

Bernie Taupin said;

I answered that ad out of desperation, really. Elton and I did meet through an ad in the New Musical Express in 1967. It’s not that complicated really. We both answered the same ad, and just through the ingenuity of Ray Williams, one of the people involved in placing the ad—which was actually for Liberty Records when they broke away from EMI—we were put together. They were just starting a new company, and they needed everybody—they needed somebody to clean the floors, they needed somebody to write songs, they needed artists, they needed promo men.”

Famously, this one ad brought two people together. Written by Ray Williams and Dick James as they embarked on the new record label, Liberty Records which resided under the umbrella company, Dick James Music.

A short time later Ray Williams handed Reginald Dwight an envelope of lyrics written by an aspiring song writer named Bernie Taupin.

When we first met, the object was basically to write songs. There was no notion in our minds that Elton was to be a performer. It was just Bernie Taupin and Reg Dwight then, and we were signed to Dick James Music, and we were writing songs.”

Once they got to know each other, and after they cleared away the white noise of the era, the pair fell into a groove. According to Wheeler’s article, it was a Liberty employee named Steve Brown who encouraged Bernie and Reg to chart their own course. In this quote, Bernie Taupin identifies the moment when things changed for the better.

And sometime later on, a guy named Steve Brown came into the Dick James organization and heard some of the songs we were trying to write for other people, and he said, ‘Listen, don’t be writing this shit. Concentrate on writing exactly what you want to write. Don’t worry about Dick, I’ll pacify him,’ because Dick was still paying our way.”

In May of 1968, Reginald Dwight officially changed his name to Elton John. This story is chronicled in this Ted Tocks Covers piece from 2023.

The ‘Birth’ of Elton John #MusicisLife #TedTocksCovers #ReginaldDwight #EltonJohn #LongJohnBaldry #BernieTaupin

One year later, in June of 1969, Elton John and Bernie Taupin had gathered enough material to record the debut album, ‘Empty Sky’. Objectively speaking,’ Empty Sky’ deserves better. Perhaps it is a little musically inconsistent which is forgivable for a debut. Here is Bernie Taupin’s assessment.

It was a slightly sort of pretentious album. I think we were still finding our way. It was a very naïve album.”

To many, it is perceived as somewhat of a false start in what became a legendary career but if one really listens it is certainly a harbinger of what was to come.

Then came ‘Elton John’ which remarkably was initially intended as a showcase album. The idea was to share the content with some of the stars of the era so they could record his material. This would partially explain why Three Dog Night recorded the first version of ‘Your Song’ and Aretha Franklin delivered a soulful rendition of ‘Border Song’.

Here is an earlier version of Ted Tocks Covers featuring ‘Your Song’.

And you can tell everybody this is your song
It may be quite simple, but now that it’s done
I hope you don’t mind, I hope you don’t mind that I put down in words
How wonderful life is while you’re in the world”

A wonderful set of lyrics.

Your Song – A tip of the hat to an extraordinary songwriting partnership. #MusicisLife #TedTocksCovers #EltonJohn #BernieTaupin #ThreeDogNight #RodStewart #LadyGaga

One year later, Ted Tocks offered this piece about ‘Border Song’ and its timeless lyrical message.

Holy Moses, let us live in peace
Let us strive to find a way to make all hatred cease
There’s a man over there, what’s his color? I don’t care
He’s my brother, let us live in peace”

How appropriate is this today?

Border Song – Today’s classic song and a powerful cover by the Queen of Soul. #MusicisLife #TedTocksCovers #EltonJohn #BernieTaupin #ArethaFranklin

For Elton John and Bernie Taupin this was only the beginning.

Dick James was enthused by the quality of the songs on ‘Elton John’ and he felt that releasing it in the United States would take everything to another level. Once again, Steve Brown offered his advice.

For this next album, we’ve got to get the right producer, we’ve got to get the right arranger, and we’ve got to build the right team around us.”

