Breaking the Law – You Don’t Know What It’s Like #MusicisLife #TedTocksCovers #JudasPriest

Imagine the scene.

A band of heavy metal giants invaded the hallowed halls of a famous residence in the countryside near Ascot, Berkshire, United Kingdom.

When Judas Priest began to record their album ‘British Steel’ they were at a crossroads in their career. Maybe it was fortuitous, because so to was the country, and it was out of this combination of circumstances that they built the sound and message for this ground-breaking recording.

And it all happened at Tittenhurst, which was famous for being the home of John Lennon and Yoko Ono from 1971-1973 when Lennon recorded ‘Imagine’, and subsequently purchased by Ringo Starr in 1973 for 5 million British pounds. At the time, Ringo Starr was living in Los Angeles with his wife Barbara Bach. As a revenue stream, Ringo would rent Tittenhurst out to many bands because word had got out that the studio had a cool setup and a great sound.

For Rob Halford, it was all a bit of a blur, but they got there.

I’ve never been able to answer the question as to how and why we ended up at Ringo’s place! That’s just kind of crazy when you think about it. But we were there, and for me as a lifelong Beatles fan, and particularly as a lifelong John Lennon fan because he touched me in so many ways outside of the music that he made – it was just crazy to walk around that house.”

By the time Judas Priest converged on Tittenhurst in the early part of 1980 they brought with them a heavy metal spirit and a punk attitude. In the words of vocalist, Rob Halford;

 We’ve got to try and get this punk attitude into our music,” but it certainly seemed to capture some of that anarchy in its projection, musically.”

Part of this approach involved a streamlined creative process that saw Rob Halford, Glenn Tipton and K.K. Downing write all the songs on ‘British Steel’. In rock and roll the number one rule of song writing has always been, when in doubt, write about what you know, and if that becomes a challenge, do everything you can to write material that relates to you core audience. In Rob Halford’s autobiography, ‘Confess’ he harkens back to the Margaret Thatcher era and the perceived sense of hopelessness that prevailed not only for many of the people he grew up with, but also for future generations.

A lot of bad stuff was going on. The heavy industry and the car makers in the Midlands and around the country were struggling, and there was already talk of factory closures. Unemployment was shooting up. Worst of all, millions of young people had no hope and felt they were being ignored. Writing the lyrics for ‘Breaking the Law,’ I tried to put myself in the mind of a jobless young bloke at his wits’ end.”

Judas Priest was from Birmingham, England and as far as they were concerned, Birmingham was the birthplace of heavy metal. Their role was to carry the torch.

Once Halford, Tipton and Downing took on this perspective the material began to flow. Here is Glen Tipton’s recollection.

We used to meet up at various houses to write, and we just broke into that riff one day and the song wrote itself. We wrote that song in about an hour, I think. Rob just started singing, ‘Breaking the law, breaking the law,’ and before we knew it we had a classic Priest song.”

Rob Halford adds that it was like a heavy metal assembly line and the product was made from authentic ‘British Steel’.

So, you had three minutes of ‘Breaking the Law,’ three-and-a-half minutes of ‘Living After Midnight.’ It was different, but we figured, ‘Maybe that’s the best way to go about it. Don’t think about it too much.’ Going with your gut instinct is always a great thing to do with music.”

Here is ‘Living After Midnight’.

The keep it simple method was employed. They were aiming to reflect the prevailing angst of the time. Out of the ashes of the punk movement, two definite musical genres were evolving. New wave and a more image conscious style of heavy metal. The following quote speaks to themes Judas Priest’s writing triumvirate explored in their album ‘Screaming for Vengeance’ and ‘Defenders of the Faith’.

I’m a bit of a science-fiction fan, and I think I got the lyrics from that world-robots and sci-fi and metal gods, just by word-association. It’s a statement against Big Brother or something, about these metal gods that were taking over”

For an example of the rock gods persona and ‘Big Brother’ theme, here is ‘Electric Eye’ from ‘Screaming for Vengeance’.

To their credit, Judas Priest was relatable to their audience in every way.

Mission accomplished.

Getting back to 1980, Judas Priest’s arrival at Tittenhurst was not the first plan. In late 1979, they had completed a European tour as a supporting act for AC/DC. The band was unified in their respect for AC/DC’s approach to song writing. In the early part of 1980, they began a brief recording session at Startling Studios which is also on the grounds of Tittenhurst. Before too long, these heavy metal gods kicked in the doors of Tittenhurst in a figurative sense and everything was turned up to eleven.

How cool that was, yeah. For many of us, The Beatles really touched us with their music, especially from those early days into more advanced plays of musicians and incredibly innovative and ground-breaking work from [1967’s] ‘Sgt. Pepper’ onwards…Bands could go in there and make a record, so this was surreal, and I remember driving up to the front door, which you see in some of those wonderful videos [like ‘Imagine’]…And oh my god, we’re actually here, walking inside, so we were literally walking in the footsteps of these incredibly powerful, talented musicians, and I think we picked up some Beatle magic in there because ‘British Steel’ turned out to be a really important album for Priest and for metal.”

For Judas Priest, everything became a source for sound; from milk bottles dutifully delivered each morning by the area milkman, to cutlery from Ringo’s kitchen. To their credit, they were very resourceful.

When we were recording that track, we had loads and loads of fun trying to make it sound as metal as we can. We were shaking cutlery trays in front of the microphones to create the sound of metal marching feet…In those days there wasn’t an Internet, so you couldn’t go online and download samples. So, we would whip a piece of guitar chord on a flight case or swish a pool cue in front of a microphone for the audio effects. I lifted and dropped that cutlery tray 100 times, I think.”

Credit for the police siren simulation goes to K.K. Downing who used the tremolo arm on his Stratocaster guitar.

Since its release ‘Breaking the Law’ has been a massive favourite among Judas Priest fans. It checks all the boxes. It is announced by a distinct riff. It has a rebellious message. The repetitive chorus inspires action, and above all, it is short and sweet. It’s a cathartic release.  Best of all, the members of Judas Priest gathered with director Julien Temple to shoot a video that reflects the restlessness and angst of their audience. It begins with singer Rob Halford riding in the back of a 1974 Cadillac Fleetwood Eldorado convertible. He meets up with the rest of the band at a bank, and they proceed to break in, using their instruments as weapons. Their intention is to enter the vault and crack a safe that holds the object of their heist; a gold record of ‘British Steel’. A bank security guard is first shown to be sleeping, but then wakes up to see the band in the midst of their act while watching on closed circuit TV. Rather than respond, the security begins playing air guitar to ‘Breaking the Law’ as the band jumps into the Cadillac and escapes.

For the record, ‘British Steel’ actually exceeded gold status. It rose to the platinum level.

The video, much like the song speaks directly to their audience They are imploring their fans to put some action in their life.

Here are the lyrics presented by Rob Halford, Glen Tipton and K.K. Downing.

There I was completely wasting, out of work and down
All inside it’s so frustrating as I drift from town to town
Feel as though nobody cares if I live or die
So I might as well begin to put some action in my life

Breaking the law, breaking the law
Breaking the law, breaking the law
Breaking the law, breaking the law
Breaking the law, breaking the law

So much for the golden future, I can’t even start
I’ve had every promise broken, there’s anger in my heart
You don’t know what it’s like, you don’t have a clue
If you did you’d find yourselves doing the same thing too

Breaking the law, breaking the law
Breaking the law, breaking the law
Breaking the law, breaking the law
Breaking the law, breaking the law

You don’t know what it’s like

Breaking the law, breaking the law
Breaking the law, breaking the law
Breaking the law, breaking the law
Breaking the law, breaking the law”

Elements of this song came to life on this day forty years ago when Judas Priest descended upon Madison Square Garden in New York City to promote their ‘Defenders of the Faith’ album. New York DJ, Perry Stone was MCing the event and when he took some time to list a series of acts that were slated to play over the summer of 1984 the crowd became increasingly unruly. It seems they weren’t too big on performers like Neil Diamond and Helen Reddy.

Here is Stone’s recollection.

Naturally, the crowd of 20,000-plus booed me when I introduced myself, but began to get truly unruly when I read that list of uncool acts. The crowd proceeded to throw firecrackers, M-80s, Cherry Bombs and assorted beer bottles at me.”

The scene escalated, and before too long some in the crowd ripped up some foam seats and began throwing them on to the stage. In the end, it is estimated the riot caused $250,000 in damage. Judas Priest was banned from ever playing the venue again which caused Rob Halford to quip with his tongue planted firmly in cheek.

Very metal. The horrible thing is that if we did play Madison Square Garden, there would be some enthusiast who was there from the original riot with his pen knife out. It would start all over again. So, it’s probably best.”

It gets even funnier. A short time later Glen Tipton and K.K. Downing attended a tennis match at Madison Square Garden, featuring John McEnroe. Because they had been banned, the guitar tandem aimed to blend in with the crowd. They thought they had succeeded until this happened.

There’s actually quite a funny ending to that. Me and Ken went there to watch [John] McEnroe play tennis in some indoor tennis championship. We went in hoodies, because we had been banned from Madison Square. Halfway through the tennis match, one of the ushers came down and he went, ‘Thanks for the new seats.'”

So, it seems ‘Breaking the Law’ doesn’t always pay.

Take a seat.

Based on the importance of ‘Breaking the Law’ in the lexicon of the Judas Priest library it is not surprising that the song has been covered by numerous acts since 1980.

Perhaps the most important cover is from Pansy Division in 1997. The ‘queercore’ alt rock band performed ‘Breaking the Law’ during a Pride event in San Diego. Here is a very raw video of that performance which features a special guest.

Take a moment to watch this video which tells the Pansy Division story. At about 57:30 their connection to Rob Halford takes centre stage.

I feel like I’ve been inducted into the rock ‘n roll hall of flame.”

The significance of this performance was far reaching. Less than a year later, Halford gave an exclusive interview with MTV where he came out publicly. The fact that he was well into his career as a rock star before he opening up about his sexuality makes sense because when Halford was growing up in England, homosexuality was outlawed until 1967.

This gives a whole lot of meaning to Rob Halford’s cry…

You don’t know what it’s like.”

It has led to many music fans surmising that for Halford at least, a portion of ‘Breaking the Law’ was deeply personal. In many ways the song was about people who felt they could not express themselves.

Trying to deal with their alienation.”

Judas Priest was giving them a voice.

