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.”

Let it Ride/ Takin’ Care of Business – Fifty years of a killer BTO combo. #MusicisLife #TedTocksCovers

You can almost picture the scene.

A van with Canadian plates. A group of musicians are rolling down the highway to a gig in New Orleans. Because in the words of C.W. McCall, they looked like some “long haired friends of Jesus in a chartreuse micro bus” a couple of truckers thought it would be fun to surround them and slow their roll to a crawl.

The band was Bachman-Turner Overdrive and they were on their way to a gig in New Orleans.

The story above continued until the truckers pulled into a rest stop. Randy Bachman and Fred Turner were determined to not let them get away with this transgression so they approached the drivers, one of whom Bachman described as “a Volkswagen with a head” and began to lash out. Relatively unphased by the Canadian rockers, they just smirked and told the band that they needed to calm down.

Sometimes the best advice comes from the strangest of places, when you least expect it.

The exact expression they used was, they needed to just “let it ride.”

Bachman and Turner were frozen in their tracks. They took these words of advice with them to Bourbon Street and wrote ‘Let it Ride’ in their dressing room that night.

Randy Bachman borrowed the guitar riff from a classical piece by Antonin Dvorak called ‘Piano Concerto in D’. He managed to transpose the chord progression to suit the phrasing. To his credit, Bachman is very open about this influence.

You’ve got to get them, reshape them, and hopefully they are reshaped enough that you can call it original.”

Randy Bachman

Do you know who was not quite so honest about the creative revelation that occurred before writing a hit song.

If you guessed The Doobie Brothers, you may be correct.

The band that Bachman-Turner Overdrive were opening for in New Orleans that night was in fact, The Doobie Brothers. They shared a dressing room. While Fred Turner and the three Bachman brothers were working out the structure for ‘Let it Ride’ the other ‘Brothers’ were nearby. They were captured by the riff.

Listen to ‘Long Train Runnin’.

The Doobie Brothers deny this accusation. They claim that ‘Long Train Runnin’ was derived from a long-standing jam piece from their earliest days jamming in front of the Hells Angels up and down the California coast.

I will leave this argument for debate.

For B.T.O., ‘Let it Ride’ became the lead single for the album ‘Bachman-Turner Overdrive II’ which was released fifty years ago today. Back in the days of vinyl, it was the fitting track to close side 1 of this classic Canadian album.

Now, let’s turn the record over and see what side 2 brings.

Much like The Doobie Brothers claim with ‘Long Train Runnin’, ‘Takin’ Care of Business’ has roots going all the way back to Randy Bachman’s days as the driving force behind The Guess Who. Bachman is very clear that he was inspired to write a tribute to the white-collar worker based on The Beatles ‘Paperback Writer’. Since he departed The Guess Who in 1970, he needed to avoid re-creating the band’s post Bachman single, ‘Bus Rider’. For a few years the idea was shelved until he formed Bachman-Turner Overdrive.

Much like ‘American Woman’ the earliest incarnation of ‘Takin’ Care of Business’ flowed from his strings during an improvised jam session. In this case, Fred Turner’s voice had given out during a show which left the vocals up to a somewhat unprepared Randy Bachman. Not to be deterred, Bachman called out to the band to;

Play these three chords over and over – C, B flat, and F – endlessly and when I get to the hook, help me out.”

Randy Bachman

In what was perhaps a perfect twist of fate, Bachman had recently heard a local DJ tell his listeners that he was in the booth ‘Takin’ Care of Business’. Bachman felt this was a better idea than the vanilla ‘White Collar Worker’ that was lying dormant in the back of his mind.

So, while the band jammed the repetitive riff over and over again, Randy Bachman let the audience know that he and the boys were just on stage ‘taking care of business’.

Let’s face it. The riff is a winner. Here is the ultimate album track which was released as the ‘Bachman-Turner Overdrive II’ follow up single to ‘Let it Ride.

Two riffs. Two timeless hits.

In order to avoid the monotony of the repetitive three chords Randy Bachman recalled a song he had been working on with Canadian musician, song writer and producer, Ralph Murphy. Its working title was ‘A Little Bit of Rain’.