Enter producer, Gus Dudgeon and arranger, Paul Buckmaster. ‘Elton John’ was recorded in January of 1970, and released in April. During this period Elton John was assembling a band to deliver his material in a live setting. It is here that Dee Murray and Nigel Olsson arrived on the scene. Truth be told, Olsson was around to play drums on ‘Lady What’s Tomorrow’ from ‘Empty Sky’.  Elton John and Bernie Taupin were so prolific that the entourage of great musicians they had gathered had even recorded ‘Tumbleweed Connection’ which was already recorded before they made their way to Los Angeles.

Like a master chess player moving his pieces around the board, Dick James sent the band to Los Angeles. Famously, the scene was The Troubadour and the reaction was overwhelmingly positive.

This is what brings me to the ‘Take Me to the Pilot’ which is yet another captivating song from ‘Elton John’. Many people cite Jerry Lee Lewis and Little Richard as the primary influences of this song but it says here that Elton John was channelling Leon Russell.

‘Take Me to the Pilot’ was actually, the A-side of the single that included ‘Your Song’ as the B-side. Once it got in the hands of the public, DJs found they preferred ‘Your Song’. Subsequent releases saw the A and B sides reversed.

Through the years Bernie Taupin has been quite open about discussing his lyrics in terms of time and place, but he has resisted the urge to offer any semblance of interpretation. It is quite rare for him to suggest any ‘this song is about’ type of answers. Indeed, this is the case with ‘Take Me to the Pilot’. He simply suggested that people interpret it all in their own way.

In the early days, there were a lot of inquiries about ‘What does this song mean? What does that song mean?’ and in the case of ‘Take me to the pilot/Lead me through the chamber/Take me to the pilot/I am but a stranger’, I have no idea! You’re on your own, I tell you.”

Maybe it’s about our place in the universe and the way we appear before the deity of our choosing? The thing I find interesting is the fact that it appears as though Bernie just sat down and started writing. These are the words that came out over 55 years ago. That’s good enough for me.

If you feel that it’s real, I’m on trial
And I’m here, yeah, in your prison
Like a coin in your mint
I am dented and I’m spent with high treason

Through a glass eye, your throne
Is the one danger zone
Take me to the pilot for control
Take me to the pilot of your soul

Take me to the pilot
Lead me through the chamber
Take me to the pilot
I am but a stranger

Take me to the pilot
Lead me through the chamber
Take me to the pilot
I am but a stranger

Na na na, na na na
Na na na, na-na-na na na
Na na na, na na na
Na na na, na-na-na na na

Well, I know he’s not old
And I’m told, and I’m told he’s a virgin
Or he may be she
What I’m told is never, never for certain

Through a glass eye, your throne
Is the one danger zone
Take me to the pilot for control
Take me to the pilot of your soul

Yeah, yeah, take me to the pilot
Lead me through the chamber
Take me to the pilot
I am but a stranger

Take me to the pilot
Lead me through the chamber
Take me to the pilot
I am but a stranger

Na na na, na na na
Na na na, na-na-na na na
Na na na, na na na
Na na na, na-na-na na na

Through a glass eye, your throne
Is the one danger zone
Take me to the pilot for control
Take me to the pilot of your soul

Take me to the pilot
Lead me through the chamber
Take me to the pilot
I am but a stranger

Take me to the pilot
Lead me through the chamber
Take me to the pilot
I am but a stranger

Just one man contemplating his place in the universe in one particular moment. At the time he was but a stranger looking for guidance.

Before I move on to the covers of ‘Take Me to the Pilot’ it is important to share a few of the many terrific live versions that have been preserved through the years. To begin, we go back to that first trip to the United States back in November of 1970. The first of many shows in New York City.

Going back just a little bit further, here is Elton John in the studio at BBC in May of 1970. He is joined by Dee Murray and Nigel Olsson. What a statement.

One of several magnificent live Elton John albums is the famous ‘Live in Australia’ recording from December of 1986. The magic of this recording from Sydney Entertainment Centre is amplified to stratospheric heights with the inclusion of the Melbourne Symphony Orchestra.

