Don’t Let the Sun Go Down on Me – Send it to Engelbert Humperdinck. #MusicisLife #TedTocksCovers #EltonJohn #BernieTaupin

Maybe it was the tension?

Fifty years ago, Elton John was at the top of the music world. He was riding a wave of success that put him up in the same stratosphere as The Beatles and Elvis Presley. Beginning in 1972 with ‘Honky Chateau’ and ending with 1975’s ‘Captain Fantastic and the Brown Dirt Cowboy’ Elton John had a string of five consecutive #1 albums. In between, Elton had hits with ‘Don’t Shoot Me I’m Only the Piano Player’, ‘Goodbye Yellow Brick Road’ and the subject of today’s feature ‘Caribou’ which featured ‘Don’t Let the Sun Go Down on Me’ as the first single.

Due to the run of success, expectations were high, however there were nearly insurmountable challenges. Touring demands forced Elton John and his band to shoehorn studio time in during a small window of time that was available in January of 1974.  The band and production team headed to the Caribou Ranch recording studio in Colorado and recorded most of the album that would carry the name of its origin. It was recorded in nine days. According to producer Gus Dudgeon the band was “under enormous pressure” and high in the mountains, things were reaching a boiling point.

By the time everything was done and the banded headed to Budokhan Theatre in Tokyo, Japan to resume the acclaimed ‘Goodbye Yellow Brick Road’ tour, Dudgeon was left with a whole lot of pieces to a puzzle that was thought by some to be a scrambled mess. The material lacked the cohesion of Elton John’s previous projects. The frazzled producer was able to gather the best of the material and blend in some quality backing vocals, add some horns and other studio treatments and present the music world with something that approached the Elton John standard.

It was accepted.

Maybe it was because he was so close to the process, but when it all was over Dudgeon proclaimed that it was;

…a piece of crap … the sound is the worst, the songs are nowhere, the sleeve came out wrong, the lyrics weren’t that good, the singing wasn’t all there, the playing wasn’t great and the production is just plain lousy”.

Of course, it rapidly ascended to #1 upon its release on this day in 1974. Maybe it was not Elton John’s best work, but under the circumstances they got the best they could out of him. Not only is ‘Don’t Let the Sun Go Down on Me’ one of Elton John’s most celebrated songs, but among fans at least, the record offered some interesting deep tracks.

One wonders what would have happened if they had a solid two months to perfect the creative process.

Everything here is hindsight, and what is considered mediocre Elton John is still high end in the grand scheme of the musical timeline.

Once again, the glue that allowed the Elton John train to continue to ramble down the line was lyricist Bernie Taupin.

Bernie is on record as saying he does not specifically recall sitting down to write ‘Don’t Let the Sun Go Down on Me’ but he is very clear on the fact that he would never allow his lyrics to be classified as mundane.

I like to be more interesting than a good old ‘I love you, you love me, my heart will break if you leave me. Throw in a curveball. ‘Don’t Let the Sun Go Down on Me.’ Put a dark twist on them.”

What if he and Elton John could create yet another musical statement that allowed listeners to recall the Phil Spector ‘Wall of Sound’. This became the goal.

My only recollections of this is that we wanted to write something big. I mean, big in that dramatic Spectory (as in Phil Spector) style, like ‘You’ve Lost That Lovin’ Feelin’. Hopefully being powerful without being pompous.”

With the help of Gus Dudgeon, everything came together in this very way. Years later, Taupin came clean on a few aspects of this song’s creation and his body of work in general. This is really quite funny.

I’m not sure that with this in mind it made me fashion the lyrics any differently. Although, in retrospect, they do seem to have a slightly more Brill Building flair to them, so it’s entirely possible that I did. Of course, I always seem to have to revert to a crib sheet to check these things, as I just seem to have a really bad memory of my own work. In fact, it makes me think of a situation that I found myself in a few years ago watching some TV with some friends of mine. There was a game show on where one of the categories happened to be my lyrics. And there were, I believe, five questions, and four of them I got wrong.”

As always, Bernie Taupin’s lyrics are right there in black and white. Available to us all. Delivered by Elton John as though the world depended on these words in this very moment. For over half a century this combination has helped millions of people take the magnitude of their personal experience and apply meaning to help them get through.

Just one more example of the power of music, even though, in the moment Elton John thought it was crap.  Looking back, that is so hard to believe, but like always, the sun sets and we gather our thoughts and the dawn of a new day brings hope, even if you think you are losing everything.

I can’t light no more of your darkness
All my pictures seem to fade to black and white
I’m growing tired, and time stands still before me
Frozen here on the ladder of my life

Too late to save myself from falling
I took a chance and changed your way of life
But you misread my meaning when I met you
Closed the door and left me blinded by the light

Don’t let the sun go down on me
Although I search myself, it’s always someone else I see
I’d just allow a fragment of your life to wander free
But losing everything is like the sun going down on me

I can’t find, oh, the right romantic line
But see me once and see the way I feel
Don’t discard me just because you think I mean you harm
But these cuts I have, oh, they need love to help them heal

Don’t let the sun go down on me
(Don’t let the sun)
Although I search myself, it’s always someone else I see
I’d just allow a fragment of your life to wander free
(Don’t let the sun)
But losing everything is like the sun going down on me

Don’t let the sun go down on me
(Don’t let the sun)
Although I search myself, it’s always someone else I see
I’d just allow a fragment of your life to wander free, yeah
(Don’t let the sun)
But losing everything is like the sun going down on me”

As stated earlier, much of what we recognize 50 years later as an Elton John masterpiece, can be attributed to the studio vision of Gus Dudgeon. After Elton John and his entourage headed off to Japan, he began to put the pieces together in what Bernie Taupin referred to as the ‘Spectory’ way. This included inviting a handful of backup singers to Brother Studios in Santa Monica to add their talents to the chorus. The list included, Dusty Springfield and members of America and Three Dog Night. This first collective didn’t fit with the recording but it gave Dudgeon a better idea of what the song did need. Here, he invited Del Newman to create a horn arrangement featuring Tower of Power. This creative touch added to the overall presentation. With the music complete, Dudgeon took another crack at the backing vocals. This time he brought in Carl Wilson and Bruce Johnston of the Beach Boys and Daryl Dragon and Toni Tennille of Captain and Tennille fame.

Music fans may recall that the Bruce Johnston/Toni Tennille combination appeared on another famous recording a half decade later. Let’s take a look behind ‘The Wall’ by Pink Floyd. They contributed backing vocals to the album’s ominous opening track and three songs to side four of this epic album.