That riff is used in the middle of ‘Takin’ Care Of Business,’ just to break the monotony because ‘Takin’ Care Of Business’ was three chords over and over and over. It had no bridge. No hook. No song format, other than that it was ‘Louie Louie’. ‘Endless, mind-bashing of three chords. And the original version, as I explained at the Ryman, had twelve chords. That’s why nobody liked it. It had an incredible number of chords.”

Randy Bachman

Here is ‘A Little Bit of Rain’ in its final form. The song was released by a band called Shooter in 1976. This is really good. Fans of the Grateful Dead might detect a little bit of ‘Shakedown Street’ in this track.

If you get the sense that ‘Takin’ Care of Business’ was a combination of spontaneity and a bunch of spare parts floating around in Randy Bachman’s fertile musical mind you are correct.

Perhaps the best anecdote related to ‘Takin’ Care of Business’ is how the piano track became an integral component of this essential CanCon hit.

Who is that piano player? Who is Norman Durkee?

Well, one version of the story suggests he is the pizza guy. Yes, the pizza guy with a good ear for music.

It is alleged that Norman Durkee was entrepreneurial enough to get the pizza right to the crew as they were working on ‘Takin’ Care of Business’ and he was bold enough to offer his thoughts.

Essentially, he had two observations.

1. Good song.

• It needs a piano track.

BTO’s initial thought was, thanks for your input and here’s your money but as the session stalled, they all came to a new consensus.

“Let’s call Norman.”

Here is the story as told by Randy Bachman’s long-time friend John Presho.

Randy Bachman told me that when BTO was in the recording studio the record producer wasn’t happy with the raw version of that song. BTO took a time out, ordered a pizza and went back to work on the song. A while later there was a knock on the studio door and it was the pizza delivery man. After giving the band their pizza he commented that ‘Takin’ Care of Business’ was a great song but it needed some piano playing. The pizza man introduced himself as Norman and said that he was a piano player. BTO thanked and tipped him and sent him on his way. Hours later with no improvement in the song they decided to call Norman, but no one got his phone number or could remember the name of the pizza place. BTO called a half dozen pizza houses before they were able to track him down. The band paid Norman’s $75 to join the musician’s union so he could play the piano in the recording studio.”

John Presho

This is a great rock and roll story, but unfortunately it may not be entirely true.

The studio was Kaye-Smith Studios in Seattle. We know this for sure.

The validity of the pizza guy legend is a matter of some dispute.

BTO drummer, Robbie Bachman has stated that Norman Durkee was actually in the studio as a session player. An observant sound engineer named Buzz Richmond suggested that they grab the guy in the next room who was working on some commercials. After a quick conversation with Randy Bachman, Durkee learned the chord structure of ‘Takin’ Care of Business’. Because he was on the clock, he wrote the chords on a pizza box and they recorded his track live from the floor. One and done.

A simple search on Google will reveal quite a musical resume for Norman Durkee and it does not involve scenes like this.

Much to everyone’s delight ‘Takin’ Care of Business’ was the closing track on ‘Bachman-Turner Overdrive II. What a way to sign off.

One anecdote related to ‘Takin Care of Business’ that is definitely true is that Elvis Presley was a fan of the song and the expression. So much so, that over the last few years of his life the King of Rock and Roll adapted a modified version of this phrase as his motto and the name for his back up band.

Takin’ care of business in a flash.”

Elvis Presley

This was highly visible on his private jet and it remains a cornerstone of his official merchandise 50 years later. Unlike the pizza guy rumour this reference has been verified by Priscilla Presley.

It is also interesting to note that Elvis is known to have recorded a version of ‘Takin’ Care of Business’ but it resides in a vault somewhere. That recording would likely add some nice change to the Elvis Presley estate.

More than enough to buy some pizza.

Let’s take a ride back through time and look at a few versions of ‘Takin’ Care of Business’ from a variety of acts.

To begin, here is Bachman-Turner Overdrive takin’ care of business with an enthusiastic introduction from none other than Keith Moon of The Who.

Here is an interesting cover version from Kurtis Blow from 1980. This is where rock and roll is exploring the possibilities of rap.

One act that imagined what ‘Takin’ Care of Business’ would have sounded like as an Elvis song was the eternally funky act Dread Zeppelin. Check out their recording from 1992. This appears on their album ‘’It’s Not Unusual’. Like they say; you can file this under ‘groovy booty bomb’.

