Talking about a Revolution – A look back on a theme as we celebrate #John Lennon’s 79th birthday. #MusicisLife #TedTocksCovers #TheBeatles #TracyChapman #StoneTemplePilots #TheStereophonics #LivingColour #ArtNapoleon #JacindaArdern

Today’s post is in honour of what would have been John Lennon’s 79^th birthday.

It also marks day two of my ”Same Title – Different Song” musical exploration. Admittedly, I have modified the rules slightly. Please read on and grant me my creative license.

Based on the provocative nature of both songs, it becomes more of a lyrical exploration. The theme for today’s Ted Tocks is ‘Revolution’.

For the Beatles ‘Revolution’ was released as the B-side to ‘Hey Jude’. When you are as prolific as the Beatles you can toss a song as good as ‘Revolution’ out into the world as a B-side and let the chips fall where they may. In truth, the band recorded the song in three different versions during the White Album sessions. A slow blues style arrangement known as ‘Revolution 1’ made the cut as an album track along with an experimental sound collage known as ‘Revolution 9’. Today’s version is widely considered to be the best of the three. It was recorded several weeks after 1 and 9, specifically for release as a single. It resided as a B-side because Paul McCartney had reservations about how being overtly political might impact their reputation. George Harrison and McCartney both felt the song was too slow to be a single. George Harrison’s response was the signature opening machine gun guitar riff and John Lennon added his distinctive scream. To complete the modification they omitted the “shooby do wap” backing vocals and created the abrupt, screaming “alright” ending. The end result was a delivery that matched the message implied in the song title.

A couple of months ago I featured ‘Street Fighting Man’ by the Rolling Stones. In that post I referred to a series of riots that had taken place in England and France which served to inspire Mick Jagger to write his commentary on the world’s socio-political situation. Well, it was the same sequence of events that caught John Lennon’s eye and moved him to write a song that, at the time was relatively uncharacteristic for him and the Beatles. As you read through John Lennon’s composition you get a clear picture of a changing time. The hippie ideology of free love and peaceful change was gradually moving to the potential of a more radical left wing approach. Lennon did not subscribe to the Maoist concept of change because he feared any societal movement that called for the purge of disruptive elements. In this case anyone with a non-progressive ideology would be perceived as a threat. While spending time with the Beatles in India, studying transcendental meditation Lennon was moved to write what would become ‘Revolution’. He felt it was time to add his voice to the many who had offered commentary.

“I thought it was about time we spoke about it, the same as I thought it was about time we stopped not answering about the Vietnamese war [in 1966]. I had been thinking about it up in the hills in India.”

John Lennon

For Lennon, ‘Revolution’ signified an evolution in his views that would ebb and flow until his death in 1980. Despite his clear anti-war feelings, it was apparent that he had not yet graduated to the anti-establishment sentiment that he advocated in songs like ‘Power to the People’ in 1971. On this, he was very clear. This is evident in his request to those who were listening “to see the plan.” He was advocating social change, but not until having an understanding what that change would entail.

The ultimate refrain of “don’t you know it’s gonna be alright” emphasized his call for thoughtful and peaceful resolution and a clear adherence to the teachings of the Maharishi.

“But if you go carrying pictures of Chairman Mao

You ain’t gonna make it with anyone anyhow.”

John Lennon

Here, John Lennon summarizes his advocacy for peaceful revolution. According to several sources, Lennon felt this was the most important line in the song. It was added in the studio and acted as the final piece of the puzzle.

Part two of today’s post is a continuation on the revolution theme. Like the Beatles, Tracy Chapman also advocated for a peaceful revolution. From her perspective there is a movement but:

“It sounds like a whisper.”

Tracy Chapman

I just love this song. In this call for social change and understanding, Tracy Chapman was calling for wider compassion and empathy. The version I share is from an Amnesty International concert in 1990.  When she wrote ‘Talkin’ ‘bout a Revolution’ she was aiming to bring attention to the disparity between social classes.It was the tail end of the Reagan presidency and ‘Reaganomics’ was clearly only serving the upper echelon of society. The eight year period saw an ever widening gap that has only worsened to the present day. Tracy Chapman was hoping that people were going to rise up and fight for what was right. In her words she felt her music could be a catalyst for social change. There are many who agree. Since its release in the late ‘80s people have gravitated to ‘Talkin’ ‘bout a Revolution’ as an anthem for social justness and there have been glimmers of hope. Here are the lyrics.