Here is ‘In the Flesh Part 1’

This is ‘The Show Must Go On’ which depicts ‘Pink’ in a drug induced dream state.

As Pink perceives himself as a neo-Nazi fascist dictator his presence from the podium culminates in the track ‘In the Flesh Part 2’

His dictatorial vision gives way to inciting a riot in suburban London. Here is ‘Waiting for the Worms’

This is all an interesting aside which once again demonstrates how important the backing vocals are in delivering the tension behind the lyrics and a song.

Here is Toni Tennille recalling her contribution to the Pink Floyd classic. Note, her very candid admission that she was only vaguely familiar with Pink Floyd’s work. Tennille considers this as her claim to hipness as she recognizes Pink Floyd as more than just a rock group. For her it was another lovely Sunday morning in Los Angeles. Awesome.

Now, check this out. This is the Elton John vocal track and as the chorus hits, the backing vocals wash over you like a tidal wave. This is incredible. This will take you to a different level of appreciation.

Through all of this it is producer Gus Dudgeon who emerges as the MVP. Here is his honest assessment. Every time I read this quote, I chuckle despite myself as I imagine the scene. Elton John was in a state. This is a passage from Philip Norman’s biography, ‘Sir Elton: The Definitive Biography’.

 When Elton recorded this track, he was in a filthy mood. On some takes, he’d scream it, on others he’d mumble it, or he’d just stand there, staring at the control room. Eventually, he flung off his headphones and said, ‘Okay, let’s hear what we got.’ When Gus played it for him, Elton said, ‘That’s a load of crap. You can send it to Engelbert Humperdinck, and if he doesn’t like it, you can give it to Lulu as a demo.'”

Ironically, these words brought to mind the scene that inspired ‘The Bitch is Back’ which of course was the second single from ‘Caribou’.

The Bitch is Back – Let the fever catch you. #MusicisLife #TedTocksCovers #EltonJohn #BernieTaupin #TheRollingStones #DavidBowie #RodStewart #TinaTurner #LitaFord #MileyCyrus

Wouldn’t it be amazing if even in our worst moments the people around us were able to translate our emotions and give them back to us in this kind of creativity?

Wouldn’t the world be a better place if we were all so in tune with each other?

We need love to help us heal, and as I so often state;

Music is Love! Music is Life!

Now, let’s take a look at several versions of ‘Don’t Let the Sun Go Down on Me’ through the years.

To begin, George Michael plays an integral part.

Once again, Live Aid becomes part of the story. Here is Elton John who graciously hands the vocals over to George in an emotionally wrought delivery of this stunning piece of music. George Michael introduces the song as one of his favourite Elton John tracks. Mutual admiration. How great was George Michael? This will answer the question.

For Elton John, the ladder of his life became a little unsteady and in order to prevent himself from falling he entered rehab. Much of 1991 saw him in recovery. At about the same time, George Michael released his album ‘Cover to Cover’ and went on tour. He regularly included the song, and famously, during the final show at Wembley Arena on March 23 1991, he brought out a surprise guest. Needless to say, Wembley erupted.

The live recording of this song was released as a single later that year, and was a number one hit in both the United Kingdom and the United States.

In 1993, Elton John included ‘Don’t Let the Sun Go Down on Me’ as part of his album ‘Duets’. Proceeds from this release went to several children’s charities with a primary focus on education and AIDS.

From here we can enjoy several interesting presentations of ‘Don’t Let the Sun Go Down on Me’. There are some industry legends coming your way.

Let’s begin with Roger Daltrey in 1987 from his album. This is from the soundtrack for ‘The Lost Boys’. This sounds like a continuation of ‘Love Reign O’er Me’. Few are better.

The best. Here is the extraordinary Joe Cocker. This is from his 1991 compilation album, ‘The Best of Joe Cocker’. The sheer emotion he delivers brings it forth like a Shakespearian soliloquy. Once again, the backing vocals turn it into something almost heavenly in its brilliance.

Still in 1991, this is Oleta Adams. Admittedly, I was not familiar with her work but after listening to this I wanted to dig deeper. This is from here album ‘The Very Best of Oleta Adams’ which was produced by Roland Orzabal of Tears for Fears fame. The connection was real because Adams collaborated with Tears for Fears on their 1985 album ‘The Seeds of Love’. This is fantastic. Consider it a must listen.

Three years later in 1994, Gloria Estefan released her album ‘Hold Me Thrill Me Kiss Me’ which included this cover of ‘Don’t Let the Sun Go Down on Me’. Mostly forgettable.

Still in 1994 here is Elton John and Billy Joel working together during their ‘Face to Face’ tour. This is a live version from Veterans Stadium in Philadelphia. Just listen to the delivery. Legendary! It is hard to believe that thirty years has passed since this tour.

Now we jump all the way ahead to 2016 when Elton John shared the stage with Lady Gaga. This was during Elton’s 2016 show on the Sunset Strip. This special event was presented to promote his album ‘Wonderful Crazy Night’. Watch as she enters the stage and before delivering her part, she takes time to give Elton John a kiss. Then they offer a flawless duet that effectively connects three generations of music fans.

Let’s continue with another artist who comes up often in Ted Tocks Covers. In 2018 Miley Cyrus added her talent to the Elton John tribute ‘Revamp’. I just love this. Miley has a value system that s closely aligned with Elton John’s which only adds to the importance of this cover.  

As much as I was lukewarm on the bio pic ‘Rocket Man’, Taron Egerton did a great job portraying Elton John. I don’t like it when the directors play fast and loose with the timelines and present it to the masses as fact. Do it right or don’t do it at all. Having said that, I stand by my sentiment that ‘Rocket Man’ would make a fantastic musical if they addressed the chronology issue.

Remember Elton John’s vitriol related to his assessment of the original take of ‘Don’t Let the Sun Go Down on Me’? Well, here is Engelbert Humperdinck and his cover version from 2020. Undaunted by his 2020 tour being canceled due to COVID-19, Humperdinck hit the studio and recorded a six-song album of covers called ‘Sentiments’. It included ‘Don’t Let the Sun Go Down on Me’ and ironically, also ‘You’ve Lost that Lovin’ Feelin’’ which partially inspired Elton John and Bernie Taupin.

Ted Tocks Covers has featured Marc Martel on a handful of occasions mostly as a result of his quality covers of Queen and Freddie Mercury. Here is his interpretation of ‘Don’t Let the Sun Go Down on Me’. Always top notch.