One year later, country music legends, Alabama added ‘Takin’ Care of Business’ to their live set. This is from their album ‘Gonna Have a Party Live’

Through fifty years of recording and touring, and as a result of being a classic rock staple ‘Takin Care of Business’ has become not only an industry catch-phrase but yet another essential guitar riff. Back in 1994 Randy Bachman hosted an amateur guitar jam that included 1322 guitar players of varying ability. This group of enthusiastic players played for over an hour. The record stood until 2009 when over 6300 players gathered in Poland to jam on ‘Hey Joe’.

Speaking of pop culture connections, enjoy this fun clip from The Simpsons in 2000.

“Bart – Who are those pleasant old men?

Homer – That’s BTO. They’re Canada’s answer to ELP. They’re big hit was TCB. That’s the way we talked in the ‘70s. We didn’t have a moment to spare.”

The Simpsons

Is it just me or does Randy Bachman look like Jerry Garcia.

Three years later in 2003, British rock and roll legends Status Quo released a cover of this Canadian classic. This is from their album ‘Rifts’. Similar to Slade; Status Quo is an act that was huge in the U.K. but never really caught on in North America. Always rockin’ and always fun. ‘Takin’ Care of Business’ is the perfect song for these guys to offer up to their devoted audience.

Bringing things all the way back around, let’s close off today’s post with a couple of quality covers.

First, enjoy this incredible blast from Canadian rockers Big Sugar. This is from their 1998 album ‘Heated’. Heavy sludge with a funky groove. Man, this is good. The best of all covers shared in this feature. Listening to this cover made me wonder if Randy Bachman and Gordie Johnson have ever collaborated on a recording and at a glance, I do not see any evidence of this happening. Ted Tocks Covers would like to issue this as a formal request.

Who’s with me?

This seems like a pretty good stepping off point. Ted Tocks Covers will send you on your way with The Guess Who ‘Together Again’ in Toronto back in 1983. Some guy named Burton Cummings is hammering the piano keys, with a big thanks to Norman Durkee. Just awesome!

Please take note of two important life lessons in this post courtesy of Bachman-Turner Overdrive.

First, if somebody makes a bit of a mistake in your presence but it doesn’t really hurt anyone, just ‘Let it Ride’. You never know what they may be going through, and in the moment, they may have just lost their focus.

Second, in the name of productivity, make use of your time. Get down to what needs to be done.

“Take good care of your business”

Every day…in every way.

Then take some time for yourself.

You deserve it.

She Works Hard for the Money – Onetta there in the corner stands #MusicisLife #TedTocksCovers #DonnaSummer #OnettaJohnson #KrisAllen #Black #ShyBoy #StefanieJoosten #SouthPark #TheSimpsons

Frequently, the power of music is captured when songwriters truly encapsule a moment. These become the songs that people refer to as timeless.

When Donna Summer was moved to write ‘She Works Hard for the Money’ the words poured out because of an emotionally stimulating encounter, but on a broader level she was reflecting the mass audience that had propelled her to fame.

Late one evening in a famous West Hollywood restaurant two worlds collided.

It was at Chasen’s Restaurant. The event was an after party following the 25^th Annual Grammy Awards. Donna Summer was one of many guests invited by Julio Iglesias. In the early hours of the morning, Summer and her manager Susan Muneo headed to the ladies’ room. The renowned singer was distracted by the sound of a television blaring and when she peaked around the corner, she was surprised to see the restroom attendant had nodded off. Here, she tells the story.

We heard a television in the bathroom and I felt, ‘Wow, what a ritzy restaurant to have TV in the ladies’ room’. I looked around a corner and saw this little black woman sitting, fast asleep, in a chair in front of the droning television set. So, I said to Susan, ‘She works hard for the money,’ then it dawned on me that this was a great song title.”

Donna Summer

Summer felt compelled to jot this thought down on a piece of toilet paper.

I had such a feeling of love and compassion for this woman. I really appreciated her role in society and began to think of other people with similar roles who do odds and ends, like waitresses, hat-check girls and mothers without husbands who keep society where it should be but don’t get credit.”

Donna Summer

The woman was Onetta Johnson. Onetta is just one of many people who turn the wheel that makes society function. She was a nurse in the day time, and in the evening, in order to make ends meet for her family she worked as a rest room attendant at a posh Hollywood locale.