Don’t you know
They’re talkin’ ’bout a revolution
It sounds like a whisper
Don’t you know
They’re talkin’ about a revolution
It sounds like a whisper

While they’re standing in the welfare lines
Crying at the doorsteps of those armies of salvation
Wasting time in the unemployment lines
Sitting around waiting for a promotion

Don’t you know
Talkin’ ’bout a revolution
It sounds like a whisper
Poor people gonna rise up
And get their share
Poor people gonna rise up
And take what’s theirs

Don’t you know
You better run, run, run, run, run, run, run, run, run, run, run, run
Oh I said you better
Run, run, run, run, run, run, run, run, run, run, run, run

‘Cause finally the tables are starting to turn
Talkin’ bout a revolution
Yes, finally the tables are starting to turn
Talkin’ bout a revolution, oh no
Talkin’ bout a revolution, oh

While they’re standing in the welfare lines
Crying at the doorsteps of those armies of salvation
Wasting time in the unemployment lines
Sitting around waiting for a promotion

Tracy Chapman

Sadly, in the United States the idea of democratic socialism is considered to be a form of weakness. This is in contrast to their identification as a ‘Christian’ nation. The hypocrisy is mind-boggling. The ignorance of those closest to being able to exact change leaves one shaking their head in bewilderment. Only the most progressive of politicians see the merit in advocating for food, shelter, health care and education for all. In 2016, Bernie Sanders used ‘Talkin’ ‘bout a Revolution’ as an unofficial theme song during his rallies. The message was getting through but unfortunately as we all know, it did not prevail to the point where he would receive the Democratic nomination. We are still dealing with the tragic result of that monumental disaster, and quite likely Americans will be repairing the damage for years to come.

Closer to home, in Canada we have an election on the horizon, and we are truly on the threshold of a decision that could change the course of this country. We need to be leaders on a global stage in several capacities. Leaders, not followers. Progressive, not regressive. Inclusive, not exclusive. The social fabric of our country is what makes us distinct. It is not perfect, but to many we are a beacon of light in terms of what many recognize as hope. Where there is hope, there is potential, and when potential is realized, greatness emerges. We need to do whatever we can to bring everybody along for the ride. Not just the chosen few.

Don’t be distracted by the white noise. We need to keep things in the proper perspective. We are on the right track. Don’t turn the clocks back. Advocate for positive change…

“’Cause, finally the tables are starting to turn.”

Tracy Chapman

If we do, I agree with John Lennon.

“…It’s gonna be alright.”

John Lennon

There are several options for cover versions of both of these songs, and once again I will try to provide an interesting range of artists.

Here are Stone Temple Pilots doing a tribute at an event called Come Together: A Night for John Lennon’s Words and Music. They absolutely rock it.

Whenever I see that Stereophonics do a cover version I try to include it in a post. They are a fascinating band and they never disappoint.

There are two covers of ‘Talkin’ ‘bout a Revolution’ that caught my attention. The first was released by Living Colour back in 1995 on a live album called What’s Your Favorite Color.

To close out this post, I feel I have saved the best for last. For people who are paying attention in Canada they will understand that indigenous issues are taking an increased prominence in our national conscience. While this is happening, I am trying to become more familiar with some of the incredible indigenous artists who are producing some powerful material. While researching this song I was able to find this stunning medley of ‘Redemption Song’ by Bob Marley and ‘Talkin’ ‘bout a Revolution’ by Tracy Chapman performed by Art Napoleon. Art is a former First Nations chief with Cree and Dane Zaa roots who hosts a TV show on APTN and facilitates cultural awareness workshops, tours regularly as a musical performer and speaker and also serves as a juror on many arts and culture organizations across Canada. The beauty of this rendition is it is partially translated into Cree. As the songs blend it becomes a very emotional appeal.

This presentation feeds right into today’s theme.  Once again, we need to be engaged, and speak out for what is right. Listen to what the many voices are saying. Learn, then act. A social revolution could be liberating. This article is worth checking out. I am going to let the words of Jacinda Ardern assist in summarizing my point. She has articulated it way better than me.

Economic growth accompanied by worsening social outcomes is not success. It is failure.”

New Zealand Prime Minister – Jacinda Ardern

New Zealand Prime Minister Jacinda Ardern

The Last Resort – Today’s classic song, a reflection on the #AmericanDream and a cover from across the pond. #MusicisLife #TedTocksCovers #TheEagles #TheStereophonics

Happy Independence Day to my American friends!