Looking back on Pansy Division as a band and this concert moment demonstrates an interesting evolution of acceptance. When Pansy Division was rising as a popular musical act nobody was out, but as their popularity increased more and more musicians began to open up about their sexuality. This included artists like KD Lang, Michael Stipe. Etheridge and of course Rob Halford. The list goes on.

Acts like Pansy Division broke down barriers. In their words they served to ‘break the stigma’ of being queer entertainers, and to their credit they held nothing back.

Some people have asked if the message is more important than the music. This is an interesting question, but it says here that the two are inseparable. The message is in the music and the music is the message. Pansy Division were the messengers.

Before we move on to a handful of other covers let’s enjoy this fun adaptation from ‘The Simpsons’ which modifies the message to a desire for conformity. In ‘Respecting the Law’ the FBI goes after Homer who is being accused of piracy for downloading movies and going into hiding.  Judas Priest aims to lure Homer out with this revised take on the song.

Now for some more cover versions. Let’s go to 2006 and a unique take from Skafari. This is from ‘Hard Rockin’ Ska’. This is a blast.

One year later, Hayseed Dixie added ‘Breaking the Law’ to their album ‘Weapons of Grass Destruction’. This bluegrass take, on the heavy metal standard brings out the anguish in the narration. Everything Hayseed Dixie does is awesome, but this is among their best covers. I love these guys.

Now for some heavy hitters. Here is Lemmy and Motorhead with their nod to Judas Priest.

Going in a completely opposite direction, here is an intriguing lullaby version of ‘Breaking the Law’ and it works incredibly well.

Moving on to 2013, here are The Pinstripes with a rockabilly version of ‘Breaking the Law’. Again, really good, and the upbeat roots style works.

In 2017, a Swedish heavy metal band called Sturm und Drang covered ‘Breaking the Law’ on their album ‘Learning to Rock’. They cut their teeth on bands like Judas Priest. In 2017, K.K. Downing of Judas Priest joined the band on stage to do a rousing cover of ‘Breaking the Law’.

A few years later in 2020, a Romanian band called The Iron Cross released a cover of ‘Breaking the Law’. This young band ascended through their love of bands like Iron Maiden and Judas Priest.

It speaks to the evolution of this genre and it goes all the way back to Deep Purple, Black Sabbath and Led Zeppelin. Once again, all roads lead back to the Midlands

For Judas Priest, it all culminated in their induction into the Rock and Roll Hall of Fame in 2022. Enjoy this mini career retrospective.

Here is Alice Cooper and his induction speech which effectively breaks down the significance of Judas Priest in the lexicon of essential acts in music history. Here are the key points.

• Definitive metal band
• Defined the heavy metal sound
• Explosive dual guitar attack
• Rob Halford’s vocals and range
• The look. Black leather, studs and chains.
• Attitude to spare.
• The motorcycle
• A catalogue of great songs that spoke to their audience.
• A live act that was unforgettable

Alice Cooper is more than a peer. He is a friend and this speech is from the heart.

Immediately following Alice Cooper’s induction speech what else would they launch into? Here they are playing ‘Breaking the Law’. They are energized by the magnitude of the moment. This performance will send chills up and down the spine of any true music fan.

In this passage, Rob Halford summarizes the purpose.

Every night it’s a tiny bit different to any other, and I still get a massive adrenalin rush on hearing those twin guitars fire up. It’s also a great crowd participation number. Everyone’s had a confrontation with a copper and likes to scream about breaking the law, don’t they?”

And when everything gets broken down to the lowest common denominator every fan projects just a little bit of the Beavis and Butthead personality.

All you can say is…

That was cool.”

The Ballad of Curtis Loew – The value of the song is in the truth it reveals. #MusicisLife #TedTocksCovers #LynyrdSkynyrd

Ted Tocks Covers loves story songs.  

Whenever I see the words ‘the ballad of” I am drawn to the song and I pay close attention to the lyrics. Many times, ballads become learning opportunities. If you are looking for life lessons you can do a lot worse than focusing on music and the morals depicted in the words of song writers. In fact, I would highly recommend it, because in today’s world we definitely can’t rely on traditional media because they are clearly beholden to corporate entities, to the point where almost nothing they share can be believed at face value.

Of course, that is another story. It is also another fight.

It says here that the song writing duo of Ronnie Van Zant and Allen Collins don’t get enough love when it comes to the message contained in some of their lyrics.

Today’s feature is a perfect example.

On this day 50 years ago Lynyrd Skynyrd released the album ‘Second Helping’. Ted Tocks Covers has featured ‘Sweet Home Alabama’ and ‘Call Me the Breeze’ in previous posts. Continuing with a commitment to share the Lynyrd Skynyrd mystique, today’s feature will take a look at ‘The Ballad of Curtis Loew’.

‘The Ballad of Curtis Loew’ is the story of an old Black musician who the narrator recalls as being “the finest picker who ever played the blues.” While Curtis Loew gets the acknowledgement as the lead character, it is every bit as much about the young boy who is telling the story.

There is an innocence that serves as the background. It all comes through in his routine. Imagine a child growing up in the ‘50s. Kids were always faced with the challenge of how best to spend their day. In this case, the entrepreneurial young fella opted to search his community for soda bottles and exchange them for their deposit value. There was an underlying motive. Following this exchange with the store owner he headed off to meet up with a friend who introduced himself as ‘Curtis Loew’.

Old Curt was a black man with white curly hair
When he had a fifth of wine he did not have a care
He used to own an old dobro, used to play it across his knee
I’d give old Curt my money, he’d play all day for me”

Ronnie Van Zant and Allen Collins

Both parties felt this was a fair trade.

Here is the full story

Well I used to wake the morning before the rooster crowed
Searching for soda bottles to get myself some dough
Brought ’em down to the corner, down to the country store
Cash ’em in and give my money to a man named Curtis Loew

Old Curt was a black man with white curly hair
When he had a fifth of wine he did not have a care
He used to own an old dobro, used to play it across his knee
I’d give old Curt my money, he’d play all day for me

Play me a song Curtis Loew, Curtis Loew
I got your drinking money, tune up your dobro
People said he was useless, them people are the fools
‘Cause Curtis Loew was the finest picker to ever play the blues

He looked to be sixty, and maybe I was ten
Mama used to whip me but I’d go see him again
I’d clap my hands, stomp my feets, try to stay in time
He’d play me a song or two
Then take another drink of wine.

Yes sir

On the day old Curtis died, nobody came to pray
Ol’ preacher said some words, and they chunked him in the clay
But he lived a lifetime playin’ the black man’s blues
And on the day he lost his life, that’s all he had to lose

Play me a song Curtis Loew, Hey Curtis Loew
I wish that you was here so everyone would know
People said he was useless, them people all are fools
‘Cause Curtis you’re the finest picker to ever play the blues”

Ronnie Van Zant and Allen Collins

Part of the magic of ‘The Ballad of Curtis Loew’ is found in the ability to simply picture the scene. Imagine a ten-year-old being so captured by the power of music, and recognizing the talent of someone who the entire community saw as a ‘useless’ vagrant with a drinking problem.

It is here that the underlying message of the song truly reveals itself.

‘The Ballad of Curtis Loew’ is about a young boy who is trying to reconcile the social ills of overt racism. So often, the innocence of childhood comes with an open canvas. The young boy who clearly adores his old friend ‘Curtis’ recognizes his value as a gifted musician. In his world, Mr. Loew is the only one who affords him the opportunity to lose himself in the music. Meanwhile, ‘Curtis Loew’ is more than happy to play his dobro for an audience of one, because in this insular world there is only one person who truly understands him.

For ‘Curtis Loew’ the world was reduced to a dusty porch in a sleepy town somewhere in the southern United States. He was an amalgam of all the tropes that led people of the day to write off an entire race as ‘stupid’, ‘useless’ and lazy, and not worthy of their time, let alone equal rights. If you give ‘them’ equal rights they will steal your jobs and ‘overtake our way of life’. They are your enemy. They need to be held down.

The interaction was forbidden, but the ten-year-old boy rebelled.

Mama used to whip me but I’d go see him again”

Ronnie Van Zant and Allen Collins

This narrative was repeated, until one day ol’ Curtis died.

Because he was denigrated to such a degree, the funeral was sparsely attended. In fact, as the story goes, it was once again; an audience of one.

The young boy laments the fact that someone of such immense talent and wisdom could be so grossly misunderstood.

Somewhere within all of this resides a lesson, for anyone willing to pay attention, decades later, people still seem to struggle.

Which brings me to the mess we are in today. Racism is orchestrated by corporations, millionaires and billionaires. It is then perpetuated by political parties who are bent on presenting an enemy. They then manipulate the most vulnerable in society to identify the reason for their struggle. A scapegoat. Rinse and repeat.

So much of the value of what we could rise to in humanity is lost due to our inability to maximize the capabilities of everyone who share our space.

Here’s a hint. People of colour are not the enemy. Look the other way and you will see who needs to be stopped. The manipulation continues. Ignorance and blind obedience remain our greatest enemy. The perpetrators of this grotesque pattern somehow slide through without any real consequence.

Them people all are fools.”

Ronnie Van Zant and Allen Collins

Hopefully this will change, and ideally it will happen soon.

As a band, Lynyrd Skynyrd are on record as saying that ‘The Ballad of Curtis Loew’ is a combination of characters and locales near where the band grew up in the Jacksonville, Florida area. There is even a store once known as ‘Claude’s Midway Grocery’. The spelling of ‘Loew’ was the idea of Ed King. The wanted a name that rhymed with dobro and once ‘Loew’ was decided on, King suggested that they alter the spelling to pay homage to the Jewish Loew’s Theatre. Through the years, names that have been conjured up in relation to ‘The Ballad of Curtis Loew’ have been Claude H. Papa Hammer, Rufus ‘Tee Tot’ Payne, Robert Johnson and Shorty Medlocke, who is the grandfather of present day Lynyrd Skynyrd guitarist, Rickey Medlocke. Medlocke, whose history with Lynyrd Skynyrd goes back to their early days, has Lakota Sioux and Cherokee heritage.

In order to celebrate everything good about ‘The Ballad of Curtis Loew’ let’s enjoy a six pack of quality covers. There are some cool versions here, each of which focus on the quality guitar work and blues style that inspired this song.

Here is Moe along with John Hiatt, in 2008. This is from ‘Under the Influence: A Jam Band Tribute to Lynyrd Skynyrd’.

From jam bands we move on to ‘country’. I love the music, but not a fan of the twangy, cookie cutter, new country vocals presented by Eric Church.