In a brief conversation with Johnson, Donna Summer learned just a little bit about her life. She was clearly moved. She was struck by one thing.

She works hard for the money… She works hard for the money… Susan! She works hard for the money! This is it! This is it! I know this is it.”

Donna Summer

The irony is at a club where Hollywood luminaries go to be seen, it was one of the people who fade into the background that inspired the lyrics we still sing today.

This is with good reason.

Here is Onetta Johnson’s recollection of the moment.

I was exhausted because it was after 2.30 am. I was saying to myself, ‘Why don’t these people go home?’ I had to take a nursing exam the next day. Every so often, we have to review our work to keep our license.”

Onetta Johnson

Imagine?

Hanging out in a washroom, smiling for Hollywood’s elite was probably the last place she wanted to be, but for many, life is about sacrifice. You do what you gotta do to provide.

Donna Summer was serious about the song that was writing itself in her mind. The next day she headed to the home of her producer Michael Omartian and the pair collaborated on the words and music.

‘She Works Hard for the Money’ become the last song on the album she was working on at the time. Summer was so moved by the track that she advocated that the piece should become the title track.

The homage to Onetta Johnson did not end here.

In order to truly preserve this moment in time, Johnson was invited to be photographed for what became the album’s rear cover. She appears alongside Donna Summer wearing matching waitress outfits. If you look closely, you can see that Summer is wearing a badge that simply reads, ‘Onetta’.

She works hard for the money
So hard for it, honey
She works hard for the money
So you better treat her right

She works hard for the money
So hard for it, honey
She works hard for the money
So you better treat her right

I met her there in the corner stand
And wonders where she is
And it’s strange to her
Some people seem to have everything
9 am on the hour hand
And she’s waiting for the bell
And she’s looking real pretty
She’s waiting for her clientele

She works hard for the money
So hard for it, honey
She works hard for the money
So you better treat her right

She works hard for the money
So hard for it, honey
She works hard for the money
So you better treat her right

Twenty-eight years have come and gone
And she’s seen a lot of tears
Of the ones who come in
They really seem to need her there
It’s a sacrifice working day to day
For little money just tips for pay
But it’s worth it all
To hear them say that they care

She works hard for the money
So hard for it, honey
She works hard for the money
So you better treat her right

Already knows, she’s seen her bad times
Already knows, these are the good times
She’ll never sell out, she never will
Not for a dollar bill
She works haaaaard

She works hard for the money
So hard for it, honey
She works hard for the money
So you better treat her right

She works hard for the money
So hard for it, honey
She works hard for the money
So you better treat her right
Alright…

Donna Summer and Michael Omartian

‘She Works Hard for the Money’ is definitely a period piece in terms of the sound. Its timelessness emanates from not only the message, but its place in pop culture.

For Donna Summer, who was known as the ‘Queen of Disco’, nothing was ever guaranteed.  It took a bit of time but Summer was the first Black woman to be played on frequent rotation on MTV. This transformation took place thanks to Michael Jackson and the fight he and his management team fought to get ‘Billie Jean’ played on the station. The pair became the face of change when it came to breaking down racial barriers in the music industry.

Much of the song’s message shines through in the video which was produced by Brian Grant. Summer plays the part of an observer. She watches as someone who could be likened to Onetta struggles through her days and nights, but somehow perseveres. In the end, Summer is seen leading a group of similar women in uniform who can be described as front-line workers; celebrating their role in society.

Literally taking it to the streets.

What was Donna Summer’s assessment?

She considered ‘She Works Hard for the Money’;

…the greatest album I’ve ever recorded.”

Donna Summer

Many would agree; including Johnny Carson and Ed McMahon. Watch this clip from the ‘Tonight Show’ shortly before the album’s release. Following the performance Donna Summer joins the iconic pair and shares the story behind the song.

About a quarter century later Donna Summer was still blowing audiences away worldwide with this powerful song. Here is another live performance during the Nobel Peace Prize Concert in 2009.

For Donna Summer, the journey ended in 2013 when she was inducted into the Rock and Roll Hall of Fame. This video tells the story.

With music, Donna Summer found the answer.

Sadly, Donna Summer died of cancer in May of 2012. This recognition exists as a lasting tribute to her legacy.

Part of Donna Summer’s supreme status resides in her ability to capture the imagination of a wide variety of artists through the years.