Yet another important collaboration is Elton John with the incredibly talented Brandi Carlile. So good. She just exudes the spirit of any song she delivers. Side by side with Elton John, it becomes essential. The fact that this is from Dodger Stadium, adds to the importance of this performance.

Continuing with the theme of quality collaborations and connections to greatness here is Dolly Parton with Elton John. Her album ‘Rockstar’ was released to lend credence to her induction into the Rock and Roll Hall of Fame’. This duet represents about a century of musical brilliance.

Earlier this year Elton John and Bernie Taupin were presented with the Gershwin Prize for Popular Song. During the presentation Charlie Puth honoured Elton John and Bernie Taupin with this tribute. He puts a stamp on it with his close.

We love you Elton and Bernie. Thank you”

Amen!

Elton and Bernie respond in kind, rising in unison to give Puth a standing ovation. A very special moment.

The trials and tribulations of Elton John’ career are well documented. Through it all there was a constant presence that served Elton John well in terms of his creative output and as an emotional outlet. That beacon has been his lyricist and respected companion, Bernie Taupin. Here is Elton John reflecting on their unprecedented partnership.

We’ve never ever had an argument professionally or personally, which is extraordinary because most songwriters sometimes split up because they get jealous of each other. And it’s exciting because it’s never changed from the first day we wrote songs. I still write the song when he’s not there and then I go and play it to him. So, the excitement is still the same as it was from day one and that’s kept it fresh and it’s kept it exciting.”

Through the years, Taupin’s words managed to reflect Elton John’s mindset in a way that borders on spooky. For two people to channel each other’s creative expression so consistently is extraordinary. They continue to stand side by side and when the accolades rain down, they look at each other and acknowledge their role in what has been one of music’s most enduring partnerships.

To think, there have been several periods when Elton John thought he was done. One of those times was in the mid ‘80s when he was diagnosed with non-cancerous polyps on his vocal chords. He was deeply concerned that his career was done.

Here is Elton John and his famous recording with the Melbourne Symphony Orchestra. This live performance from Sydney in December of 1986 has long been heralded as a triumph. To add to the endless fascination with Elton John as a performer take note of the fact that this series of Australian shows saw Elton don a costume that had him perform as Mozart for a portion of each show.

Not only has Elton John connected the generations with his music since the late ‘60s, he has transcended the centuries.

On many occasions he stumbled, but through his music, he saved himself from falling and we all benefited.

When the sun sets on Elton John’s career, not only will we remember the music, but we will honour the resilience.

Like a Prayer – Let the choir sing. Let the voices be heard. Artists are here to disturb the peace. #MusicisLife #TedTocksCovers #Madonna

In today’s upside-down world where lies are presented as truth and simply taking the time to educate yourself is considered woke, the term ‘cancel culture’ has become yet another misunderstood term.

Today’s feature is the provocative Madonna song, ‘Like a Prayer’ which initially took the world by storm, before sparking outrage in the conservative theocracy that is America.

Madonna’s fourth studio album, ‘Like a Prayer’ was released on this day 35 years ago.

The title song which was co-written by Patrick Leonard and Madonna was the lead single.

The lyrics depict a passionate girl who is in love with God. ‘Like a Prayer’ was the result of Madonna being urged to write more songs that could appeal to an adult audience. From her initial popularity in the mid ‘80s it was felt that her audience was growing up. Through her crossover into acting, Madonna too was evolving as a cultural icon, so she was definitely up for the challenge.

The Madonna/Leonard collaboration offers a set of lyrics that is rife with symbolism and dual meaning?

Is Madonna presenting a story of a relationship about God, or about a lover?

Even through the music, the duality creates pause for thought. The presence of the Andre Crouch Choir lends a religious connotation to ‘Like a Prayer’ but wait for the hard rock guitar which evokes a secular world. It is here that the darker undertones become much more prevalent.

Through the MTV era, the world of music became as much a visual medium as an audio one. Madonna’s acting ability really shines through in the ‘Like a Prayer’ video.

The multi-layered lyrical meaning of ‘Like a Prayer’ contributes to the song’s eternal power. It speaks to people and their internal conflict. Does adherence to any religious doctrine equate to morality. If all people are equal under the eyes of God, then why do people who profess to be religious condemn her relationship which is based wholly on love and respect.

This story of a girl who was madly in love with a black man, set in South, with this forbidden interracial love affair. And the guy she’s in love with sings in a choir. So, she’s obsessed with him and goes to the church all the time. And then it turned into a bigger story, which was about racism and bigotry.”

Madonna

This is essential Madonna at her provocative best. The underlying theme addresses the systemic racism that continues to thrive in U.S. society through the support of self-serving religious, political and corporate factions. ‘Like a Prayer’ features a mixed-race couple being confronted by the Ku Klux Klan. Madonna witnesses the torture.

The challenge was how to make it all plausible and connect the themes. It was here that Madonna teamed up with Director Mary Lambert who spent hours listening to ‘Like a Prayer’ with Madonna. Lambert connected with Madonna, and dug deeper into the song’s message and the spirit of the creator’s vision.

Originally, when I recorded the song, I would play it over and over again, trying to get a visual sense of what sort of story or fantasy it evoked in me. I kept imagining this story about a girl who was madly in love with a black man, set in the South, with this forbidden interracial love affair. And the guy she’s in love with sings in a choir. So she’s obsessed with him and goes to church all the time. And then it turned into a bigger story, which was about racism and bigotry… Then Mary Lambert got involved as the director, and she came up with a story that incorporated more of the religious symbolism I originally wrote into the song.”

Madonna

Both Lambert and Madonna felt the ecstasy that flowed. The sexual ecstasy became a bi-product of the religious devotion. The trigger for this sub-plot featured Madonna as a witness to a murder perpetrated by the KKK. The actor who portrays the Black man is Leon Robinson. The role was created in order to symbolize Marin de Porres, who is the patron saint of mixed-race people. The mission was to appeal to her audience for interracial harmony.

Speaking to the general synopsis of the video, Madonna witnesses the assault and murder of a white woman by a group of white men. Knowing that her life is on the line Madonna retreats. She encounters a Black man in the alley as she escapes and notices that he heads to the crime scene in order to help. By the time he arrives the murderers have fled, but the police arrive soon after and arrest the well-meaning Black witness played by Leon Robinson.