Similar to ‘Your Song’ the original recording of ‘Take Me to the Pilot’ was released by another act. In this case, ‘Orange Bicycle’. This British psychedelic band had a four-year run between 1967 and 1971 before they called it quits. Their self-titled album from 1970 included four covers, but this one stands above the others. An interesting offshoot of this act is the fact that Orange Bicycle drummer/keyboardist, Wilson Malone went on to do the string arrangement for The Verve’s ‘Bitter Sweet Symphony’ and their bass/guitar player John Bachini played a role in creating the concept for ‘Who Wants to be a Millionaire’. Both of the aforementioned are intrinsically linked to a couple of fascinating lawsuits.

Admittedly, the Orange Bicycle version of ‘Take Me to the Pilot’ is rather ordinary, but this 1970 cover by Odetta is top notch. The angst within her delivery is captivating. It is all channeled through her voice, and perhaps to Bernie Taupin’s satisfaction, the song takes on a whole new meaning.

Before moving on to join Yes, Rick Wakeman was a member of The Strawbs while also being a renowned session musician in the London area with Marc Bolan and David Bowie among many others. It was his friendship with Gus Dudgeon that brought him into the Elton John orbit.  Wakeman famously contributed his Hammond organ sound to ‘Madman Across the Water’.

Madman Across the Water – It is quite peculiar in a funny sort of way. #MusicisLife #TedTocksCovers #EltonJohn #BernieTaupin #MickRonson #BruceHornsby #GovtMule #BrandiCarlile

Early in 1971, just a short time before his career would be forever changed, he recorded an album called ‘Piano Vibrations’ which showcased his immense talent. In one of countless rock and roll anecdotes, Rick was offered the job as keyboard player in David Bowie’s Spiders from Mars band as well as a similar role in Yes, at the behest of bassist Chris Squire, on the very same day. 

Now we go down under to Australia in 1971 with Johnny Farnham who went on to be a front man for the Little River Band. This rambunctious performance represents a sampling of the Jamie Redfern Show. For a while I wasn’t sure if the audience was alive, but Johnny does his best to wake them up from their nap.

Still in 1971, here is an interesting cover from Jose Feliciano that appeared on the appropriately titled ‘That the Spirit Needs’.

I don’t usually share medleys but this one struck me as important. This is Solomon Burke in what he refers to as ‘The Three Psalms of Elton’. To say the mark Elton John left on the music world was immediate would be an understatement. Burke’s enthusiastic tribute was released on his 1971 album, ‘Electronic Magnetism’.

Pressing the fast forward button, we move all the way up to 2019 with Taron Egerton who took up the challenge of not only portraying Elton John in the bio pic ‘Rocket Man’ he recorded tracks for the majority of the soundtrack.

Now let’s inject a little humour. Enjoy this clip featuring an enthusiastic Jack Black, communicating his love of Elton John’s music while admitting that he struggles to remember the lyrics. Too funny.

Coming out of all of this, let’s take a moment to focus on Dick James whose significance in music history should be recognized due to his close ties to both The Beatles and Elton John. Dick James was a British music publisher whose true influence came from how he handled song rights. His business acumen helped shape two of the greatest acts in music history.

After an ordinary stint as a recording artist in the ‘50s, James moved into music publishing in the early 1960s when he created his own company, Dick James Music.

He still had time to sing.”

Here is Dick James singing the theme song to the popular ‘Robin Hood’ TV show.

On the advice of George Martin, Beatles manager Brian Epstein approached Dick James in 1963. Epstein was hoping to find a publisher for the Beatles’ single ‘Please Please Me’.

 James helped secure the band’s first nationwide TV performance and then proposed forming a new company. This was the birth of Northern Songs which initially served the purpose of publishing John Lennon and Paul McCartney’s original songs. Northern Songs quickly became the vehicle for nearly all Lennon–McCartney compositions, making James central to the business side of the Beatles’ rise.