It is very rare that Ted Tocks Covers will feature a cover version from any of the ‘Idol’ shows. I am just not a fan of this concept. I feel it has diminished music by reducing art to a popularity contest. Having said that, while researching covers for this post I kept seeing the name Kris Allen come up. So, finally I decided to check it out. Shit! He was an Idol contestant. I hit the play button and prepared for the worst. The first thing I noticed was the acoustic guitar. I sat up and took notice and to make a long story short, I loved every second. Truth be told, in yet another Idol flaw, they cut the song down. It was not long enough. Check it out.

Some of you may already know, but Kris Allen won. In what remains one of the most controversial results ever, he beat Adam Lambert. Yes, the Adam Lambert that has gone on to represent Freddie Mercury in the iconic act, Queen. Apparently, Allen’s home state of Arkansas accounted for 38% of his votes. Although he did move to Los Angeles and record five albums, Allen’s recording career ended up taking a back seat to a commitment to his young family. A noble pursuit for sure.

Here is another interesting musician. ShyBoy has enjoyed widespread success over the past decade. He has received a major boost through a close musical association with RuPaul. This version is from his 2014 album ‘Lost in Space’.

ShyBoy is also renowned for his DJ mashup prowess. Check this out. This is a remastered combination of ‘She Works Hard for the Money’ and Madonna’s ‘Material Girl’ from the album ‘ MaDonna Summer’.

Let’s travel to Caranzalem Goa, India and this cover by Black. It is well done and this tribute speaks to Donna Summer’s worldwide popularity.

This final cover is just too good not to share. It brought the story to a new generation. In December of 2022, Stefanie Joosten, a model, singer and actor from The Netherlands who has gained mass popularity in Japan worked to creat this piece of art. This video demonstrates her combination of talents. It is a modern interpretation of Donna Summer’s hit song and it brings Onetta Johnson’s story to the present. Watch it to the end.

‘She Works Hard for the Money’, but everything is for her children.

It’s a sacrifice working day to day

For little money just tips for pay

But it’s worth it all

To hear them say that they care”

Donna Summer and Michael Omartian

Enjoy!

This is a story told the world over. It has been shared for generations. Donna Summer helped to bring it all to light.

Before we go, here are a couple of fun examples of ‘She Works Hard for the Money’ in pop culture.

First, we get Cartman in ‘South Park’ spitting out the lyrics before a judge during a talent contest.

Well Cartman, that certainly was insane.”

Judge

Too funny.

https://www.youtube.com/shorts/B6kyhUUkiyc

Naturally, ‘The Simpson’s’ took a stab at a variation on the song with Homer aiming to impress Mr. Burns and his sidekick Smithers.

Now there’s an employee Smithers. A smile on his lips and a song in his heart. Promote him.”

Mr. Burns

If only it was that easy.

The wheel continues to turn.

School’s Out – A three minute celebration of unbridled insolence. #MusicisLife #TedTocksCovers #AliceCooper #HollywoodVampires #TheMuppetShow #Krokus #SoulAsylum #MichaelBruce #DaveMustaine #ATeens #DennisDunaway #NealSmith #GlennBuxton #JoeBouchard #TheSimpsons

For 50 years now, to many students ‘School’s Out’ by Alice Cooper has been the familiar refrain to celebrate the end of the school year.

No more pencils, no more books
No more teachers, dirty looks
Out for summer, out ’til fall
We might not come back at all”

Alice Cooper and Michael Bruce

The song is the title track from Alice Cooper’s fifth album. The album cover featured a classic style school desk with the band member’s initials scrawled into the woodwork, under the title ‘School’s Out – Alice Cooper’. ‘School’s Out’ would become the only single released from this 1972 offering and it became known as Alice Cooper’s signature song due to its widespread popularity. It seems students everywhere gravitated to the message in the lyrics. This guided the song to #7 on the Billboard Chart, #3 in Canada and #1 in the U.K.

Initial pressings of the ‘School’s Out’ album came complete with a record sleeve that wrapped the vinyl in a pair of paper-lace panties, but it was discontinued very soon when it was determined that the underwear was flammable. Here is the story.