Madonna escapes to a church and offers a prayer before a statue which appears to be crying. The statue transforms into the image of the witness she encountered. He kisses Madonna’s forehead and leaves the church as Madonna picks up a knife and accidentally cuts herself, making the sign of a stigmata. This Catholic allusion speaks to the multiple times in history black men have been punished for crimes committed by white men or simply framed due to their (perceived) desire for white women.

At the conclusion of the video Madonna reveals the truth and the man is released.

So much of ‘Like a Prayer’ is laced with Madonna’s Catholic guilt and how she struggles with her conflicted connection to religion.

Once you’re a Catholic, you’re always a Catholic—in terms of your feelings of guilt and remorse and whether you’ve sinned or not. Sometimes I’m wracked with guilt when I needn’t be, and that, to me, is left over from my Catholic upbringing. Because in Catholicism you are born a sinner and you are a sinner all of your life. No matter how you try to get away from it, the sin is within you all the time.”

Madonna

So far, the summary of ‘Like a Prayer’ speaks to a rather unusual timeline. The song was recorded in September of 1988.  In January of 1989, while the video for ‘Like a Prayer’ was still being filmed Pepsi-Cola announced that they had signed Madonna to a $5 million deal to feature the singer in an upcoming commercial. As an offshoot of this business relationship, Pepsi-Cola stated their intention to sponsor Madonna’s upcoming world tour. Madonna saw this as an opportunity to launch her new single and promote her upcoming album.

It is interesting to note that the Pepsi commercial represented the first song by a major artist to be used in a commercial before its actual release.  At the time, the Cola wars were being waged in full force. In a very creative play, the script writers presented an 8-year-old version of Madonna walking around Madonna’s grown up room while Madonna is shown dancing with actors who portray her childhood friends. Both are seen enjoying a Pepsi.  

I consider it a challenge to make a commercial that has some sort of artistic value. I like the challenge of merging art and commerce. As far as I’m concerned, making a video is also a commercial. The Pepsi spot is a different and great way to expose the record. Record companies just don’t have the money to finance that kind of publicity.”

Madonna

The video concludes with the hopeful declaration.

Go ahead and make a wish.”

Madonna

In other words, anything is possible.

The commercial aired during the still popular sitcom, The Cosby Show (Irony?). It is estimated that 250 million people saw this presentation on March 1, 1989. The next day, Madonna released the actual ‘Like a Prayer’ video on MTV, and a day later on March 3, the ‘Like a Prayer’ single was released in advance of the ‘Like a Prayer’ album which was released on this day, 35 years ago.

From the whimsical Pepsi commercial to the actual video Madonna pulled a classic bait and switch and drew in viewers and listeners in unprecedented numbers.

So, what happened?

‘Like a Prayer’ enjoyed a popularity of almost unprecedented proportions. Within five weeks, ‘Like a Prayer’ was #1. Among its many accolades the song won the 1989 Viewers’ Choice MTV Video Award and it was voted #2 on the list of best videos of the ‘80s after only ‘Thriller’ by Michael Jackson.

Now, enter the bad actors…

The video version of ‘Like a Prayer’ sparked outrage among the holy rollers. Spearheaded by the Vatican and the fake Christian right-wing zealots in the United States, calls for a global boycott rained down on Madonna and Pepsi. This threat extended to Pepsi-Cola holdings like KFC, Taco Bell and Pizza Hut.

The transition from idyllic American girl to a harsh portrayal of religion being complicit in the racist foundation of U.S. society was too much reality too soon for just enough influencers; including Pope John Paul II who turned a blind eye to institutional child rape and countless social and sexual atrocities and subjugation of women for his entire 27 – year reign.

In the end, it wasn’t about religious doctrine and anything good. It was about money and the threat that a global icon like Madonna could and did have on about two generations of potential cult members. In other words, Madonna was an icon. She was the voice of female empowerment and that posed a threat to the people who protested the loudest.

As always, let it be said again that the moral majority is neither.

Cancel culture at its finest.

The commercial was dropped, but it should be noted that Madonna kept the $5 million sponsorship.

At the time, Madonna made no apology. She came, she saw, she made a video, and it conquered.

I made a video and it made some people mad. Drank some Pepsi and called it a day.”

Madonna

Madonna’s impact is still felt. She changed lives. Fortunately many other great female artists carry a torch that was lit from the same flame.

Incredibly, this video is still a major talking point more three decades later. It was re-released at the 2023 MTV Music Video Awards

34 years ago I made a commercial with Pepsi to celebrate the release of my song […] The commercial was immediately canceled when I refused to change any scenes in the video where I was kissing a black saint or burning crosses. So began my illustrious career as an artist refusing to compromise my artistic integrity […] artists are here to disturb the peace.”

Madonna

What do real people think?

In the end, the majority of us want to know is the truth. In her book ‘Madonna’s Drowned Worlds’ Santiago Fouz-Hernández wrote;

White men rape/kill women, white men blame it on Black men; Women are raped/killed for being on the streets at night, Black men are nevertheless thrown in jail.”

Santiago Fouz-Hernández

Life is a mystery, or is it? Everyone must stand alone, but when we stand together, we definitely get more accomplished, and truth prevails.

Life is a mystery
Everyone must stand alone
I hear you call my name
And it feels like home

When you call my name
It’s like a little prayer
I’m down on my knees
I wanna take you there
In the midnight hour
I can feel your power
Just like a prayer
You know I’ll take you there

I hear your voice
It’s like an angel sighing
I have no choice
I hear your voice
Feels like flying
I close my eyes
Oh God, I think I’m falling
Out of the sky
I close my eyes
Heaven, help me

When you call my name
It’s like a little prayer
I’m down on my knees
I wanna take you there
In the midnight hour
I can feel your power
Just like a prayer
You know I’ll take you there

Like a child
You whisper softly to me
You’re in control
Just like a child
Now I’m dancing
It’s like a dream
No end and no beginning
You’re here with me
It’s like a dream
Let the choir sing

When you call my name
It’s like a little prayer
I’m down on my knees
I wanna take you there
In the midnight hour
I can feel your power
Just like a prayer
You know I’ll take you there

When you call my name
It’s like a little prayer
I’m down on my knees
I wanna take you there
In the midnight hour
I can feel your power
Just like a prayer
You know I’ll take you there

Life is a mystery
Everyone must stand alone
I hear you call my name
And it feels like home

Just like a prayer
Your voice can take me there
Just like a muse to me
You are a mystery
Just like a dream
You are not what you seem
Just like a prayer, no choice
Your voice can take me there