Dick James Music administered Northern Songs and he held a major share in the company, which meant he profited heavily as Beatles songs dominated the charts. However, this relationship later turned acrimonious when James sold his controlling stake in Northern Songs in 1969 without giving the Beatles a chance to acquire the rights. Sadly, this move was seen as a betrayal because it meant they lost control of their own catalogue. Ultimately, this controversy has shaped how fans and music historians view his legacy in relation to The Beatles.

About the time Dick James was relinquishing his stake in The Beatles catalogue he was forging his significant role in the early career of Elton John. In 1967, his son Stephen (the enthusiastic children chanting “yay” in the Robin Hood video consisted of Stephen and his friends) discovered a young Elton (then Reginald Dwight) and lyricist Bernie Taupin using their studio after hours to make demos. Impressed by their talent, Dick James signed them as staff songwriters and later helped launch Elton John as a recording artist through his label DJM Records, founded in 1969. Many of Elton John’s classic early songs were published and released under the DJM system, giving him the platform to become a global star.

It did not end well.  Elton John sued Dick James in 1982. Issues within the partnership arose in 1973 when Elton John created his own ‘Rocket’ label. Although he was still issuing his material under the DJM record label up to 1976, Elton attempted to sue Dick James for the rights and royalties to his earlier material. A decision was found in favour of Dick James in late 1985.

Although this business collaboration ended acrimoniously, James’s early support was crucial in bringing Elton John’s music to the world. Through his deals with The Beatles and Elton John, Dick James helped define how modern pop music was published, marketed, and controlled. To some he was seen as the villain and as a result he has a complicated but powerful legacy in contemporary music history.

Forty years ago today, just a short time after the decision came down, Dick James was playing cards with his friends in a posh London penthouse, and he suffered a heart attack and died.

Any time Ted Tocks writes about Elton John the challenge becomes, what is the best way to conclude. In 2018, Elton announced that he would be retiring following a ‘Farewell Yellow Brick Road’ tour. He had decided that after over fifty years recording and touring, he wanted to focus on his husband David and their children. The tour began in September of 2018 but several challenges occurred surrounding COVID-19 and a debilitating  hip injury. One of the longest farewell tours in history finally ended in July of 2023 in Stockholm, Sweden. Here is a live video of Elton John performing at Dodger Stadium in November of 2022. 

For years ‘Take Me to the Pilot’ was a mainstay on the Elton John setlist. Watching this video reinforces the fact that the stage was his throne.

I am but a stranger, but I know that for sure.

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

Why is January such a difficult month?

Every year it feels like the calendar becomes frozen on this snowy, cold and dreary month. Looking back through the years it seems that an inordinate number of musical greats have died during this long and dull 31-day segment of the calendar. It doesn’t help that the news cycle acts like proverbial gasoline on what feels like an eternal fire.

Admittedly, I spent most of January with a pit in my stomach. My anxiety is at a fever pitch. I wake up with a feeling of dread, and find myself pushing harder and harder to begin each day.

What you are reading is my therapy, therefore it became even more challenging to motivate myself when I learned of the death of one of my favourite musicians ever, in early January.

You will note that today’s feature began with the beautiful Grateful Dead eulogy ‘Brokedown Palace’. This is a mini-tribute to Bob Weir through the lyrics of Robert Hunter.

Going home, going home
By the water-side I will rest my bones
Listen to the river sing sweet songs to rock my soul”

Unofficial, but reliable estimates suggest that Bob Weir played between 4500 and 5000 live gigs between 1965 and 2025. Approximately half of these shows were with the Grateful Dead and the others were divided between any one of RatDog, Dead & Company, Further, Bobby and the Midnites, Wolf Bros, Kingfish, The Other Ones/The Dead and literally hundreds of guest appearances. When news of Bob Weir’s death was shared the music flowed and the memories were soon to follow. People were quick to point out that we would be hard-pressed to find another musician of our era who spent more time delivering sweet songs from the stage in order to rock out soul.

When I heard of Bob’s passing on a Saturday evening, I thought to myself that it’s happened again. Another great musician has departed in January. Then it occurred to me that since 2016 on January 10 alone we have also lost David Bowie and Jeff Beck. Ted Tocks Covers is not a January 10 fan, but he does have an idea for a feature on January 10, 2027.