The product was created in England. The record label ordered 500,000 pairs to go with the initial demand for the album. Problems arose when the paper panties arrived at U.S. Customs in Philadelphia. It seems the underwear failed the Federal Trade Commission’s flammable fabrics test. The Alice Cooper Band were blessed with the ‘any publicity is good publicity’ philosophy, as the story became a headline in the mainstream news of the day. Here are a couple of headlines:

“Customs Douses Hot Promotional Idea”

And

“Panty Prop a Real Flop for Record”

Apparently, five pairs of the simulated lace panties burst into flames just 3.5 seconds after being placed in a special oven used by FTC lab technicians. Don’t ask me who puts a prop pair of lace panties into a fiery hot oven, but nonetheless, customs seized the promotional piece, but not before some managed to make their way to the record company.

The subsequent result was the FTC managed to create both a collector’s item and a talking point in the media. When approached by Bob Greene at the Chicago Tribune, Alice Cooper raved:

This is amazing. This is great. This is incredible. This is the best thing that’s ever happened to us. We were on the Today show this morning. I can’t believe we got so lucky.”

Alice Cooper

Yes folks, paper is flammable…Beware.

Every great song has an interesting origin and for the Alice Cooper Band it was no different. Alice Cooper and his frequent songwriting associate Michael Bruce recalled a line from The Bowery Boys movies where one of the characters frequently declared that ‘school is out’ on a particular matter, which was another way of saying they needed to get more information. Cooper and Bruce were fans of ‘The Bowery Boys’ series and they felt the phrase would make a great song title because of the way it sounded. Alice Cooper recalled this expression at about the same time he was asked what was the greatest three minutes of his life. Here was his answer.

There’s two times during the year. One is Christmas morning, when you’re just getting ready to open the presents. The greed factor is right there. The next one is the last three minutes of the last day of school when you’re sitting there and it’s like a slow fuse burning. I said, ‘If we can catch that three-minutes in a song, it’s going to be so big.”

Alice Cooper

In an interview several years after the release of ‘School’s Out’ Alice Cooper admitted;

I had a great time in high school. I was Ferris Bueller.”

Alice Cooper

He went on to say;

The few minutes waiting for that final school bell to ring is so intense. When it happens, it’s almost orgasmic.”

Alice Cooper

As much as ‘School’s Out’ has become an anthem for youth and their anticipation of the end of a torturous year of education, Alice Cooper has been very candid about the fact that the song really was a group collaboration. Here, drummer Neal Smith gives much of the credit to guitarist Glenn Buxton, not only for the double note Chuck Berry inspired riff, but for the persona that inspired the message.

 We never had a place to put it (the riff). But once the band began conceiving ‘School’s Out’, it finally went to good use.”

Neal Smith

Alice Cooper added;

He was this street punk. The guitar actually went, nah nah nah, nah nah nah. It had a very bratty sound to it. And that’s what I figured Alice should be. The brat who stands up and says, ‘School’s out!”

Alice Cooper

Dennis Dunaway recalls that;

Buxton’s riff had a ‘kid-in-the-back-of-the-class feel’. The one who would spit in your face. That was him. That was his personality. It set the feel of the song.”

Dennis Dunaway

Referring to the song’s closing style Dunaway added that;

We wanted it to be almost militaristic. We wanted it to be like, ‘We’re marching out of here.”

Dennis Dunaway

Mission accomplished.

As the years went on and Alice Cooper continued his immense popularity for about three generations of music fans. He even incorporated a verse from Pink Floyd’s ‘Another Brick in the Wall – Part 2’ which famously pronounced;

We don’t need no education. We don’t need no thought control.”

Roger Waters

The common link here is the great producer Bob Ezrin who basically molded Alice Cooper into the icon he became. Ezrin went on to help KISS realize their unending promise that combined music and theatre, before landing with Pink Floyd in 1979 to help Roger Waters and his conceptual vision, that became known as ‘The Wall’.

Here is the Alice Cooper project known as The Hollywood Vampires which incorporates both songs. This is from 2015 featuring the following all-star lineup.

Alice Cooper – Vocals

Joe Perry – Lead and rhythm guitars, backing vocals

Johnny Depp – Lead and rhythm guitars, backing vocals

Slash – Guitar

Brian Johnson – Vocals

Neal Smith – Drums

Dennis Dunnaway – Bass

Just a ton of fun.

A half century later Alice Cooper is still touring and at a glance I was able to confirm that ‘School’s Out’ remains as the band’s encore.

Why?