Just like a prayer, I’ll take you there
It’s like a dream to me
Just like a prayer, I’ll take you there
It’s like a dream to me
Just like a prayer, I’ll take you there
It’s like a dream to me
Just like a prayer, I’ll take you there
It’s like a dream to me

Just like a prayer
Your voice can take me there
Just like a muse to me
You are a mystery
Just like a dream
You are not what you seem
Just like a prayer, no choice
Your voice can take me there

Just like a prayer
Your voice can take me there
Just like a muse to me
You are a mystery
Just like a dream
You are not what you seem
Just like a prayer, no choice
Your voice can take me there
Your voice can take me there
Like a prayer

Just like a prayer, your voice can take me there
It’s like a prayer
Just like a prayer, your voice can take me there
It’s like a prayer
Just like a prayer, your voice can take me there
It’s like a prayer
Just like a prayer, your voice can take me there
It’s like a prayer”

Madonna

It is one thing to have a thought-provoking song, but for Madonna and Patrick Leonard it also became a matter of presentation, and this is where they hit a home run by tying all of the elements together.

I think there was a point when we realized that it was the title track, and the lead track, and it was going to be a powerhouse. It became obvious that there was something unique about it. And that somehow we made this thing work: with its stopping and starting, and a minimalistic rhythmic thing, and the verses, and these bombastic choruses, and this giant choir comes in. This is ambitious, you know?”

Patrick Leonard

Madonna was taking an inventory of her life. She was asking herself what she wanted to say?

I wanted the album to speak to things on my mind. It was a complex time in my life.”

Madonna

In many ways ‘Like a Prayer’ became her crowning achievement.

Like a Prayer’ is a very important song to me. I felt the impact that it was going to make. That song means a lot more to me than ‘Like a Virgin’. I wrote it and it’s from my heart. It’s a very spiritual song. I think I was much more spiritually in touch with the power of words and music by the time I started recording the song and the album.”

Madonna

Continuing with the regal theme, Prince added his guitar talent to ‘Like a Prayer’ but he remains uncredited. Madonaa and Prince collaborated on two other songs for the ‘Like a Prayer’ album. They include ‘Keep it Together’ and ‘Act of Contrition’. A fourth song was also co-written during a long- distance exchange of ideas before Madonna joined Prince at Paisley Park, Minnesota in order to record the composition.

Earlier in this post the Andre Crouch Choir was mentioned. They shared their gospel vibe in the song ‘Like a Prayer’ however they opted out of the video because they didn’t like the sexual connotation of the material. You can also hear The Andre Crouch Choir in Michael Jackson’s ‘Man in the Mirror’.

And finally, in an example of money always over-ruling any perceived sense of morality, Pepsi got over it. Here is Janelle Monae dancing through different scenes which include the Madonna song ‘Express Yourself’. This Pepsi commercial aired during the 2016 Super Bowl.

Music through the generations.

The influence continues and the money flows. So too, does the message.

We just need to listen, and dig a few layers below the surface for the true meaning.

Speaking of looking under the covers, there have been some interesting takes on ‘Like a Prayer’ through the years.

Going all the way back to 1989 here is an acoustic version by John Wesley Harding. This is from his EP ‘God Made Me Do It’. I like the approach but I was hoping for a little bit more.

Twenty-five years later in 2014, Scott Bradlee and Postmodern Jukebox featuring the incredible Robyn Adele Anderson. They introduce this as a ‘Lindy-Hop’ jazz version of ‘Like a Prayer’. I call it captivating. It just draws you in. Music is full of possibilities. No end. No beginning.

Another act that has been featured before is Pomplamoose (see ‘Wake Me Up Before You Go Go’). The video features some interesting drone work and an entirely different approach to ‘Like a Prayer. Listen once and you might find it kind of weird, but try it again and it grows on you.

It’s hard to believe it has been about a decade since Susan Boyle caught our collective imagination as a performer. Let it be stated that I am not a fan of the TV music talent contest format in the slightest, but Boyle transcended this genre. She deserves all of the accolades because she followed her heart. This is really good and somehow it speaks to Madonna’s purpose. There is something about this cover that makes it feel like it is delivered from the heavens. Susan Boyle featured ‘Like a Prayer’ on her ‘A Wonderful World’ album in 2016.

One year later, a special collaboration occurred. Enjoy “Like a Prayer’ co-creator, Patrick Leonard and Dana Williams and their acoustic piano take. Dana Williams is the daughter of David Williams, who played guitar on the original version. If you know the work of Michael Jackson, Aretha Franklin, Whitney Houston, Rod Stewart, Stevie Nicks, Mariah Carey and the list goes on, you have likely been listening to David Williams’ guitar work since the mid ‘80s. Here is Dana’s introduction to this heartfelt cover. It is really a tribute to her father who died in 2009, of a cardiac arrest. Ironically, just three months before his friend, Michael Jackson.

This video is really special to me. For those of you who might be unfamiliar, Patrick Leonard co-wrote and co-produced the original “Like A Prayer” with Madonna in 1989. It was a number 1 single the same year I was born. Not only is Pat a legendary song producer and writer, he was my father’s best friend and I have known him my entire life. My dad David Williams actually played guitar on the original song. It is an incredible honor to work with Pat on this song for so many reasons.”

Dana Williams

Before you listen, one other interesting anecdote related to this cover is that they used the same microphone Madonna sang into during the original recording of ‘Like a Prayer’. For the record, what you will listen to was recorded in one take. This is a story that needed to be shared.

And finally, we go to a live setting from 2022 in between waves of COVID (that disease that would just ‘magically go away’ – but not before a hopelessly inept and eternally compromised grifter who called himself President killed one million Americans), Miley Cyrus brought her salute to Madonna to the stage. It is clear that Miley loves Madonna’s work, but this is also a celebration of woman in music and above all it speaks to empowerment. I just love everything Miley Cyrus stands for. She is a voice that needs to be heard. Check out the energy in this performance. Go Miley!

Presently, our world is mired by interests whose only purpose is to bombard us with images of a world that only serve their evil and self-serving purposes. We are locked into a never-ending battle. It can be classed as information warfare. Clearly the two sides do not trust each other. It is incumbent on everyone to seek the truth.

In the end, it is about the truth, but more importantly it is about trust. This is an information era and those who aim to share the truth are constantly up against factions whose only goal is to destroy any possibility for trust.

Simply stated, there are two separate world views and they are diametrically opposed. We have been here before.