Whenever Ted Tocks gets an opportunity to share Hayseed Dixie he is all in. This is from their 2017 album ‘Free Your Mind and Your Grass Will Follow’. Great stuff. My favourite so far.

Hayseed Dixie is neck and neck with this 2020 cover by Larkin Poe. Whenever I listen to this musical partnership I think of the great free form DJ, Jim Ladd. Sadly, we lost Jim suddenly, late in 2023. His radio show on Sirius XM turned me on to many great artists, and some incredible deep tracks.

Once again, when sharing a Lynyrd Skynyrd song I found a cover version by former Skynyrd drummer Artimus Pyle and the current band that bears his name. The vocals are presented by Chris Janson as part of The Artimus Pyle Band’s 2023 album, ‘Anthems: Honouring the Music of Lynyrd Skynyrd’. Janson’s political leanings are dubious at best, and present layers of contradictions. He calls himself a conservationist, yet he supports the ‘Rapist in Chief’ who is a devoted climate change denier who would destroy any natural setting if it meant he could make a dollar for his billionaire friends. Maybe he has grown up a little since hollering ‘Trump Yeah’ from the stage during the 2016, Republican National Convention. Yikes! He has remained silent since the 2021 insurrection. Frequently, silence speaks volumes. Anyway, here is the cover version. May integrity prevail. I am not holding my breath.

There is something about ‘The Ballad of Curtis Loew’ that translates across musical genres but there is no doubt that next to the blues, bluegrass works best. Listen to this live cover by Greensky Bluegrass from earlier this year.

In order to bring everything back around to where this post began, it is important to reiterate that Ted Tocks Covers loves story songs. I have often imagined this song as a novel or a screenplay where the depth behind the relationship between the young boy and the musician is developed. Deeper themes could be explored that expand on the man’s life, and what brought him to this place. From the other side, perhaps some degree of understanding about the boy’s home life could be shared. Why would a parent be so threatened, by what her son is doing to pass the day? With music providing the backdrop, allowing one to peel back the layers, the truth would be exposed. Presented in a pre-civil rights era, southern U.S. locale, the sad reality of poverty and systemic racism would become apparent. The moral would become clear. Possibility for change lies in the blank slate of future generations…

Bigotry, hatred and mistrust is passed on from the generations before. Too often, it has been manufactured by people who want you to look away from the root cause. Until this changes, the likelihood that this hopeless cycle will continue remains an alarming possibility.

Lord knows, we can change

Paranoid – Happiness I cannot feel and love to me is so unreal. #MusicisLife #TedTocksCovers

Today’s feature is something we all know as a three-minute tour de force. For Black Sabbath it was an afterthought.

They called it ‘Paranoid’.

If you look at what is going on in the world today, you can almost feel the relevance screaming through your speakers. This speaks to the timelessness of good music and the message contained within the lyrics. Lyricist, Geezer Butler was disillusioned with just about everything. He was pissed off about the Vietnam war, he hated the elite British establishment who looked down at he and his bandmates. Butler felt he was also speaking for the growing Black Sabbath fan base. ‘Paranoid’ was a written as a diatribe against everything Black Sabbath stood for but couldn’t say in conversation.

‘Paranoid’ is an anthem.

What else can a band do but express everything they are thinking through their music and words?

Like Mick Jagger said;

What can a poor boy do, but sing for a rock and roll band.”

Mick Jagger

This is how ‘Paranoid’ was born.

According to Geezer Butler the whole thing was spontaneous.

A lot of the Paranoid album was written around the time of our first album, ‘Black Sabbath’. We recorded the whole thing in about two or three days, live in the studio. The song ‘Paranoid’ was written as an afterthought. We basically needed a 3-minute filler for the album, and Tony came up with the riff. I quickly did the lyrics, and Ozzy was reading them as he was singing.”

Geezer Butler

At the time of recording Black Sabbath was coping with a busy touring schedule. This forced them to write and rehearse material on the road. ‘Paranoid’ was actually recorded for their debut album but Black Sabbath didn’t like it so it got left on the shelf. By the time they were putting the finishing touches on their third album things were a little short so they decided to round it out with ‘Paranoid’.

Despite the catchy riff and driving beat, Black Sabbath still didn’t like it.

Here, Tony Iommi elaborates;

The song was written as a filler for the album—it was never intended on being anything else. But it became a single because it was a short song, and because it became what it did, most people knew us because of ‘Paranoid’ in them days.”

Tony Iommi

Further to my introduction, Geezer Butler connects the general outlook of the piece to the mindset he had when he jotted down the lyrics.

Basically, it’s just about depression, because I didn’t really know the difference between depression and paranoia. It’s a drug thing; when you’re smoking a joint you get totally paranoid about people, you can’t relate to people. There’s that crossover between the paranoia you get when you’re smoking dope and the depression afterward.”

Geezer Butler

Thus ‘Paranoid’ became the song title. It was a state of mind.

Finished with my woman ’cause she couldn’t help me with my mind
People think I’m insane because I am frowning all the time
All day long I think of things but nothing seems to satisfy
Think I’ll lose my mind if I don’t find something to pacify

Can you help me occupy my brain?
Oh yeah

I need someone to show me the things in life that I can’t find
I can’t see the things that make true happiness, I must be blind

Make a joke and I will sigh and you will laugh and I will cry
Happiness I cannot feel and love to me is so unreal

And so as you hear these words telling you now of my state
I tell you to enjoy life I wish I could but it’s too late”

Geezer Butler

Looking back at this era of Black Sabbath, the writing represented a connection to their Birmingham, England roots. The bleak outlook that prevailed in their lyrics was a reflection of the band’s upbringing in the cold and grey city of Birmingham. It was a blue-collar town that had been severely damaged during World War II.

Here is Black Sabbath biographer John McIvor;

If you were a lad back then in this environment, your future was 45 years on a factory assembly line. That’s literally the truth. That’s what so many people faced.”

John McIvor

Based on the traditional expectations of bands in the early ‘70s, management and the record label suggested that Black Sabbath release ‘Paranoid as a single. Reluctantly they agreed. Black Sabbath remained adamant that they would never become known as a singles act. As we all know ‘Paranoid’ was released two years later on their third album.  Paranoid went to #4 in the U.K. charts and the album which took on the same name is recognized as one of the defining recordings of early heavy metal. Famously, Black Sabbath wanted to call this album ‘War Pigs’ but the label thought that title would not sell. They deemed it to be ‘offensive’.

Bringing it all the way around the B-side to ‘Paranoid’ as a single was none other than the hard-driving track, ‘The Wizard’ from Black Sabbath’s debut album.

Here you go. A classic set opener if you ever heard one.

So, this is how ‘Paranoid’ became the first Black Sabbath original to be offered as a single. It should be clarified that it was not the band’s first single release. The answer to that trivia question goes to ‘Evil Woman (Don’t Play Your Games with Me)’ which was a cover of a 1969 song by a Minneapolis band named Crow. Here is the Black Sabbath version.

Interestingly ‘Iron Man’ was released as a single two years later. It never reached the lofty heights of ‘Paranoid’ in terms of sales, but as an album track it is yet another essential Black Sabbath recording, right there with ‘War Pigs’.

The truth is with anything related to Black Sabbath, the value is presented as part of the album experience and cannot be packed into any one song. To take it one step higher, Black Sabbath wanted you to join the growing movement of fans who opted to experience their live shows.

It was like a religious experience for those who felt a little bit on the outside of a judgemental society.

They could leave their paranoia at the door.

Let’s take a walk through five decades of paranoid distraction.

It all begins with Black Sabbath live from Paris in 1970.

The story of Black Sabbath’s self-destruction as a band is well documented. When they reunited for this short set at Live Aid in 1985 it was one of many special moments on that memorable day. This was the first time the original group had played together since 1978.

 “Please welcome Black Sabbath featuring Ozzy Osbourne”

I am not sure that I like that introduction. Black Sabbath was a true band. Having said this, there is no doubt that this intro speaks to Ozzy and the fact his solo career had taken him to new heights.

Enjoy this performance of ‘Paranoid’ at Buckingham Palace. It features Ozzy along with the signature riff from Tony Iommi. In order to round out the quartet we are treated with Phil Collins on drums and Pino Palladino on bass.

Another fun introduction. “From the “Prince of Pop to the Prince of Darkness”

Oh…and “God save the Queen”

This is fantastic.

Here is an important concert moment. This video has 83 million views. This is live from their hometown of Birmingham, England in 2012 at the O2 Academy.  They tease the audience a little before launching into a raucous version of ‘Paranoid’ as their set closer.

Now we move into the cover zone.

The best place to begin is Ozzy Osbourne himself with The Blizzard of Oz. This is from ‘Speak of the Devil’ in 1982 with Brad Gillis on guitar.

A decade later, in 1993 we get a little Scottish brogue with Big Country. This is from their 1993 album ‘Under Cover’.

Moving on into the new metal era, we get Megadeth in 1994. True to their style the version is slightly sped up. This is mediocre at best. Without Black Sabbath would there even have been a Megadeth?  The vocals sound like someone dry heaving.

On to a new century, here is Motley Crue’s Vince Neil on ‘A Tribute to Ozzy’ in 2000. He is joined by George Lynch, Stu Hamm and Gregg Bissonnette. This is far better than Megadeth but not nearly as good as any of the other covers.  

A while back Ted Tocks Covers featured Gus Black on a post that focused on Blue Oyster Cult’s ‘(Don’t Fear) The Reaper’. Here is his cover of ‘Paranoid’ using the same subdued style. Once again, it works.

Fans of ‘80s music will remember Soft Cell and their hit cover ‘Tainted Love’. Here they are in 2005 with their own unique version of ‘Paranoid’.

If Hayseed Dixie covers it Ted Tocks Covers is going to share it. I love these guys. This is from 2013.

Oh Oh yeah!!!

More recently, Weezer released a recording known as ‘The Teal Album’ in 2019. This is fun.

Another act Ted Tocks Covers loves to feature is the unbelievably talented Robyn Adele Anderson. Her unique takes on classic rock staples is nothing short of refreshing. You hear the songs all over again. It opens the door to possibility. Absolutely fantastic.

One more fun take is offered in 2021 in the form of Puddles Pity Party. Watch and listen as he segues into ‘Driven to Tears’ by The Police. Well done.

On this day we wish Ozzy Osbourne a happy 75^th birthday.

As I typed and listened, something became apparent. Ozzy somehow managed to personify ‘Paranoid’. As much as I have tried to deny this reality, he did transcend Black Sabbath.