Alice Cooper is the consummate professional who believes as an artist one needs to send his audience home with a smile on their faces.

The difference between me and guys like Marilyn Manson is that I want to leave the crowd in a good mood. My shows are meant to be fun, not depressing.”

Alice Cooper

In my formative days as a music fan, Alice Cooper was one of the first acts that caught my attention. I can still remember the excitement in knowing that Alice was going to appear on The Muppet Show back in 1979.

Over the years there have been many acts influenced by Alice Cooper and several have taken a stab at this classic rock staple.

In 1986 the Swiss heavy metal band Krokus, who actually had roots back into the mid ‘70s released a version of ‘Schools Out’ on their album ‘Change of Address’.  

Soul Asylum is famous for their signature song ‘Runaway Train’ but in 1998 they released this offering that paid homage to one of their mentors.

Dave Mustaine of Megadeth fame is on record as saying that Alice Cooper was instrumental in saving his life. While Mustaine struggled severely with drug and alcohol addiction, he frequently turned to Cooper for guidance because about two decades earlier Alice Cooper was in the throes of a debilitating battle with alcohol.

Perhaps the most bizarre cover of ‘School’s Out’ is a version that features A-Teens along with special guest Alice Cooper in 2002.  Cooper was intrigued enough by the request to participate in the recording. The A-Teens admitted to never having seen Alice Cooper’s live show so the iconic artist felt the Swedish pop group represented a blank slate for his creativity. The cover features a slight altering of the lyrics, changing “School’s been blown to pieces” to “I’m bored to pieces.”

While researching this post and the many cover versions I discovered this Much Music interview from the early ‘90s featuring host Erica Ehm and ‘School’s Out’ co-songwriter Michael Bruce. It is enjoyable because Bruce illustrates the different path he took after several years of success with the original Allice Cooper Band. It also shares some great early footage of Alice Cooper classics including ‘I’m Eighteen’ and today’s feature.

 I shared the above interview as an effective preamble to Michael Bruce and his band doing ‘School’s Out’ in 2002. This is live from Iceland. Love it.

How about Alice Cooper, the family guy? Here is his entire family on stage during his son Dash’s 25^th birthday party. Again, just a lot of fun.

One final cover of note is this version featuring Joe Bouchard of Blue Oyster Cult fame along with Dennis Dunaway and Neal Smith of the original Alice Cooper Band.

Here is Neal Smith’s recollection of his days in school with his friend Vincent Furnier back in Phoenix.

I just wanted to go through the ceremony, get my diploma, throw my cap and gown down on the freakin’ floor as soon as possible, and get out of there. It was one of the happiest days of my life.”

Neal Smith

This combination covered ‘School’s Out’ just five years ago. It seems old rockers love to harken back on the final bell that signified the end of the school year. A universal sign of temporary freedom for students and teachers alike.

Speaking of how ‘School’s Out’ has become universal in telling the tale of kids disdain for school, here is a classic scene from ‘The Simpsons’ depicting Bart’s dream.

Or what about Alice Cooper shattering this young girl’s dream in a Staples commercial?

Young Girl – I thought you said school’s out forever?

Alice – No! The song goes “School’s out for summer. Nice try though.”

Wasn’t this fun?”

Alice Cooper in a Commercial for Staples

Just a glimpse of Alice Cooper; voice of student rebellion and cultural icon well into his sixth decade. It hardly seems possible, but the original Alice Cooper Band formed in a Phoenix high school in 1963. Some fine creativity emerged as they sat in anticipation, waiting for the bell to ring.

Hello Muddah, Hello Faddah – Riding life’s roller coaster with Eddie Sherman. #MusicisLife #TedTocksCovers

Once in a while I lead with the cover because the ‘cover’ is the more recognizable version of the song. Today’s feature is not so much about it being more recognizable as it ties into the feature artist of the day more effectively. The story of Allan Sherman is really quite fascinating. ‘Hello Muddah, Hello Faddah’ is one of his best known recordings, but his career will take you on a roller coaster of successes and failures and feuds and most importantly you will see an artist with a willingness to take risks. Sherman was a comedy writer, television producer, singer and actor through the 1960s and into the ‘70s. He became famous as a parody artist. People of my generation would liken him to Weird Al Yankovic. Not surprisingly, Weird Al lists Sherman as a massive inspiration.