I bring this up because in a quick glance to see what Madonna is up to all these years later, I see that her present World Tour is taking her to Texas and Florida of all places. Yes, two of the most backwards regions in the Regressive States of America. While women are forced to fight tooth and nail for basic human rights, vile characters like Abbott, DeSantis and Cruz stomp on anything that resembles progress. They bow before the Rapist in Chief. Only too eager to fetch his Adderall and change his Depends.

These pathetic characters stand for nothing. They have been exposed time and time again as representative of the worst humanity has to offer. Abbott is just an angry racist on wheels, and DeSantis and Cruz were emasculated before the world by the very man the so revere. It’s mind-boggling how weak they really are. Morally compromised to the core.

Poor Ted Cruz can’t even access his Porn Hub account in Texas.

The best west way to expose a RepubiCON is to confront them with the truth. Naturally, they will deny it, but every bit of retreat exposes their tortured and ever deteriorating soul. Reducing them to a puddle of shit or due to their lack of substance, let’s call it diarrhea.

I wish Madonna well as she tours these sad states. No doubt, the majority of those who see her perform will align themselves with the freedom of thought and action that Madonna has always aimed to represent. Hopefully Madonna is using her pulpit as an opportunity to urge everyone who attends to rise as one and be a voice against the oppressive and fascist movement that the three amigos mentioned above represent.

I can feel the power.

You have a voice.

Let it be heard.

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.

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

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

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

Joan Jett

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

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

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

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

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

Kim Fowley

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

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

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

Joan Jett and Kim Fowley

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

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

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

JOan Jett

In Kim Fowley’s words The Runaways were;

An all-girl answer to Grand Funk.”

Kim Fowley

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

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

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

I Love Rock and Roll

I Love Rock and Roll – Put another dime in the juke box for a hit that keeps on giving. #MusicisLife #TedTocksCovers #TheArrows #AlanMerrill #TheRollingStones #SteveJones #PaulCook #JoanJettandtheBlackhearts #TinyTim #WeirdAlYankovic #BritneySpears

Love Stinks

Love Stinks – All the way back to Adam and Eve. #MusicisLife #TedTocksCovers #TheJGeilsBand #JoanJett

Crimson and Clover

Crimson and Clover – Today’s classic song and two great covers. #MusicisLife #TedTocksCovers #TommyJamesandtheShondells #JoanJett #Prince

Get Off of My Cloud

Get Off of My Cloud – The fine art of social distancing. #MusicisLife #TedTocksCovers #TheRollingStones #AlexisKorner #SteveMarriott #TheEyes #JoanJettandtheBlackhearts #TheMeteors

Celluloid Heroes

Celluloid Heroes – A tip of the hat to the great #RayDavies. Showman, songwriter and philosopher. #MusicisLife #TedTocksCovers #TheKinks #JoanJett #BonJovi #SteveVai

Time Has Come Today

Time Has Come Today – #MusicisLife #TedTocksCovers #TheChambersBrothers #WillieChambers #JoeChambers #TheRamones #JoanJett #WillyDeville #SteveEarle #SherylCrow

Let it Bleed

Let it Bleed – Dreaming of a steel guitar engagement #MusicisLife #TedTocksCovers #TheRollingStones #JohnnyWinter #JoanJett #SherylCrow #TheBlackCrowes #ChrisRobinsonBrotherhood

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

I’m not interested in a sister act.”

Kim Fowley

Cherie auditioned and got the job.

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

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

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

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

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

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

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

Joan Jett

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

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

Joan Jett

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

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

Wildflowers – You belong somewhere you feel free. #MusicisLife #TedTocksCovers #TomPetty #LarkinPoe #ChrisHillman #MileyCyrus #BillyRayCyrus #TheWailinJennys #TrampledByTurtles #LucindaWilliams #OtisGibbs #KennyVaughan #EddieVedder

It’s like he is talking to the listener.

When Tom Petty sings “You belong among the ‘Wildflowers’ he means YOU. Not many singers have the ability to consistently draw the audience into their music.

Let’s call his music and lyrics accessible.

Tom Petty has a lofty place among the best. This is what makes him so enduring and endearing.

Certainly, a song like ‘Wildflowers’ which contains such artistry and poignance took a significant amount of time to craft?

Right?

Well, no. According to Tom, it took about as long to write as it took you to press play and listen.

I just took a deep breath and it came out. The whole song. Stream of consciousness: words, music, chords. Finished it. I mean, I just played it into a tape recorder and I played the whole song and I never played it again. I actually only spent three and a half minutes on that whole song. So, I’d come back for days playing that tape, thinking there must be something wrong here because this just came too easy. And then I realized that there’s probably nothing wrong at all.”

Tom Petty

It may have sounded just like this:

In the simplicity, there exists a message.

You belong among the wildflowers
You belong in a boat out at sea
Sail away, kill off the hours
You belong somewhere you feel free

Run away, find you a lover
Go away somewhere all bright and new
I have seen no other
Who compares with you

You belong among the wildflowers
You belong in a boat out at sea
You belong with your love on your arm
You belong somewhere you feel free

Run away, go find a lover
Run away, let your heart be your guide
You deserve the deepest of cover
You belong in that home by and by

You belong among the wildflowers
You belong somewhere close to me
Far away from your trouble and worry
You belong somewhere you feel free
You belong somewhere you feel free”

Tom Petty

Life is about you. Enjoy it. Go and get it. Share it with someone you love.

Tom Petty refers to it as “an ad lib from the word go.”

The beauty of ‘Wildflowers’ exists in its simplicity. The words were in his head, just waiting to tear down the walls in his mind and bust their way out. In the 2007 documentary ‘Runnin’ Down a Dream’, Petty revealed that his therapist pointed out that ‘Wildflowers’ was essentially a letter to himself.

(He told me) That song is about you. That’s you singing to yourself, what you needed to hear. That analysis kind of knocked me back. But I realized he was right. It was me singing to me.”

Tom Petty

At the time of writing, Petty was struggling with several issues, both personally and professionally. His marriage was failing. He was chasing internal ghosts related to his upbringing, specifically, an abusive father. On the business front, his friendship with long- time Heartbreakers drummer Stan Lynch was deteriorating due to musical differences. Much of this strife was projected in the lyrics that appeared on the ‘Wildflowers’ album. It paints a portrait of a man at a crossroads.

He was able to take solace in two forms of escape. The road, and the recording studio at his California home. Here is Tom’s daughter Adria Petty.