Here is one more example. Watch as James Hetfield of Metallica invites Ozzy Osbourne onto the stage. He takes over the entire scene. The master is at the controls with a classic Black Sabbath double shot. As integral as Metallica is in the heavy metal genre, they will always be a link on the evolutionary chain that began with Black Sabbath.

Yes…

…Don’t frown…

…Somewhere along the line it became Ozzy’s song.

But, as an anthem it remains essential Black Sabbath and a lifeline for their devoted fans.

Rebel Yell – Music sets you free. #MusicisLife #TedTocksCovers

It’s been forty years since Billy Idol released ‘Rebel Yell’.

Take a moment and reflect on this fact while Ted Tocks Covers brings the song’s roots back to a frequently discussed band on these pages.

Forty years…?

Billy Idol is on record as saying that the inspiration for ‘Rebel Yell’ came to him while attending a party at Ronnie Wood’s ‘brownstone’ in New York City. Wood and his Rolling Stone’s bandmates Mick Jagger and Keith Richards were drinking Rebel Yell bourbon whiskey straight from the bottle and the scene registered with Idol to the point that he used it as the foundation for the song’s concept.

Listen as Billy Idol tells the story.

This brings to mind an interesting parallel with a classic Rolling Stones song from a decade earlier.

As Billy Idol notes, he was infatuated by the brand name and the image of a Confederate soldier. This got him thinking about a potential song. Idol knew that Rebel Yell was also a Confederate battle cry during the U.S. Civil War but upon reflection, Billy Idol changed the theme to focus on ‘a little dancer’ who joins him in the wee hours.

Here is the well-known chorus Billy Idol came up with:

In the midnight hour she cried more, more, more, more
With a rebel yell she cried more, more, more
In the midnight hour, babe, more, more, more
With a rebel yell more, more, more
More, more, more!”

Billy Idol and Steve Stevens

Now take a look at ‘Brown Sugar’.  

Drums beating, cold English blood runs hot
Lady of the house wond’ring where it’s gonna stop
House boy knows that he’s doing alright
You shoulda heard him just around midnight

Brown sugar, how come you taste so good, now?
Brown sugar, just like a young girl should, now”

Mick Jagger and Keith Richards

Both songs speak to a night of passion and within the lyrics the imagery conjures references to the United States slave era.

She don’t like slavery, she won’t sit and beg
But when I’m tired and lonely, yeah, she gives me head
I said, “What set you free and brought you to me, babe?”
“What set you free? I need you here by me”
Because

In the midnight hour she cried more, more, more
With a rebel yell more, more, more, yow!
In the midnight hour, babe, more, more, more
With a rebel yell
More”

Billy Idol and Steve Stevens

In 1971, The Rolling Stones released this brash opening verse like only they could.

Gold Coast slave ship bound for cotton fields
Sold in a market down in New Orleans
Scarred old slaver, know he’s doing alright
Hear him whip the women just around midnight

Brown sugar, how come you taste so good?
Brown sugar, just like a young girl should, uh huh

Mick Jagger and Keith Richards

Please understand, that I am not implying anything nefarious here. These two songs have no immediate connection. I am simply pointing out an interesting theme that arose out of a birthday celebration in the early ‘80s.

Once again, artists have an ability to be acutely aware of their surroundings. When they are in tune with every detail, anything and everything can arouse a potential song topic.

‘Rebel Yell’ was inspired by a combination of a bad boy image, a well-known brand of bourbon, imagery related to the U.S. Civil War and sexual desire.

This is what set Billy Idol’s mind free and he has been sharing the story ever since.

Enjoy this acoustic version of ‘Rebel Yell’ which puts the talents of Steve Stevens on full display. Stevens enjoys co-writing credit on this memorable track. As you will see, it is a true collaboration.

I think it is one of the best songs we did.”

Billy Idol

Let it be said here, that if you have not heard this version of ‘Rebel Yell’ then you haven’t really ‘heard’ this song. Before playing the song, pay close attention to the style of Stevens. In the studio version he combines a guitar/keyboard sound which he has attributed to the influence of the extraordinary guitarist, Leo Kottke. This influence really shines in the acoustic setting. If you think the first two and a half minutes are good, wait until you hit 2:50. Wow!

Before I move on to the cover versions of ‘Rebel Yell’ here is a version of the song from an ‘iHeart’ concert in 2012 where Idol shares the stage with Miley Cyrus. This became a bit of a divisive performance, because many Idol fans were not big on Miley’s image. Let it be said here that the Miley of 2012 is much different than the Miley of 2023. She has grown up to be a strong advocate for justice and right. I stand beside her.

Now for the cover versions.

When I saw that Ted Tocks Covers favourite Tiny Tim released a cover of ‘Rebel Yell’ in 1993, I was intrigued. When I saw that this cover was 23 minutes long, I not only had to add it to this post I had to immerse myself in what exists as the anti-‘Tiptoe Through the Tulips’.

This is from his album ‘Tiny Tim Rock’. Full points if you make it all the way to the end, but I for one love it.

That was a fun way to lead off, but by no means are we done. Let’s enjoy five more phenomenal covers that are outstanding, but not quite so self-indulgent.

In 2007, a Dallas based band called Drowning Pool released this heavy version of ‘Rebel Yell’ on their third album called, ‘Full Circle’. It was the closing track.

Let’s try an acapella version. Once again Ted Tocks looks to the Beelzebubs out of Tufts University. This is the 2007 incarnation of this acclaimed vocal group.

Four years later we get The Molly Ringwalds. Once again, I was captured by the band name. This band has committed themselves to taking music fans on a musical tour that explores the hits of the ‘80s.

Here is Hayseed Dixie from 2013. Ted Tocks Covers loves this group and it has pretty much become an unwritten rule that if I feature a song, and Hayseed Dixie covers it, this bluegrass act will become part of the post. This is from their album ‘Grasswhooping Party Pack: Volume 1’.

How about a big finish? Enjoy the power of Queensryche from about a year ago.

Let it be said that I am not someone that could be considered a Billy Idol fan per se. During the ‘80s and pretty much through to the present day I have been focused on many other artists. This is not to say, I don’t like him. I will listen to him if he comes on my playlist. Consider me familiar with his hits, and not a whole lot more. In many ways, this reflects my slow awakening to the acts of this decade, and another regular theme in Ted Tocks Covers.

Oftentimes, as I research a song and gather the information that becomes a Ted Tock, I become a fan.

Today’s feature is one of those times.

Its roots caught my attention. The acoustic version sold me.

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

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

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

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

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

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

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

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

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

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

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

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

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

On your marks get set go

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

Hey!

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

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

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

Freddie Mercury

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

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

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

Income tax! I say Jesus”

Freddie Mercury

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

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

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

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

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

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

Freddie Mercury

For your listening pleasure here is that beauty by Queen.

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

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

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

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

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

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

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

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

Hey, it’s a sellout!
Hey!

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

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

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

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

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

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

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

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

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

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

Freddie Mercury

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

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

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

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

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

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

Graham King

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

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

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

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

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

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

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

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

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

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

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

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

Don’t stop me
Don’t stop me

Ooh, let loose, honey, alright

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

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

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

Freddie Mercury

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

Mic drop…

Have a good time today.

(Don’t Fear) The Reaper – Our spirit will prevail #MusicisLife #TedTocksCovers #BlueOysterCult #BuckDharma #GooGooDolls #BigCountry #ProzakforLovers #Heaven17 #LAGuns #DaveMatthewsBand #MikeMasse #GusBlack #HayseedDixie #LeoMoracchioli #KeepShellyinAthens #WillFarrell #ChadSmith #JoeBouchard #AlbertBouchard

Apparently over 135,000 people die every day.

When Blue Oyster Cult guitarist and vocalist Donald ‘Buck Dharma’ Roeser learned that he had a heart condition at the age of 22, he became obsessed with his own mortality. This personal contemplation led to the creation of ‘Don’t Fear the Reaper’.

Dharma missed the mark when he suggested 40,000 people die each day, but that was beside the point. He was speaking to his audience and suggesting that;

Your spirit will prevail.”

Buck Dharma

In a sense, it was personal therapy for Dharma, who through the writing determined that it would be foolish to live in fear. His message was to live life to its fullest and in a perfect world, find someone to take your hand and share in the enjoyment.

It was sort of inspired by a personal health scare – I thought I was going to maybe not live that long. I had been diagnosed with a heart condition, and your mind starts running away with you – especially when you’re young-ish. So, that’s why I wrote the story. It’s imagining you can survive death in terms of your spirit.”

Buck Dharma

Of course, the lyrics were somewhat misinterpreted.

The reference to Romeo and Juliet living in eternity caused some people to believe that the song was suggesting a suicide pact. This horrified Dharma who felt he had written a very positive piece of poetry.

It helped him. He was hoping it would help others.

I felt that I had just achieved some kind of resonance with the psychology of people when I came up with that, I was actually kind of appalled when I first realized that some people were seeing it as an advertisement for suicide or something that was not my intention at all. It is, like, not to be afraid of [death] (as opposed to actively bring it about). It’s basically a love song where the love transcends the actual physical existence of the partners.”

Buck Dharma

For songwriters, there is often a moment where they come to terms with the fact that people will take their lyrics and interpret them in a way that was purely unintended.

They’re certainly open to interpretation, and everybody seems to have their own thoughts about what stuff means. We purposely let people do that – draw their own conclusions from the lyric.”

Buck Dharma

Here you go…

All our times have come
Here but now they’re gone
Seasons don’t fear the reaper
Nor do the wind, the sun or the rain… we can be like they are
Come on baby… don’t fear the reaper
Baby take my hand… don’t fear the reaper
We’ll be able to fly… don’t fear the reaper
Baby I’m your man…

La la la la la
La la la la la

Valentine is done
Here but now they’re gone
Romeo and Juliet
Are together in eternity… Romeo and Juliet
40,000 men and women everyday… Like Romeo and Juliet
40,000 men and women everyday… Redefine happiness
Another 40,000 coming everyday… We can be like they are
Come on baby… don’t fear the reaper
Baby take my hand… don’t fear the reaper
We’ll be able to fly… don’t fear the reaper
Baby I’m your man…

La la la la la
La la la la la

Love of two is one
Here but now they’re gone
Came the last night of sadness
And it was clear she couldn’t go on
Then the door was open and the wind appeared
The candles blew and then disappeared
The curtains flew and then he appeared… saying don’t be afraid
Come on baby… and she had no fear
And she ran to him… then they started to fly
They looked backward and said goodbye… she had become like they are
She had taken his hand… she had become like they are
Come on baby… don’t fear the reaper”

Buck Dharma

For Blue Oyster Cult, the positive thing was ‘(Don’t Fear) The Reaper’ provided the hit single that had eluded the band through their first three albums. The good news was the song exposed them to a wider audience. The negative side of this success was they were expected to follow with another. For Dharma, this conflicted with his writing process. He was never one to write for commercial appeal. The pressure to repeat, disturbed his artistic integrity.