Today’s feature song is an homage to the ‘American dream’. In the eyes of The Eagles ‘The Last Resort’ is a warning that ‘manifest destiny’ is a pile of crap. It was written in 1977 and 42 years later it has managed to expose this ideal as an even bigger load of bullshit. In the words of Don Henley:

“We have mortgaged our future for gain and greed.”

Don Henley

The truth is, the future is bleak for this country as it continues to head down a disastrous path. They deny science in favour of religion. They deny the basics of food, shelter, health and education in opposition of what they ignorantly refer to as socialism; all in the name of more wealth for the top 1%. In all truthfulness, that number is more like .1% and diminishing. While the number of people at these financial heights is lower, the wealth they have amassed is staggering. All the while the middle class is shrinking. This is occurring while the bottom end of the American socio-economic scale is growing rapidly. It is clear that the social system as it stands cannot support their ever widening needs. The current government lead by a self-serving con man and a band of soulless sycophants has two solutions. More tax cuts for the rich, and perhaps their endless flow of cash will eventually trickle down to the lazy cretins at the bottom, and the idea that sharing the wealth in any equitable way is a source of great weakness that is most assuredly against ‘God’s will’. The message: If you work hard, someday you may be just like us. In the meantime, pray to God, because religion heals all, watch TV; preferably FOX News and when the call comes, go to war on your God and Government’s behalf because;

“If they don’t look like us, pray like us, or talk like us, they are the enemy.”

Dear America:

Don’t buy into the crap they are selling. You are being conned. You have been conned for generations. Take back your country.

Love

The World

‘The Last Resort’ is the closing song on The Eagles iconic Hotel California album. It is an example of Don Henley’s songwriting at its finest. Glenn Frey referred to it as “Henley’s opus”.

While recording ‘The Last Resort’ in Criteria Studios in Miami, Black Sabbath were recording in an adjacent studio. The sound emanating from the Sabbath studio filtered through to the Eagles recording. This made it necessary for The Eagles to re-record the song. The resulting piece is a song that not only stands the test of time. It has become prophetic…or have things ever really changed along this lengthy timeline?

Who will provide the grand design, what is yours and what is mine?
‘Cause there is no more new frontier, we have got to make it here
We satisfy our endless needs and justify our bloody deeds
In the name of destiny and in the name of God

And you can see them there on Sunday morning
Stand up and sing about what it’s like up there
They called it paradise, I don’t know why
You call some place paradise, kiss it goodbye.

Don Henley

Today’s cover version is an outstanding view from the outside. The Stereophonics are a Welsh band whose unique blend of alternate rock and British traditional rock has allowed them to enjoy significant success worldwide. Here is their version of ‘The Last Resort’.

“She packed her hopes and dreams like a refugee.”

Don Henley

Hmmm! Think about it?

“Give me your tired, your poor, Your huddled masses yearning to breathe free, The wretched refuse of your teeming shore. To spread the light of liberty world-wide for every land.”

Statue of Liberty

Where have I heard that before?

Fiddler’s Green – He won’t travel long alone. #MusicisLife #TedTocksCovers #GordDownie #TheTragicallyHip #TheStereophonics #ChanieWenjak

Today’s post is about a man who literally touched the collective hearts of Canadians from coast to coast. On October 17, 2017 Gord Downie of The Tragically Hip died after a valiant battle with brain cancer. In my memory the public display of affection displayed toward the intriguing singer, songwriter, poet, artist and activist was likely only rivaled by the outpouring of love shown to Terry Fox in 1981. Today’s Ted Tocks will be a little different because not only will it feature a song and a cover version, it will feature a cause that was near to Gord Downie’s heart. As a nation we need to help Gord fulfill the mission that he set out to both expose and correct.

Today’s feature song is ‘Fiddler’s Green’. There are a number of versions of this song from The Tragically Hip’s 1990 album Road Apples. The reason I chose the one I did will become clear as I write. Gord Downie wrote ‘Fiddler’s Green’ for his sister, in memory of her five year old son Charles, who died of a heart condition. Downie invoked the legend of Fiddler’s Green to salute his nephew and help his sister overcome the anguish related to releasing the little boy into the afterlife. Are you crying yet? Try to get through this…