You didn’t open that door unless the house was on fire. My dad spent most of his time in his life quarantined in his house or on the road, basically. But he had that room and he’d just go in that room every single day and work and close the door.”

Adria Petty

Rick Rubin adds to the concept of escapism with this recollection.

There was definitely tension in his life. It seemed he didn’t really want to leave the studio. Like he didn’t want to do anything else in his life. I think he wanted to take his mind off whatever was going on at home.”

Rick Rubin

This brings it all back to the stream of consciousness that shines through in so many of the songs that appear on the ‘Wildflowers’ album. Petty famously referred to it as his ‘divorce’ album.

Wildflowers’ is the divorce album. That’s me getting ready to leave. I don’t even know how conscious I was of it when I was writing it.”

Tom Petty

Sadly, the success of ‘Wildflowers’ coincided with one of the darkest periods of Tom Petty’s life, marred by severe depression exacerbated by an effort to self-medicate with heroin.

Looking back, it is difficult to reconcile how someone who gave so much to so many through his art, felt so hopelessly alone.

Somehow, he managed to work through it. He gave us so much of himself through his music. He needed to take some time to absorb everything. This was the escape.

Far away from your trouble and worry
You belong somewhere you feel free”

Tom Petty

He needed to give himself permission to go there. It was right in his own backyard. He captured a moment in the backyard of his Santa Barbara home, surrounded by the beauty of a spring revitalization.

In doing so, he articulated the same solution for millions of his fans.

Who knows how many people Tom Petty has helped with his words and music? There is a lot of truth to the commonly held belief that music to many, exists as a form of therapy. Today I submit that your therapist is Tom Petty. It may not be a role he asked for, but through his ability to break things down to their lowest common denominator, his music became a friend we could all count on when everything around us seemed impossible to navigate.

So, a song that Tom Petty admitted was written as a note to himself, ended up becoming a song that a legion of his fans turn to in a moment of self-reflection.

It is this genuine ability to relate that continues to make the music of Tom Petty and the Heartbreakers a gift to us all.

Five years ago, when news of Tom Petty’s death surfaced, the tributes came in a flurry. They were heartfelt and they often came in the form of people covering a variety of his songs. Because ‘Wildflowers’ has such a sentimental power it was one of the primary choices. Here they are in a vague chronological order.

This version of ‘Wildflowers’ by Larkin Poe seems to have been done immediately upon hearing of Tom’s passing. It is straight from the heart. Heartbreaking really. Listen to their harmonies and the lap steel accompaniment is phenomenal.

This cover is extremely important. Enjoy this version by Chris Hillman, formerly of The Byrds. His 2017 album ‘Bidin’ My Time’ concluded with a tribute to Tom Petty.

The significance of this version is deep because it acknowledges Tom Petty’s well known Byrds influence. This album features Tom Petty on two tracks as well as Steve Ferrone, Mike Campbell and Benmont Tench. Don’t quote me on this but it may exist as the last studio recording of Tom Petty.

When Chris Hillman sings this line, it is a direct compliment to the man who wrote the song.

I’ve seen no other who compares with you.”

Tom Petty

High praise indeed.

Here is another sentimental cover.

Less than a week after Tom Petty died, Miley Cyrus and her father Billy Ray appeared on ‘The Tonight Show’ with Jimmy Fallon. Listen as the song moves toward the conclusion. This is dynamic. She is singing this to Tom Petty. Another special moment.

You’ve gotta love The Wailin’ Jennys. Here they are on E Town. This a fantastic cover from 2018, where they pay tribute to Tom Petty.

Again from 2018, here is Trampled by Turtles. The banjo brings out the genuineness of the lyrics. Once again, the artists who cover Tom Petty illustrate the adaptability of his music.

More recently, from 2020, here is Lucinda Williams with her rendition of ‘Wildflowers’. This is a project called ‘Lu’s Jukebox’. Lucinda Williams was a good friend of Tom Petty and the Heartbreakers. The friendship comes through in this delivery.

Please take a moment to enjoy this episode of Otis Gibbs featuring Lucinda’s guitarist Kenny Vaughan. He tells stories about life on the road with a bunch of ‘Florida hippies’. You can hear how much he appreciates their friendship. Good times and no pretense.

He summarizes Tom Petty in this line.

He put his songs and his art ahead of everything else in life.”

Kenny Vaughan

How cool is Eddie Vedder? Just watch this. This is well in advance of a Pearl Jam concert at the Los Angeles Forum in May. Eddie comes out on stage and addresses the early arrivals. This is a special moment, and the song he delivers is carefully selected.

Somehow it seems appropriate that I conclude the music portion of today’s post with ‘Wildflowers’ from the final show by Tom Petty and the Heartbreakers. This is from September 25, 2017, performed before a familiar crowd at Hollywood Bowl. This concluded the band’s 40^th anniversary tour. As you take it in, you will recognize the beauty of this treasured moment. It comes across just like the first time…

When you think of Tom Petty the words honest, genuine and integrity often get tossed around. I will share a quote from his daughter, Adria where she effectively portrays her father using the word authentic while discussing his song writing artistry.

They have some deeper quality than words can capture, and I think they’re honest and authentic and we don’t get a lot of that these days. … And that was what was unique about my dad. My dad was much more excited to meet somebody who is authentic than someone who was rich or famous, any day of the week.”

Adria Petty

This is how Tom Petty is remembered.

As devoted fans, we will continue to sing…

You belong in that home by and by.”

Tom Petty

Wish You Were Here – A tip of the hat to the magnanimous generosity of #DavidGilmour. MusicisLife #TedTocksCovers #PinkFloyd #Tchaikovsky #WyclefJean #TheRunningMates #MileyCyrus #EdSheeran #TheMilkCartonKids

One year ago, today, David Gilmour made headlines around the world for a record-breaking charity guitar auction. The event was coordinated by Christie’s Auction House in New York. At Gilmour’s direction 123 guitars from his personal collection were sold off for a total of just over $21 million. Two thousand bids were offered by hopeful collectors from 66 countries around the world. The proceeds went to a charity known as ‘Client Earth’; an organization made up of lawyers and environmental experts working together to use the law to combat the incremental ravages of environmental change.

The global climate crisis is the greatest challenge that humanity will ever face, and we are within a few years of the effects of global warming becoming irreversible. I hope that the sale of these guitars will help Client Earth in their actions to use the law to bring about real change. We need a civilized world that goes on for all our grandchildren and beyond, in which these guitars can be played, and songs can be sung.”