The Cult was never destined to be successful at a format. To be a singles band you have to win the casual buyer.”

Buck Dharma

This was never going to be Blue Oyster Cult.

Until…

The cowbell brought us all back.

Here is a summary of the back story that brought the Saturday Night Live crew, guest host Christopher Walken and Blue Oyster Cult together in eternity.

On April 8, 2000, Saturday Night Live introduced the now famous ‘Needs More Cowbell’ skit. This was the 25^th season of SNL, and the cast was considered to be among the upper echelon that the show ever offered. In retrospect, one would think that this skit led by guest Christopher Walken, and starring Will Farrell was part of the much desired first half hour, but the reality is, it was relegated to the show’s conclusion. Expectations were minimal. So much so, it was on a side stage that a good portion of the studio audience actually had to watch on the monitors.

Who knew there was obstructed view seating and stages on this set?

Anyway, the premise of the skit involved an imagined version of Blue Oyster Cult in studio recording ‘Don’t Fear the Reaper’. Written by Will Farrell, the skit describes a scene where the band is in the presence of ‘legendary’ producer Bruce Dickinson, who of course is played by Christopher Walken.

(Sidenote – Bruce Dickenson was actually the name of a producer who oversaw a Blue Oyster Cult greatest hits re-issue of ‘(Don’t Fear) The Reaper’. When an SNL intern was asked to go to a record store and grab a copy of ‘Agents of Fortune’ he returned with the Greatest Hits compilation instead. It listed Dickinson as the producer. This is how Bruce Dickenson was named in the skit. It is definitely not an homage to the lead singer of Iron Maiden.)

In the skit, Dickinson’s feel for the music is something to be revered, so when he proclaims that what the song needs was more cowbell, he invites ‘Gene Frenkle’ to take centre stage alongside the driving guitar and rhythm section. His mission is to;

Really explore the studio space.”

Christopher Walken

To the rest of the band the cowbell proves to be a distraction, but after a series of takes they succumb to Dickenson’s demand.

I got a fever, and the only prescription is more cowbell.”

Christopher Walken

The concept is brilliant, and the result remains hysterical nearly a quarter century later.

For Buck Dharma’s part, the Saturday Night Live skit remains funny. He seems more concerned about Chrisopher Walken.

Hilarious. It’s really funny. The band had no idea it was coming, either. It was quite a surprise and phenomenal in its endurance and the way it’s worked its way into the culture. If the cowbell has been at all an annoyance for Blue Öyster Cult, it’s got to be 10 times worse for Christopher Walken! So, I’m riding that horse in the direction it’s going.”

Buck Dharma

So, we know Will Farrell played the cowbell on the Saturday Night Live skit, but who played the percussion instrument on the original recording back in 1975 when the band was working on material for the album, ‘Agents of Fortune’?

This has become somewhat of a mystery lost in time. ‘Don’t Fear the Reaper’ was produced by David Lucas, Murray Krugman and Sandy Pearlman and engineered by Shelly Yakus. One of this collection of studio supporters suggested a nice cowbell rhythm would enhance the track. No less than three people who were there have stated that they played the original cowbell track.

Bassist Joe Bouchard recalls his brother, Albert being asked to play.

Albert thought he was crazy. But he put all this tape around a cowbell and played it. It really pulled the track together.”

Joe Bouchard

According to Bouchard, the cowbell was not the first choice. First it was a flugelhorn and then it was a triangle.

If you ask David Lucas, he played it, or was it guitarist Eric Bloom?

The truth is, nobody knows for sure because when the band was working on overdubs and the extended solo section, it took them longer to perfect that part than the song itself. In all likelihood each of these three people recorded a cowbell track and which one actually made the recording is anyone’s guess.

It’s not like anyone has a distinct cowbell style.

Well, except for Will Farrell.

It is difficult to find the actual SNL video because they protect their skits on public forums, but here is a Vimeo version to enjoy.

Although ‘(Don’t Fear) The Reaper was Blue Oyster Cult’s first hit song, rising to #12 on the Billboard Hot 100 in late 1976, one of the song’s most lucrative years was…you guessed it…2000.

All thanks to the exposure on Saturday Night Live.

Because of the broad appeal of ‘(Don’t Fear) The Reaper’ there is a long line of quality cover versions.

One of the earliest was a frantic presentation by Goo Goo Dolls from their 1987 self-titled debut album.

We like to ‘take the piss’ out of classic songs. We thought it was funny to play ‘Don’t Fear The Reaper’ five times as fast, and cut out everything but the three-chord structure. To me, that is hilarious. But it also allowed us to work on cover songs that fit what we did. Then we ‘put the piss’ back in them, if we will. So instead of making fun of them, we made them our own.”

Robby Takac

Remember Big Country? Here they are thirty years ago offering a strong take on ‘(Don’t Fear) The Reaper’.

Not too long ago I came across Prozak for Lovers covering ‘Blister in the Sun’ by Violent Femmes. When I saw that they had covered ‘(Don’t Fear) The Reaper’ I knew their unique take would slide in nicely.

Here’s another act from the ‘80s. Heaven 17 evolved out of Human League and effectively straddled the Punk and New Wave divide. When they were at their best, they were edgy. Here is a great cover of ‘(Don’t Fear) The Reaper’. This is from their 2005 album ‘Before/After’.

Here is another cover with interesting connections. In 2010, California metal band L.A. Guns added their name to a long list of acts to record ‘(Don’t Fear) The Reaper. This is from their album ‘Covered in Guns’. L.A. Guns is renowned for being the launching pad for Guns ‘n Roses vocalist Axl Rose.

This is just a special performance. As always, the Dave Matthews Band is flawless. Here they are, live from The Gorge in Quincy, Washington. Check out Tim Reynolds. Awesome!

 Another performer that I have stumbled across on several occasions is Mike Masse. Here he is again along with Jeff Hall in a quaint little bar in Salt Lake City, Utah.

Gus Black is perhaps best known for his work co-writing with Lisa Marie Presley on her debut album ‘To Whom It May Concern’, but he has also done some incredible production work for film and TV soundtracks. He offered this stunning cover of ‘(Don’t Fear) The Reaper’ for the ‘Scream’ soundtrack. This is haunting.

Today’s post has brought out an all-star lineup of Ted Tocks favourites. Here is Hayseed Dixie from their 2014 release ‘Hair Down to My Grass’. Tons of fun as always.

Ted Tocks Covers cover artist extraordinaire Leo Moracchioli also offers a cover of ‘(Don’t Fear) The Reaper’ and if Leo plays it, Ted Tocks Covers adds it to the list.

Keep Shelly in Athens is a Greek duo who offered this soothing version in 2019. Fortunately, it was included on the soundtrack of ‘Unhinged’ in 2020. When it played through the closing credits, many music fans needed to find out who had laid down this stunning cover.

Moving away from the cover versions for a moment, let’s head back to this memorable moment from The Tonight Show Starring Jimmy Fallon. This is cool because it presents two actors who were on the stage that night back in 2000, Jimmy Fallon and Will Farrell, along with legendary Red Hot Chili Peppers drummer, Chad Smith. This is known as the Will and Chad Drum Off , which gives way to an abbreviated performance by Red Hot Chili Peppers.

Over the past 45 years ‘(Don’t Fear) The Reaper’ has been included in at least 75 different movies, videos and TV shows. Here are a handful.

‘(Don’t Fear) The Reaper’ has often been considered the “anthem for the apocalypse”. The ominous nature of the lyrics certainly gave rise to this reputation, but it could also have been the connection to Stephen King.

In his epic and famous novel ‘The Stand’, King asked his friend Buck Dharma if he could use a passage from the song in the novel’s epigraph. When you open the book, you will see ‘(Don’t Fear) The Reaper’ sandwiched between stanzas of ‘Jungleland’ by Bruce Springsteen and ‘Shelter from The Storm’ in the epigraph. Death is a central theme of the novel, which tells the story of a plague that wipes out most of the population.

King slightly modifies ‘(Don’t Fear) The Reaper’ by changing “baby” to “Mary” and he italicizes “he” in the line “the curtains flew and then he appeared,” indicating the supernatural. When the novel was adapted into a miniseries in 1994, ‘(Don’t Fear) The Reaper’ was used in the dark opening scene when the ‘Superflu’ first ravages the United States.

No mention of ‘(Don’t Fear) The Reaper’ can be offered without including a ‘Halloween’ compilation. Here is a full video which features Jamie Lee Curtis prominently.  

Before I conclude, please enjoy this really strong performance by the Bouchard Brothers. Joining them is artist/musician Joan Levy Hepburn. If you recognize the name, you are correct in assuming the connection to Katharine Hepburn. Joan is the famous actress’s niece. She is infinitely talented.

This is from the Katharine Hepburn Cultural Arts Center in Old Saybrook, Connecticut.

Before signing off, here is a very brief concert memory from back in 1984. That summer I would not be exaggerating if I said I saw a concert every week. It seemed like everyone was coming through Toronto and I had two part time jobs so in my mind, I had money to burn.

In early July, I had tickets to see Aerosmith and at the time I was a big fan of their work through the ‘70s. I paid full price for tickets and went to Kingswood Music Theatre at Canada’s Wonderland, in Vaughan, north of Toronto anticipating a really good show.

They sucked. The worst show I have ever seen. Ever…

They were a drug addled disaster.

When I think of Aerosmith my mind is never far from this horrendous show and how badly they disappointed the audience. Inexcusable.

Less than a week later, my friend Ken and I were working at my Uncle Don’s grocery store, A-B Foodland in Acton, and he asked if I wanted to go to Kingswood and see Blue Oyster Cult. They were part of what Canada’s Wonderland was branding as their $7 concert series. If you paid $7 plus a park admission which at the time was somewhere between $15 and $20 you could enjoy the amusement park for a period of time before entering the concert venue for the show. So, for approximately $25 you got a whole lot of entertainment value. I was all in. What have I got to lose?

Sometimes when you enter a situation with minimal expectations and a completely open mind you emerge with the best of experiences.

Blue Oyster Cult put on an incredible show.