But, seriously January 10, please be kinder to us music fans in future years.

Meanwhile three days earlier a trigger-happy misogynist who couldn’t cut it as a police officer shot and killed Renee Nicole Good, a mother of three who was trying to pass through a pointless blockade led by himself and handful of useless henchmen. Two and a half weeks later this marauding bunch of thugs known as I.C.E. killed a highly respected V.A. nurse named Alex Pretti. His final words were “Are You Okay?” This is all he had time to say after he tried to assist a young woman who had been pushed by I.C.E. agents. These pathetic human beings represent the bottom rung of the U.S. social ladder. Too useless to be gainfully employed, they are the vile scum who actually look up to the dementia addled, lifelong con artist and serial rapist of teenage girls. The ‘imperfect vessel’ who 77 million citizens of this disturbed country allegedly elected as their ‘leader’. Ten years later, I remain baffled. I will never understand.

Just remember that everything we are witnessing is one desperate grifters’ mission to distract everyone from his horrific life of crime. He doesn’t care how many people die as long as he stays out of jail. If he had of been locked away on January 7, 2021 none of this would have happened. 

Once again, music helped to ease our collective trauma. In response to the travesties in Minneapolis, Bruce Springsteen wrote ‘Streets of Minneapolis’ on a Saturday afternoon. Once he created the song, he brought in his friend Ron Aniello to play bass, drums, piano and organ and for maximum impact he assembled the E Street Choir on backing vocals. This ensemble included his wife Patti, as well as Ada Dyer, Lisa Lowell, Michelle Moore, and Curtis King.

Here is ‘Streets of Minneapolis’ which Ted Tocks Covers added to a previous feature that shared his Grammy Award winning ‘Streets of Philadelphia’.

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 like a river 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.

Coincidentally, while Bruce Springsteen was composing ‘Streets of Minneapolis’ Ted Tocks Covers was putting the finishing touches on the feature that shared the Year Six Inductees into the Ted Tocks Covers Hall of Fame. They included:

• Bruce Springsteen
• The Kinks
• Gordon Lightfoot
• Pearl Jam/Eddie Vedder

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

 In direct contrast to the negativity that I entered today’s feature with, January was actually a record month for Ted Tocks Covers. In fact, the 14,187 page views shattered the previous monthly record by over 4000 page views. This success can be attributed to the resounding success of ‘Song Sung Blue’ by Neil Diamond which accounted for over 6392 page views. More on this Neil Diamond classic in a moment.

Somehow, throughout January, I was able to share nine 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 a day. I was able to combine this new production with 22 songs I brought back from past Ted Tocks Covers features. Overall, these posts generated approximately over 450 page views a day. During this past month Ted Tocks Covers was enjoyed by people in 113 countries worldwide. The highest engagement by far comes from residents of the United States. The U.S. represented approximately 45 percent of Ted Tocks Covers readership during the past month. Where things got really interesting is in a massive upsurge of readership from Great Britain which represented over 2200 page views and Australia which slotted in right behind with over 2000 page views. My native Canada actually dropped to #4 for the first time in over 8 years. New Zealand rounded out the top five for the first time ever. They were ahead of a host of other countries that included South Africa, Ireland, Germany, Spain and Netherlands.

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. This brings us back to Bob Weir and the Grateful Dead.

Cassidy – Let your life proceed by its own design. #MusicisLife #TedTocksCovers #GratefulDead #BobWeir #JohnPerryBarlow #SuzzaneVega

Cassidy is a beautiful and meaningful piece of music written by Bob Weir and John Perry Barlow for the Grateful Dead. The feature illustrates how Weir and Barlow became a strong song writing team, creating ‘Cassidy’ among other songs when Weir was struggling to find material for his solo album ‘Ace’. The song was inspired mainly by Cassidy Law, the newborn daughter of a crew member and friend. It also touches on imagery linked to the beat-generation figure Neal Cassady. The lyrics mix deep, poetic images about life, growth, loss, and freedom — themes that have kept the song important to fans over time.