David Gilmour

For Gilmour, the desire to raise a significant amount of money for an important charitable cause was something he had contemplated for a long time.

I have started the process at least twice before and chickened out. Don’t fret too much. I still have a few lovely guitars that I couldn’t let go… It does not mean retirement.”

David Gilmour

This promise has proven true because I read last week that some new solo work from this extraordinary guitarist is coming soon.

Among the guitars sold at this monumental event was David Gilmour’s famous Fender Stratocaster known as ‘The Black Strat’. This instrument was integral in the recording of four of the greatest albums ever pressed on vinyl; ‘Dark Side of the Moon’, ‘Wish You Were Here’, ‘Animals’ and ‘The Wall’. From 1973 through 1979 ‘The Black Strat’ was a constant companion for Gilmour’s outpouring of musical creativity. (See ‘Brain Damage/Eclipse’, ‘Nobody Home’ and ‘Comfortably Numb’). This guitar alone sold for nearly four million dollars which eclipsed the record previously set by a guitar once owned by the legendary Jerry Garcia, known as ‘The Wolf. (See ‘Deal’)

David Gilmour was recognized by an ecstatic ‘Client Earth’ CEO, James Thornton.

This is a truly humbling and extraordinary gift, which goes beyond our wildest expectations. It’s difficult to express just how deeply grateful we are to David for choosing ClientEarth as the beneficiary of this historic auction.”

James Thornton

To commemorate this remarkable act of generosity and the combination of David Gilmour’s philanthropic reputation and seemingly unending contribution to his art, today’s feature song will be ‘Wish You Were Here’.

Perhaps the most important aspect of ‘Wish You Were Here’ is it represents one of the last times David Gilmour and Roger Waters truly collaborated. True to form, despite the closeness involved in the song’s origin, the pair don’t quite see its inspiration as coming from the same source. Gilmour has suggested that he never plays this song without thinking of Pink Floyd founding member Syd Barrett, while Waters, who wrote the lyrics based on the memorable guitar piece created by Gilmour, considers the lyrics a moment of personal reflection. It clearly has an existential foundation, and in a rare conciliatory moment Roger Waters has agreed that ‘Wish You Were Here’ is ‘open to interpretation’.

The evolution from its original composition to recording, is an intriguing story. We are all familiar with the sound of a radio station playing the album’s previous song ‘Have a Cigar’ and then being tuned away to several other songs. Among the static, and audibly recognizable pieces within this brief medley of sound is Tchaikovsky’s ‘Fourth Symphony’.

This bit was actually recorded from David Gilmour’s car stereo.

Pink Floyd fans point to this recording as yet another example of the band’s musical brilliance. As the tuner selects the station, David Gilmour’s 12 string guitar emerges, finally settling on a clear overdub of an acoustic guitar solo. This gives way to Gilmour’s plaintive vocal delivery and the ultimate full band performance we all know. While the song evolves, the listener is greeted with additional moments of  stellar guitar work, and a brief interlude of a scat style vocal before an expressive closing, featuring a final solo and even more studio innovation. This includes another cross fade into ‘Shine on You Crazy Diamond’; a track that is undoubtedly a tribute to Syd Barrett.

Roger Waters and David Gilmour both describe ‘Wish You Were Here’ in minimalistic terms.

Waters praises the song as;

…really good. All bits of it are really, really good. I’m very happy about it.”

Roger Waters

David Gilmour approaches it with a combination of humour and modesty.

Wish You Were Here is a very simple country song…because of its resonance and the emotional weight it carries, it is one of our best songs.”

David Gilmour

Before I move on to today’s cover versions, it is interesting to point out that the original vision of ‘Wish You Were Here’ involved a violin part by Stephane Grappelli. This was intended to compliment the Tchaikovsky connection at the beginning of the recording. Grappelli was a popular jazz violinist who had done some notable work with Yehudi Menuhin. Both violinists were recorded in a session at Abbey Road studios, and when Gilmour invited them to play a ‘country fiddle part’ for ‘Wish You Were Here’ (David Gilmour wasn’t kidding), Grappelli accepted for the modest fee of 300 pounds. This bit is barely audible on the album cut. Roger Waters suggested that it would be an insult to list Grappelli on the liner notes, for what became such a minor contribution, but they did pay the fee. This gave way to the alternate take being included in the re-release of the Pink Floyd catalogue called ‘Why Pink Floyd’. This is beautiful. It may not have fit the vision of the initial album release, but it stands the test of time…45 years later.

Now, in an effort to offer a broad stroke of cover versions, I will begin with this rendition by Wyclef Jean who is a Haitian-American rapper who created this fascinating recording of ‘Wish You Were Here’. It combines the original vision with elements of his genre. The result is both incredible and important.

This was a pleasant surprise. This duo known as The Running Mates came up in my search and grabbed me with an honest version. It has over two million views. Impressive!

From here I will take you to two extremely commercial artists who offer their obvious reverence to Pink Floyd and do a commendable job.

First, Miley Cyrus…Say what you want, but she is extremely talented, and in my mind, she stands on the right side of many social issues. She is an important voice in a tumultuous time. Here, she channels Melissa Etheridge. Enough said.

From here, we move on to Ed Sheeran. Again…really good. The vocals are exceptional.

Now to a lesser known act that should get way more attention. Here are the Milk Carton Kids. This is right up there with the best versions. It is haunting, while displaying the utmost respect to the original composition.

To close this post, I am heading back to the original creator. Here is David Gilmour doing an unplugged version.

As a final note, I wanted to be sure to add that the charitable contribution by David Gilmour mentioned at the beginning of this post, is just one in a long line of selfless acts by this model of philanthropy. The  list of donations to charitable causes is long. In 2003 Gilmour sold his house in Little Venice for 3.6 million pounds and donated the proceeds to ‘Crisis’ which is a British charity that funds housing projects for the homeless. This is just the beginning. You can add charities such as Oxfam, the European Union Mental Health and Illness Association, Greenpeace, Amnesty International, the Lung Association, Nordoff-Robbins music therapy and PETA to the long list of organizations who have benefited from his support. As great a guitarist David Gilmour is, simply stated he is an even better person. Seeing him perform at Massey Hall in Toronto in 1984 still stands as my all-time favourite concert memory. The magnitude of this live experience can’t be relayed in words. I can’t believe that was 36 years ago. Time flies.

The time is gone, the song is over,
Thought I’d something more to say

Pink Floyd