Certainly, the highlight was ‘(Don’t Fear) The Reaper’ but there was so much more.

‘Godzilla’ was a crowd favourite.

‘Burnin’ for You’ which was likely Blue Oyster Cult’s next best known song.

‘Roadhouse Blues’ harkened back to The Doors classic from ‘Morrison Hotel’ in 1970.

Roadhouse Blues – The future’s uncertain and the end is always near. #MusicisLife #TedTocksCovers #TheDoors #BlueOysterCult

And if I recall, a version of ‘Born to Be Wild’ which involved a Harley being wheeled out on stage.

Born to be Wild – Heavy metal thunder. #MusicisLife #TedTocksCovers #Steppenwolf #MarsBonfire #TheCult #ACDC

The crowd went wild.

I was blown away.

Through the years, Blue Oyster Cult has been cast as a band who never quite reached the pinnacle. Kind of a working man’s hard rock band.

Meanwhile, Aerosmith has achieved legend status.

It says here, in terms of offering full value the roles should be reversed.

But that’s just my opinion…I could be wrong. I am after all, only speaking from my experience.

Roll credits…

Here are the closing credits from ‘The Parent Rap’ episode of ‘The Simpsons’.

Love Train – If you miss it, I feel sorry for you. #MusicisLife #TedTocksCovers #TheOJays #KennyGamble #LeonHuff #KebMo #TheRollingStones #RodStewart #DarylHall #HayseedDixie #TheTrolls #PlayingforChange #TheUSASingers

Fifty years ago, everybody was getting on board the ‘Love Train’. The passengers were hoping it would take them to a more promising destination. They had every reason to think they were heading to a better place.

Sadly, for many the train derailed or at least the connecting train they boarded went off a cliff and remarkably it hasn’t hit the bottom yet.

Okay…Just breathe. Take it back to the music.

One…two…three…

‘Love Train’ by the O’ Jays was released just before Christmas in 1972. Just listen. It is hard not to become caught up in the contagious upbeat groove, and the unifying lyrics. This is exactly what songwriters Kenny Gamble and Leon Huff were going for. Gamble and Huff were the O’Jays producers. The song exists among many as an example of a precursor to disco. It hit #1 on this day fifty years ago.

The O’ Jays including Gamble and Huff,  imagined a train travelling the world inviting global citizens to climb on board and embrace each other for both their similarities and their differences. Here is Walter Williams of the O’Jays.

 Love Train was the first of our big message songs. 1972 was explosive. Vietnam was rumbling on, the rich were getting richer, so it was the perfect time to sing about social issues. The song mentioned places that were having human rights problems, but in a positive, hopeful way: “The first stop we make will be England… tell all the folks in Russia and China too.”

Walter Williams

Like so many great songs, it was inspired by the music; the jam that the O’Jays were working on. It was out of this creation that Kenny Gamble wrote the inspiring lyrics. This recollection from Eddie Levert of the O’Jays explains how everyone in the studio was swept up in the moment.

By the time we started laying down the vocals, we knew we had a hit. Love Train felt like destiny. It had such perfect, timeless lyrics that it was almost as if they’d come from God, and we had to deliver them to the people.”

Eddie Levert

He went on to add that the lyrics were written by Kenny Gamble in about five minutes.

Join in…

People all over the world (everybody)
Join hands (join)
Start a love train, love train
People all over the world (all the world, now)
Join hands (love ride)
Start a love train (love ride), love train

The next stop that we make will be England
Tell all the folks in Russia, and China, too
Don’t you know that it’s time to get on board
And let this train keep on riding, riding on through
Well, well

People all over the world (you don’t need no money)
Join hands (come on)
Start a love train, love train (don’t need no ticket, come on)
People all over the world (Join in, ride this train)
Join in (Ride this train, y’all)
Start a love train (Come on, train), love train

All of you brothers over in Africa
Tell all the folks in Egypt, and Israel, too
Please don’t miss this train at the station
‘Cause if you miss it, I feel sorry, sorry for you
Well

People all over the world (Sisters and brothers)
Join hands (join, come on)
Start a love train (ride this train, y’all), love train (Come on)
People all over the world (Don’t need no tickets)
Join hands (come on, ride)
Start a love train, love train

Ride, let it ride
Let it ride
Let it ride
People, ain’t no war
People all over the world (on this train)
Join in (ride the train)
Start a love train, love train (ride the train, y’all)
People all over the world (come on)
Join hands (you can ride or stand, yeah)
Start a love train, love train (makin’ love)
People all over the world (’round the world, y’all)
Join hands (come on)
Start a love train, love train

Kenny Gamble and Leon Huff

The video for ‘Love Train’ shared at the outset was recorded in 1973, and brings the artist’s vision into full view. Participants form a chain and as the song progresses more and more join. It was filmed in the Long Island area of New York.

Enjoy this live version from ‘Soul Train’. This is so good.

What the hell. We need this ride to last. Here is the extended version.

If you do nothing else today, listen to this music and embrace the message. I still believe the world is essentially a good place. We just need to band together and speak out against the evil that tends to dominate the news cycle.

Hopefully as recent current events unfold one of the world’s greatest cancers is about to face some consequences.

When a song is this good, it becomes natural that numerous artists are drawn to the message and become inspired to release their own take on the spirit of the piece.

For today’s feature, I was pleased at the fine array of presentations. As always, the challenge was where to stop. I managed to limit the list to seven. Each of them is an intriguing combination of quality and prominent names. Here goes.

Let’s begin with a 1998 cover by Keb’ Mo. I love this sincere take by the five time Grammy Award winning blues artist. Mental note. Ted Tocks Covers needs more ‘Keb Mo.

That same year The Rolling Stones were on the final leg of their ‘Bridges to Babylon’ tour. Here they are at Weserstadion in Bremen, Germany. Every player on that stage is an equal, and together they rise. There is a definitely a symbolism to this because a little over a half century earlier Germany and the world was a very different place. Good can and will triumph over evil. That’s the message.

In 2009, Rod Stewart released a special live album known as ‘One Night Only’. This is like the sequel to his cover of ‘People Get Ready’.

People Get Ready – Today’s inspiring song from the ’60s and several covers that show its cross cultural impact. #MusicisLife #TedTocksCovers #CurtisMayfieldandThe Impressions #BobMarley #ArethaFranklin #TheHousemartins #MichelleWright #TheBlindBoysofAlabama #SusanTedeschi #RodStewart #JeffBeck

Once again, the unity shines.

In 1989 Daryl Hall and John Oates released a version of ‘Love Train’ for the ‘Earth Girls Are Easy’ soundtrack. Several years later we go to a session of ‘Live from Daryl’s House’. Watch as this develops and they head back to the roots with Eddie Levert, Walter Williams and Eric Grant of the O’ Jays.

One year later, Hayseed Dixie combines their bluegrass style with a little bit of soul. This is a fun version from a Ted Tocks Covers favourite.

This one is for the children.  Join hands and start a ‘Love Train’ with The Trolls as they head into the holidays in 2017 with Anna Kendrick, Justin Timberlake, James Corden, Ron Funches, Caroline Hjelt, Aino Jawo, Kunal Nayyar  and Walt Dohrn. This version brought the song to a new generation at the perfect time.

Just one year later in 2018 we were treated to this wonderful gathering of musicians as part of the ‘Playing for Change’ series.

It begins with this thought-provoking quote from John F. Kennedy

Children are the world’s most valuable resource and its best hope for the future.”

John F. Kennedy

This video is for Turnaround Arts which is a program instituted by John F. Kennedy aimed at introducing the arts to schools in struggling communities in 73 schools, featuring 37 districts across 17 states and District of Columbia. Here you see Turnaround students performing with their associate artists and special guests. They include; Alfre Woodard, Bernie Williams, Black Violin, Chad Smith, Dan Zanes and Claudia Eliaza, David Garibaldi, Elizabeth Banks, Frank Gehry, IZ Avila, Jackson Browne, Jacqueline Suskin, Jake Shimabukuro, Jason Mraz, John Cruz, John Lloyd Young, Keb’ Mo’, Larisa Martínez, Ledisi, Mic Jordan, Misty Copeland, Ozomatli, Paula Abdul, Paula Fuga, Speech, Taboo, Tim Robbins, Tracy Reese, Trombone Shorty, Valerie June, Yo-Yo Ma, and of course The O’Jays.

Their message:

The arts have the power to improve our schools and build more compassionate, connected communities.”

Playing for Change

Do you know who aimed to eliminate the National Endowment for the Arts?

I won’t bring up his name here, but fortunately the goal of this shit stain on humanity was pre-empted because Congress voted to keep it alive, but only by a thread because his own soulless sycophants in Congress followed his lead in lockstep for fear of being mentioned in a scathing Tweet.

In short, Republicans have been exposed as pure scum in every way. There is no denying this fact. Self-serving puppets living in servitude to an evil puppet master of dubious character.

How does this all connect you may ask?

Well, back in 2016 Lord Farquaad rode the train to the Republic National Convention where he adapted the O’Jays song to his own purposes. It seems, his ‘people’ tried to invite members of the O’ Jays to be used as props, but they turned him down flat. Unfortunately, the entitled moron used the song anyway.

Eddie Levert and Walter Williams firmly denounced the misuse of their song in this statement. They saw the RNC’s use as;

Divisive and at odds with the overriding message of their song. We’re about unity, not division. Trump says he’s gonna make America great again. I would ask him: ‘When was it not great for you?’ My dad didn’t give me a million dollars. What a joke.”

Eddie Levert and Walter Williams

Of course, there is still the issue of the O’ Jays song ‘For the Love of Money’ being forever attached to the charlatan’s show, ‘The Apprentice’.

In hindsight, it is the perfect song for a greedy and self-obsessed narcissist.

This opens the door as a segue to this train song by The U.S.A. Singers called ‘Trump Train’ They saw the writing on the wall right from the beginning. This is from their production appropriately entitled ‘The Orange Album’.

Truth be told, anyone with any sense of humanity or a shred of intelligence knew that the ‘fake president’ was nothing more than a lifelong criminal, eternal con man, racist and fraud of epic proportions.

If you are white you’ll be alright
If you are brown get out of town
This train is long, this train is fast
This train is built to last”

FRANKIE D. ROOSEVELVET

Built to last?

Well, here we still have a fight on our hands, but let’s hope sanity prevails. It has been a long battle and the damage is strewn throughout society. The rock was lifted and about 20 to 30 percent of society seem to have taken their cue to live as miscreants.

Sadly, the grift continues, even as we sit on the precipice of long overdue indictments on at least three fronts.