Fare thee well now
Let your life proceed by its own design
Nothing to tell now
Let the words be yours, I’m done with mine”

To this day, Cassidy is a beloved song in the Grateful Dead catalogue. It was ‘Cassidy’ that Ted Tocks re-posted on January 11^th as a tribute to Bob Weir. The post celebrates the song’s emotional depth and its lasting appeal in both the Dead’s catalog and among the musicians who cover it to this day.

As always, before I move on to the top three Ted Tocks Covers features for January, I would like to give a nod to a couple of Ted Tocks Covers features from the past that generated a significant number of page views over the past month.

Fernando – Today’s classic song in three languages and a cover by a diva legend. #MusicisLife #TedTocksCovers #ABBA #Cher

‘Fernando’ is one of ABBA’s many everlasting hits. The goal of this feature, that actually goes back to December of 2019 is to focus on the song’s interesting history. It began as a Swedish song recorded in 1975 by Anni-Frid Lyngstad for her solo album before ABBA re-recorded it in English and released it in 1976. The Swedish and English versions have very different meanings — the original is about a deep personal loss, while the English version tells the story of two former revolutionaries remembering old times under a starry sky. For good measure there is even a Spanish version. This demonstrates   how both the song, and ABBA crossed language and culture lines. When ABBA released ‘Fernando’ it became a massive global hit, selling millions and topping charts in many countries. Ultimately, this feature highlights how a great song can change meaning across languages and cultures, and still have a multi-generational appeal.

Black Betty – A classic hit from the seventies and a song of immense social significance. #MusicisLife #TedTocksCovers #RamJam #JamesIronHeadBaker #LeadBelly #Odetta #SpiderBait #MeatLoaf Happy 80th Birthday to #TomJones

‘Black Betty’ happens to be one of only 15 Ted Tocks Covers features to surpass the 3000 page view mark. While most people know the Ram Jam rock version from the 1970s, the song has a fascinating history. It began as an African-American work song and it was recorded long before rock music existed. Blues musicians like Lead Belly helped keep it alive. The term ‘Black Betty’ has many possible meanings, from a musket used in war to a whiskey bottle. More importantly, credible historical accounts connect ‘Black Betty’ to racism and post slavery policing of African-Americans. This interpretation speaks to Black Betty as a whip used to punish prisoners and even the wagon that rolled through Southern states to gather people of colour who had fallen on the wrong side of the ‘law’.

Consider ‘Black Betty’ an early form of I.C.E.

‘Black Betty’ isn’t just a catchy rock tune. It is also a piece of cultural history. There is a polar contrast between its popularity and its serious roots.

While the song’s simple chorus has been known for decades, few truly understand its roots in the oppression that not only Black culture, but any visible minority in the U.S. still face today.

Just know one thing.

While we listen to talking heads plead to anyone who will listen, as atrocity after atrocity is perpetrated by fascist ghouls, that “This is not America”just know that quite frankly, this IS America. It always has been.

It seems 30% of Americans accept this fact while about half will do whatever it takes to make it stop. About 20% don’t seem to care, or they are too afraid to speak out because they will be rounded up and never seen again.

Yes, my friends. This IS indeed America, in 2026.

‘Black Betty’ is just one more in a list of popular songs have long and complex original and meanings beyond what listeners understand on the surface.

Now for this month’s top three songs.

#3. Wouldn’t It Be Nice

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

January 22 marked sixty years since The Beach Boys began recording ‘Wouldn’t It Be Nice’. This feature used six decades of hindsight to discuss why the song still matters today. The song was recorded at Gold Star Studios in Los Angeles and released in 1966 as the opening track on the album ‘Pet Sounds’. Instead of focusing on typical early ’60s themes like cars and surfing, Brian Wilson wrote about a young couple in love and dreaming of being together, even if they were too young for marriage. This made the song relatable to teens at the time, and this connection has helped it last over time.