Allan Sherman’s early life was marked by the divorce of his parents, and frequent moves. This resulted in his difficulty in fitting in with any peer group so he reverted to humour and creativity to gain attention. After getting kicked out of the University of Illinois, Sherman managed to apply his creative spirit to a game show he wanted to call ‘I Know a Secret’. Famous TV producer Mark Goodson liked the up and coming creator’s idea and modified the title to ‘I’ve Got a Secret’. The show would ultimately run on CBS from 1952 through 1967. Mark Goodson and his partner Bill Todman were reluctant to pay Sherman for his concept so they did the next best thing; they paid him to be the show’s producer. It was in this role where his creativity was on full display and his unpredictable nature became the thing of legend. He had a propensity for on air stunts that existed on the edge of disaster. One example was releasing 100 rabbits on stage as a surprise for a group of New York Boys Club members. Hilarity ensued and the ultimate chaos was not necessarily conducive to TV viewing, but many people had some fun stories to tell. By 1958, Allan Sherman had worn out his welcome as the producer but although he was let go he was often invited back as a guest.

While Allan Sherman was working as a game show producer he frequently dabbled in writing parodies of hit songs. He recorded several of these ideas but none of them sold well. He never gave up because his friends and family found them to be quite funny. Around the same time he was gaining success as a game show producer he had a celebrity neighbour by the name of Harpo Marx. Marx knew of the parodies and invited Sherman to his parties and encouraged him to entertain his guests with his unique songs. A party goer who you may recognize; George Burns, liked what he saw and called an executive at Warner Brothers and encouraged the man to sign Sherman to a contract. The result was a breakthrough record called ‘My Son the Folk Singer’ which was released in 1962 and sold over one million copies. Most of his songs combined Jewish humour with melodies to contemporary hits. The success of his debut album gave way to ‘My Son the Nut’ which yielded today’s feature song.

‘Hello Muddah, Hello Faddah’ is set to the music of Ponchielli’s ‘Dance of the Hours’. Sherman creates a mock letter from a disgruntled son who is hating summer camp, to his parents. He goes on to describe a series of horrors in order to gain his parents support. All of this occurs before he notes several activities that are going on that do indeed look kind of fun; at which time he asks his parents to disregard the whole dramatic appeal. The resulting success of Allan Sherman’s productions created an entire genre of music. It went to #2 on the Billboard Top 100. He performed adjusted versions of the song on The Tonight Show with Johnny Carson. The crowning achievement was a 1964 Grammy for comedy. Allan Sherman’s repertoire gained a wide audience and as his success grew and grew, it became famously noted that John F. Kennedy was once overheard singing one of his compositions in a hotel lobby.

To contrast his popularity Allan Sherman battled a couple of significant issues. The first was the fact that many popular musicians and writers of the day refused to grant him permission to parody their songs. The second was related to his health. Sherman lived with weight issues, and subsequently diabetes. The ability to produce parody songs almost at will was a gift but he was frustrated by some of the limitations. Over time his work began to be more satirical. He also began to see opportunities to write song parodies for corporations as commercials and to create public education radio spots.

Interestingly, Allan Sherman’s decline has been attributed to the assassination of John F. Kennedy. His peak occurred right up to the time of the shooting and shortly after Kennedy’s death other artists in the impersonator/parody genre vowed to never do impressions again. Consequently, fewer such artists became booked and that type of comedy subsided for a period of time. Sherman’s response was a parody of the Beatles called ‘Pop Hates the Beatles’ set to the tune of ‘Pop Goes the Weasel’. This didn’t go over well because of the Beatles immense popularity at the time.

Over the years Allan Sherman remained relatively prolific in various role but he never achieved the levels of 1963/64 again. Sadly, he died on this day in 1973 at the age of 49. A combination of obesity, diabetes and alcoholism was too much to overcome and these health issues led to what would become a fatal bout with emphysema.

As noted above he left a legacy. Weird Al Yankovic actually pays tribute to Allan Sherman on the cover of his first album. ‘Hello Muddah, Hello Faddah’ has even been translated into several other languages and a children’s book was published in 2004. He has even been mentioned on The Simpsons.

Ouch!

Here is the musical inspiration for ‘Hello Muddah, Hello Faddah’; ‘Ponchielli’s ‘Dance of the Hours’.

Whatever camp you are in, have a great day.