Watch the ‘Trump Train’ video to the end and see the clever clip as it concludes. It features a car full of MAGA trolls happily leaning out the window as if nothing was wrong.

They are being led into oblivion.

From the beginning I was clear. Anyone who supported this cretin was a willfully ignorant member of a cult. I stand by this statement, and I have been proven correct on countless occasions. Those who still align with his thinking are racists, void of both heart and soul. The evidence has all been laid before us all. You have shown me who you are.

Deprogramming will be a challenge. Cognitive dissonance is difficult to overcome, especially with your head planted so far up your ass.

Lock this piece of garbage up forever and anyone who protests, can join this ingrate and lick the leftover ketchup off his pasty and bloated orange face.

Rant over.

Let good triumph over evil, for the sake of humanity.

Let’s get back on the ‘Love Train’.

Centerfold – A band with a range of influence that goes way deeper than their greatest hit. #MusicisLife #TedTocksCovers #JGeilsBand #PeterWolf #BobbyWomack #GramParsons #HayseedDixie #Spunge

Today we are going to have some fun.

The song is ‘Centerfold’ by the J. Geils Band and the singer is the one and only Peter Wolf (Blankfield) who turns 75 years old today.

There were several songs to consider for this feature and in some ways Ted Tocks may have taken the easy way out by opting for the J. Geils Band’s most commercial hit, but it really does set the stage for an interesting story behind this act. First, let’s take a peek between the covers of this ‘girlie magazine’. Long before the internet, this was a ‘thing’.

Later this year will actually mark the fortieth anniversary of the release of ‘Centerfold’ and the best selling album ‘Freeze Frame’. It is one in a long line of songs that managed to tie its catchy presentation into the dawn of the MTV video era. Peter Wolf and his bandmates surrounded by an array of ‘high school girls’ became one of 1982’s most popular videos. The premise of the song is a man who is shocked to find his high school crush is adorning the pages of a men’s magazine. At first, he is dismayed by what he perceives as her loss of innocence, and then he recognizes the woman has the upper hand by stating:

Oh yeah, I guess I gotta buy it.”

Peter Wolf and Seth Justman

It should be noted that to many fans of the J. Geils Band the best material on this album existed in the deeper tracks. Check out ‘Flamethrower’ which was called the band’s funkiest song. It represented the dichotomy within the band and the bridge between musical experimentation and commercialism. As an album ‘Freeze Frame’ was both a commercial smash and an experiment. The period of exploration led to some rifts and after a successful tour and the release of the critically acclaimed live album ‘Showtime’ which did its best to capture the J. Geils live experience, Peter Wolf and the band parted ways. Wolf offered this recollection in a 2016 interview.

I did not leave the band, but the majority of the band wanted to move in another direction.[…] They wanted to continue in a pop-techno way, [and] it wasn’t my thing.”

Peter Wolf

Following this personnel change keyboardist Seth Justman took over the vocals. Justman had been a member of the band since 1968 at the age of only 17, and for many years he and Peter Wolf shared songwriting credits. Much of the J. Geils Band sound and production came from Justman who took care of the arrangements.

Up until now the discussion has surrounded the latter days of the J.Geils Band. Now, here is a very brief exploration into where the group began.

Like so many great groups it all goes back to the rhythm and blues. As far back as 1964 Peter Wolf and some friends from school formed a band called The Hallucinations in the Boston area. They played on the same bill as some of the biggest names in blues history including John Lee Hooker, Muddy Waters and Howlin’ Wolf as well as a couple of rising stars in Lou Reed and The Velvet Underground as well as Van Morrison. By 1967, Peter Wolf had also gained a reputation as a wicked all night DJ on WBCN In Boston. Known as ‘Wolfa Goofa’ he interviewed the biggest names in the industry while educating listeners on the evolution of what was becoming the popular rock and roll sound. It was as a student of the roots that Peter Wolf evolved into the front man he became. By 1967, Peter Wolf and Hallucintions bandmate, drummer Stephen Bladd were asked to join the J Geils Band, which featured J. Geils on guitar, Magic Dick (Richard Salwitz) on harmonica and saxophone, and Danny Klein on bass. This trio initially formed in Worcester as an acoustic act, known as Snoopy and the Sopwith Camels. The merger with Wolf and Bladd led to them going to the bolder R&B sound. As noted, Seth Justman joined the group in 1968, completing the lineup. One distinct element of the J. Geils Band sound was their affinity to the harmonica. They were self proclaimed “harp freaks” led by Magic Dick’s prowess and their devotion to blues artists like Little Walter and James Cotton.

By the early ‘70s the J. Geils Band had gained a reputation as a musician’s band. They were highly respected by every act they opened for throughout the United States including BB King, Johnny Winter, The Byrds with Gram Parsons and the Allman Brothers Band.

Here are four anecdotes from the early days of the J. Geils Band.

• They became known for their Stones like swagger and Peter Wolf was often compared to Mick Jagger as a front man for his on-stage charisma, and command of the audience.
• Whenever the Allman Brothers Band performed in the northeast United States they aimed to play on a bill with the J.Geils band as their opening act. The ABB proclaimed the J. Geils Band as their favourites as they enjoyed the height of their popularity. They bonded as students of the great blues acts and fed off of each other’s energy. The two acts actually shared the stage at the closing of the iconic venue; the Fillmore East.
• The J. Geils Band’s first successful single was a cover of The Valentinos’ song ‘Lookin ’For a Love’. It appeared on the band’s second album ‘The Morning After’. The Valentinos’ featured the great Bobby Womack (‘It’s All Over Now’) who features prominently in the rise of The Rolling Stones. Again…the R&B roots. Listen to this. Incredible!

• Another song from ‘The Morning After’ called ‘Cry One More Time’ caught the attention of the great Gram Parsons. He would go on to record it on his debut album in 1973. Here is that cover.

All of this is meant to portray the J. Geils Band as both an act that was influenced by the greatest names in music industry, and a band/songwriters who are without a doubt, influencers.

So much of that emerged from the dynamic presence of Peter Wolf. Down the road, I will feature more J. Geils Band. If you want a little bit more, go back to 1980 and ‘Love Stinks’. This was from the early days of Ted Tocks Covers. There is so much more to explore from this great act. As I wrote I listened to a few of their albums and was drawn in by every note. What an experience.

Speaking of influence, here is an example of how adaptable the J. Geils Band sound became. I love Hayseed Dixie and their ability to convert the listening experience to their bluegrass style. This is a blast.

How about an act that blends a combination of ska, punk and alt rock? Here is Spunge. This is what I mean about the range of influence and exactly why I write Ted Tocks Covers.

For every great artist there are several acts that they point to as a source of inspiration. This is why rock and roll will go on forever. Today’s feature is just one example. Enjoy the listening experience until the day we can get out and watch it live again.

Ace of Spades – Born to lose, lived to win. #MusicisLife #TedTocksCovers #Lemmy #Motorhead #DaveGrohl #LittleRichard #LeoMorrachioli #HayseedDixie

Let me begin by saying I know today’s feature is not for everyone. Please take the time to read it because there are stories within this story that are really interesting and even touching.

Today’s feature is a tribute to one of the most instantly recognizable artists in the heavy metal genre. Lemmy, (born Ian Kilmister) from Motorhead was distinct in several ways. His look, his sound and his demeanor. While leading Motorhead for forty years with his thunderous bass guitar sound and gruff voice Lemmy became a respected musical icon with a vast library of songs and a legacy that has inspired some huge names in heavy metal, death metal, speed metal, punk and even grunge and alternative rock. In short, he pushed the limits and led the charge. Thousands followed suit and when he died on this day in 2015, the music world was left in a state of shock.

When choosing a feature song for today’s post the obvious choice was ‘Ace of Spades’. It was almost too easy, but when it comes to promoting Lemmy and Motorhead through this platform it was the best option. In terms of ongoing influence, ‘Ace of Spades checks all the boxes. The ode to what is simultaneously considered to be the most ominous card in the deck and the most valuable creates a perfect backdrop to the Motorhead style. When combining the ‘death card’ with a series of gambling metaphors, songwriters ‘Fast’ Eddie Clarke, Lemmy and Phil ‘Philthy Animal’ Taylor painted a picture of living life on the edge. Here are the lyrics for your reference:

If you like to gamble, I tell you I’m your man
You win some, lose some, all the same to me

The pleasure is to play, makes no difference what you say
I don’t share your greed, the only card I need is the Ace of Spades
The Ace of Spades

Playing for the high one, dancing with the devil
Going with the flow, it’s all a game to me

Seven or eleven, snake eyes watching you
Double up or quit, double stake or split, the Ace of Spades
The Ace of Spades

You know I’m born to lose, and gambling’s for fools
But that’s the way I like it baby
I don’t wanna live forever
And don’t forget the joker!

Pushing up the ante, I know you gotta see me
Read ’em and weep, the dead man’s hand again

I see it in your eyes, take one look and die
The only thing you see, you know it’s gonna be the Ace of Spades
The Ace of Spades

Motorhead

‘Ace of Spades’ was written and recorded in the summer of 1980, and released in late October. True to their carefully cultivated and overtly rebellious nature the initial release of the single saw a special 12” vinyl Christmas pressing that featured a photo of the band dressed in Santa outfits. Clarke and Taylor stood defiant with their arms folded over their chests while Lemmy thrusts his middle finger toward the camera. It is attitude personified. Out of curiosity, I looked up what that limited-edition vinyl would be worth today and it is going for just over $50 U.S.

The path to release was handled with a carefully crafted schedule of interviews and hype. Lemmy was interviewed on the BBC Radio 1 ‘Rock on Saturday’ show in early September, where the song was featured. In early and mid-October, Motorhead performed ‘Ace of Spades’ on two occasions on BBC’s Top of the Pops. This all occurred at a time where Motorhead was still struggling as a hand to mouth act. ‘Fast’ Eddie Clarke tells the story of working on the side as a house painter in between gigs and recording sessions. When Motorhead was featured on Top of the Pops he was working with a paint crew. The session was recorded on a Wednesday and when the show was aired on the following Saturday, he announced to the crew that the band was about to come on. He and his mates all stood around an available TV, in their paint splattered uniforms, brushes in hand and watched the career altering performance. Here is that tape. Watch right through the introduction. This is presented with such beautiful British dignity.

The contrast is priceless when you consider that this style was the farthest thing from mainstream at the time. The brilliance of Motorhead, was in their ability to bridge punk and heavy metal. On several occasions through the years Lemmy emphasized that although Motorhead were considered masters of metal, he felt way more kinship with his peers and fans in the punk genre.