To create the ultimate recording, Wilson and The Beach Boys worked with 16 studio musicians, and they recorded it live without overdubs. It reportedly took 21 takes for the music, and the vocal harmonies with Mike Love singing the bridge and Brian Wilson on top parts were carefully layered to sound like horn sections. Al Jardine noted;

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.”

Overall, this feature contends that not only is ‘Wouldn’t It Be Nice’ a classic love song and a key step in The Beach Boys’ musical growth, it would be nice if things were just a little bit better in the present day. Brian Wilson was asking a question. I was making a statement.

#2. Eleven Artists We Lost in 2025

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

Starting the new year with something slightly different, Ted Tocks Covers shared this sad reflection.

Why eleven?

I couldn’t decide who to cut in order to make it ten. Sadly, the list for the 2027 edition has already begun. If I ever write a feature that discusses the things I hate about writing this blog, the far and away leader in what would be a short list would be the fact I have to write about so many talented people have departed way too soon. Yes, this piece honors eleven important musicians who died in 2025 and explains what made each one a special part of music history. The post highlights how these artists shaped different styles — from folk to soul, to rock and heavy metal — and why their music mattered.

It begins with Peter Yarrow of Peter, Paul and Mary, who helped bring folk music and social activism to mainstream audiences, using songs like ‘Don’t Ever Take Away My Freedom’ in order to support civil rights. Sam Moore, famous for his powerful voice in Sam & Dave, helped define the sound of soul music and influenced countless singers. Garth Hudson of The Band is praised for his creative keyboard work that blended many styles into The Band’s sound. Marianne Faithfull is noted for transforming personal pain into raw, emotional music. Roberta Flack broke musical barriers with her voice and interpretations of songs like ‘The First Time Ever I Saw Your Face’.

The feature also remembers producers and innovators like Roy Thomas Baker, whose work helped shape classic rock sounds, and Sly Stone, who pioneered integrated soul and funk with his band Sly and the Family Stone. Brian Wilson of The Beach Boys is celebrated for his complex pop harmonies and deep emotional song writing. Ozzy Osbourne is honored as a heavy metal pioneer with Black Sabbath and his resiliency with acts like Blizzard of Oz. To round out the list, Todd Snider is remembered as a genuine, relatable song writer, and finally, Steve Cropper is celebrated as a key figure in soul and R&B guitar. He was a constant presence for parts of seven decades; praised for defining the Stax Records sound that is the envy of musicians to this day.

The article concludes by saying that even though these artists are gone, their music lives on as part of the soundtrack of our lives.

#1. Song Sung Blue

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

When I sit down to write any one article, I have only a vague idea of where the piece is going and absolutely no idea what will happen once I set it free on the numerous social streams I utilize.

With this feature I set out to share how ‘Song Sung Blue’ became one of Neil Diamond’s most meaningful and enduring songs even though it started off as a very simple piece. It was the lead single and opening track from his 1972 album, ‘Moods’. Diamond didn’t expect it to be a big deal because he wrote it based on a Mozart melody, with a plain and basic message, without a bridge and without much complexity. Yet audiences connected to it strongly because they could easily sing along.

In Neil Diamond’s own words;

Very basic message, unadorned… I didn’t even write a bridge to it.”

Despite his early doubts, ‘Song Sung Blue’ became a #1 hit and it spent many weeks on global record charts. Since that time, it has remained a Neil Diamond favourite.  

This feature explains that part of the song’s power comes from its universal message that everyone feels sad sometimes, and turning those feelings into a song can make you feel better. It is this premise that helped the song become a classic that many people know and sing to this day.

The article also talks about the recent film which was inspired by Mike and Claire Sardina who performed in Milwaukee under the name Lightning and Thunder. Overall, this Ted Tocks piece determines that ‘Song Sung Blue’ became beloved not because it was complex, but because Neil Diamond’s simple words and melody spoke to many people and made them feel good when they sang along.

Like Ted Tocks Covers always says. Music unites people. Sometimes you just have to meet your audience where they are.

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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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!