Upon its original release ‘Ace of Spades’ spent thirteen weeks on the U.K. singles charts, peaking at 15. In January of 2016, following Lemmy’s death the ‘Ace of Spades’ reached the top 10 on the singles charts and more importantly the Motorhead album of the same name hit #1.

There was a period of time in the early to mid ‘80s that Motorhead tried to shed the popularity of ‘Ace of Spades’. This was very evident shortly after ‘Fast’ Eddie Clarke left the bad. Gradually, the group, in whatever incarnation, accepted the song’s importance. This acknowledgement happened in stages as you can see from these three quotes.

Here is Lemmy in 2000 referring to ‘Ace of Spades’.

I don’t see the song that way at all. I believe we’ve done our best work since Eddie left the band in 1982.”

Lemmy

Just two years later his stance softened a little when he acknowledged its importance in Motorhead’s evolution.

 (We) can’t ditch Ace of Spades, it wouldn’t be right. If I go to see Little Richard, I expect to hear Good Golly Miss Molly, or I’d be pissed off”

Lemmy

For the record, Lemmy loved Little Richard. Please read on for more about a connection between Lemmy and Little Richard. I promise, you will not be disappointed. This is one of the most genuine, emotional moments I have seen with one musician talking about another.

In an interview shortly before he died, he came right out and declared ‘Ace of Spades’ as one of his band’s finest accomplishments.

I used to have that thought occasionally, but I killed it. ‘Ace of Spades’ has been really good to us, and it’s one of the best songs that I ever wrote. So, I suppose you have to put up with it, because everybody wants to hear it, every night.”

Lemmy

Ian ‘Lemmy’ Kilmister performed virtually right up until the day he died. Briefly, here is how it went. Lemmy had been plagued with a series of health issues throughout the 2000s and he had been hospitalized on a handful of occasions. Despite the challenges he continued to perform because it was what he loved. He performed through December 11, 2015. His final tour culminated in a huge birthday party for him at the famous Los Angeles bar; the Whisky A Go Go.

He [Lemmy] gets home [from tour], we have a big birthday party for him at the Whisky A Go Go. His friends came down and played. Two days later I could tell he wasn’t feeling good. So, we took him to the hospital. They release him. Then after the brain scan, they found the cancer in his brain and his neck. The doctor comes with the result a couple of days later and says “It’s terminal”.”

Todd Singerman – Manager

Lemmy died on this day in 2015, just four days after his 70^th birthday.

By all indications, Lemmy was a guarded, but very sincere man. He chose his words carefully and he charted a very unique musical voyage. He began as a roadie for Jimi Hendrix and paid his dues as struggling musician through the ‘70s with a series of acts before his hard work paid off with Motorhead. It was as part of Motorhead that his legend grew and became carefully cultivated over time. Perhaps, the artist he influenced the most was Dave Grohl; the remarkably accessible, one-time drummer for Nirvana and eventual singer/guitarist for Foo Fighters. Grohl considered Lemmy one of his biggest inspirations, but more importantly, a friend.

We recorded [Lemmy’s] track in Los Angeles in maybe two takes about a year and a half ago. Until then I’d never met what I’d call a real rock ‘n’ roll hero before. Fuck Elvis and Keith Richards, Lemmy’s the king of rock ‘n’ roll—he told me he never considered Motörhead a metal band, he was quite adamant. Lemmy’s a living, breathing, drinking and snorting fucking legend. No one else comes close.”

Dave Grohl

Here is Dave Grohl delivering a eulogy to a captivated crowd at Lemmy’s memorial service. This ties the Little Richard reference together. It is precious.

Here is ‘Precious Lord Take My Hand’ as performed by Little Richard. Remember, Dave Grohl brought us here. What a tribute.

From here, it is only fitting that we feature Dave Grohl with his friend Lemmy, along with Slash performing ‘Ace of Spades’ at the Revolver Golden Gods Awards in 2010.

Here are two phenomenal covers from a couple of Ted Tocks Covers favourites.

First, we have the magnificent Leo Moracchioli. He posted this in tribute the day after Lemmy died and it now has well over 2.6 million views.

And now for something completely different. Here are the bluegrass giants Hayseed Dixie.

Priceless!

“Born to lose, lived to win.”

Lemmy’s epitaph

The one and only, Ian ‘Lemmy’ Kilmister.

Black Dog – A tribute to the great #JohnBonham. #MusicisLife #TedTocksCovers #LedZeppelin #FleetwoodMac #JohnnyFavouriteSwingOrchestra #Heart #ThoseDarnAccordions #HayseedDixie

I was less than a month into high school when word came over the newswire that John Bonham; the illustrious drummer for Led Zeppelin died. For a significant number of students at Acton District High School this was a big deal. For a certain element there was definitely a pall that fell over the institution. Led Zeppelin was a benchmark band in the world of rock and roll and to many, John Bonham was at the pinnacle of his profession. I remember being stunned by the news. At home, I took the Entertainment section from the Toronto Star and filed it away for safe keeping. I still have it 39 years later.

The headline from an article written by music critic Peter Goddard read “Can Led Zeppelin survive sudden death of drummer?” As time went on the answer to this question was a resounding no. Sure, Led Zeppelin reunited for brief periods like a three song stint at Live Aid in 1985 with Phil Collins sitting behind the drum kit, or the December 2007 Ahmet Ertegun Tribute Concert. This event featured John Bonham’s son Jason performing as a strong replacement and it serves as the only full length concert featuring this iconic band since the death of ‘Bonzo’. It was a spectacle that left fans wanting more but in reality, the show was over. To paraphrase, the song truly did remain the same, but in the eyes of the remaining members of Led Zeppelin it just wasn’t quite the same without their hard driving drummer. For Robert Plant there was no going back. He was often resolute on this topic.

“No one could ever have taken over John’s job. Never, ever! Impossible. I listen to Zeppelin stuff now and I realize how important John was. When he drummed he was right there with either my voice or whatever Pagey was doing … you couldn’t have found anybody with the same kind of ingredient to make the band really take off like John did. For all the shit that hit the fan those many times … we all sort of rose out of it together going, ‘We don’t care – take this!’ And you don’t start carrying on with people who weren’t a part of that. Impossible.

Robert Plant

For a period of time Jimmy Page was always a little more hopeful but as time has slipped by he simply feels the moment is gone, and any effort to reunite would appear to be done for the wrong reasons.

“You’ve just got to face facts. We’ve gone past the tenth anniversary of the O2, where we managed to do one serious concert. That’s the only thing that we’ve done for such a long time, so I very much doubt we’ll do anything else. I really think the time has gone.”

Jimmy Page

To many, the Led Zeppelin library is a vital part of their listening catalogue. You can include me on that list. Their influence on music over the past 50 years can be heard in countless acts. They are a classic rock staple. Sometimes things just need to be left as they were.

Today’s feature song is ‘Black Dog’. I went up and down their discography looking for the right track and arrived at this one. Keep in mind that I have featured Led Zeppelin on several other occasions.

Dazed and Confused

I Can’t Quit You Baby

Babe, I’m Gonna Leave You

Whole Lotta Love

Moby Dick

Bring it on Home

Gallows Pole

Misty Mountain Hop

Rock and Roll

Stairway to Heaven

Battle of Evermore

Misty Mountain Hop

When the Levee Breaks

The Song Remains the Same

As you read this you will note that ‘Black Dog’ is the sixth song from Led Zeppelin IV that I have featured. It is likely the most celebrated album in Ted Tocks 600 song history and it completes side one of that album. The album is that good.

The song has an interesting origin. The recognizable riff was the creation of Jimmy Page and John Paul Jones. Robert Plant wrote the lyrics as an homage to an early Fleetwood Mac song called ‘Oh Well’. The intention was to be a call and response between Plant and the band. The result is an epic musical experience. Here is ‘Oh Well’. Great stuff in its own right and once again you can hear how bands of that era drew inspiration from each other and inevitably their blues forefathers.

The song title which has no immediate connection to the lyrics was actually in recognition of a black dog that frequented the recording studio known as Headley Grange, during the writing, rehearsal and recording stage of the album.

There are so many cover versions of Led Zeppelin songs that there is a website devoted to the list of covers of each song. The list is in alphabetical order by song title and then a corresponding chronological list of cover versions by act. It is a gold mine for my purposes, and I get lost in the incredible array of interpretations I hear. This is where Led Zeppelin’s influence can be easily measured.

Today I will share four in honour of Led Zeppelin IV and the four musical giants that formed Led Zeppelin.

I am going to start with an intriguing cover by Johhny Favourite Swing Orchestra. This is so good it will take the lead off position. Heather and I were out for dinner at our friends Colin and Jen’s last week and they had this on their playlist. The timing could not have been better. I can’t stop listening to it. Colin is a wealth of musical knowledge from the alternative/independent side of things. Every time he puts a collection of his songs on for our listening pleasure, I make a new discovery. Colin and Jen have a great website and blog at www.tincancottage.ca. It is all about their adventures in their 2011 Evergreen 32 MKS Travel Trailer which they affectionately call their ‘Tin Can Cottage”. Check it out or follow them on Pinterest, Facebook or Instagram. We have known them for years. They are the kind of people that just by knowing them you feel enriched. Here is the Johnny Favourite Swing Orchestra with their swing version of ‘Black Dog’. What a find.

Back to more conventional covers; Heart has covered many Led Zeppelin songs through the years. Here they are doing a cover of ‘Black Dog’ on the tour that begat their Alive in Seattle album in 2003.

Every time I get an opportunity to share cover versions by Those Darn Accordions I leap at the opportunity. Here is their performance from 2004. Tons of fun and so good. They blend it with what else but ‘Whole Lotta Love’.

And finally, for the second day in a row here is Hayseed Dixie. One thing I have noticed since writing Ted Tocks Covers is the cool acts just keep popping up. The bluegrass rendition of ‘Black Dog’ works so well. Check out the title of the album it appears on. Too funny.

Oh baby!

To close this post, here is a fantastic drum piece by John Bonham where he and Jimmy Page experiment with electronic effects. It was recorded in Montreux, Switzerland in 1976. Hence the name; ‘Bonzo’s Montreux’. This was first released on Led Zeppelin’s 1982 Coda compilation. It gives fans a glimpse of how John Bonham was truly evolving his craft. It makes you wonder what would have been possible had he not passed away so young.

I hope you enjoyed this Led Zeppelin feast. Have a great day!