September seventeen
For a girl I know it’s Mother’s Day
Her son has gone alee
And that’s where he will stay
Wind on the weathervane
Tearing blue eyes sailor-mean
As Falstaff sings a sorrowful refrain
For a boy in Fiddler’s Green
His tiny knotted heart
Well, I guess it never worked too good
The timber tore apart
And the water gorged the wood
You can hear her whispered prayer
For men at masts that always lean
The same wind that moves her hair
Moves a boy through Fiddler’s Green
Oh nothing’s changed anyway
Oh nothing’s changed anyway
Oh anytime today
He doesn’t know a soul
There’s nowhere that he’s really been
But he won’t travel long alone
No, not in Fiddler’s Green
Balloons all filled with rain
As children’s eyes turn sleepy-mean
And Falstaff sings a sorrowful refrain
For a boy in Fiddler’s Green

Gord Downie

…yep. My eyes well up virtually every time I hear this song. When The Hip played it during their farewell concert in Kingston in August 2016, I cried. Man! What a beautiful song. What a gift. As I noted ‘Fiddler’s Green was written for the 1990 album, but the band did not or could not play it live until 2006. This is the year of the Calgary performance I shared above. Although the quality isn’t the best it captured an obviously emotional Downie singing ‘Fiddler’s Green’ to an appreciative crowd. He introduced it as

…a song that used to be painful to play but maybe it helps some people. We hope it brings you a little peace and satisfaction.” For several years The Tragically Hip donated proceeds from their hometown shows in Kingston to children’s charities and pediatric initiatives.

Gord Downie

To shed some added meaning, and demonstrate the artistic mind of Gord Downie here is a brief explanation of the legend of Fiddler’s Green. It is linked to an old Irish legend telling of an inland place where weary sailors would go with an oar over their shoulder to retreat from the harsh sea. The townsfolk, detecting the sailors fatigue, and intrigued by the oar, would give them a never ending flow of beer, a seat in the sun with a view of maidens dancing and fiddlers playing. In essence ‘Fiddler’s Green’ was a sailor’s heaven.

But he won’t travel long alone, no not on Fiddler’s Green.

Gord Downie

And with that wisdom, and reference to an old legend, Gord Downie helped his sister through a difficult time and I suspect through the years this song has provided many with a degree of much needed solace when it mattered most. Here is the album version.

For today’s cover, here is a spectacular and evocative version by The Stereophonics. This Welsh band has been around since 1992 and they have an impressive library of ten albums. They are extremely popular in the U.K as they bridge the gap between alt rock and British traditional rock. They have sold ten million records worldwide and get this…They are one of only eight groups to record five consecutive U.K #1 albums in a row. They share this distinction with: The Beatles, Led Zeppelin, ABBA, Genesis, Oasis, Blur and U2. Now that is impressive. Give them a listen. Enjoy!

Part two of today’s post will focus on Gord Downie’s legacy. During the final concert Downie implored Prime Minister Justin Trudeau and the massive nationwide audience to take action against the plight of indigenous people throughout our country. A people we as a nation ‘have been trained to ignore’ as Gord Downie emotionally stated. This became a national introduction to The Gord Downie and Chanie Wenjak Fund, whose mission is to embody his commitment and that of his family, to improve the life of First Peoples. To fulfill this goal the Downie family collaborated with the Wenjak family and together they seek to create a fund that will continue the conversation that began with the sad story of Chanie Wenjak’s residential school experience.

In order to do this the families worked to ensure that help will come forward through a collective reconciliation, further awareness, education and most importantly, action.

For those of you who don’t know the story that inspired Gord Downie and his brothers Mike and Patrick to take action here is a brief summery. This was one of many, but specifically it is related to a young Anishinaabe boy named Chanie Wenjak who at the age of nine was sent to a residential school in Kenora, Ontario in 1963. By 1966 Chanie was tired of the terrible treatment he received and chose to walk back to his family’s home at Ogoki Post in the Marten Falls Reserve. The walk would have been 600 km. Chanie set out with nine other boys but they were caught within 24 hours, leaving Chanie alone. This escape took place in October and the bitter northern elements left Chanie vulnerable. His body was found by a train conductor on the side of the railroad tracks. He died of exposure, wearing only a windbreaker to shelter him from the cold. His only other possession was a jar with seven matches. His intention was to build a fire a day over the course of his journey that he had bravely estimated would take him about a week.

Unfortunately, that didn’t happen. Chanie became yet another victim of Canada’s dark history of colonization of indigenous peoples.

Gord Downie was able to tell this story through his CD, documentary and book called ‘The Secret Path’. He also established a relationship with Chanie Wenjak’s family.

Through this project Downie has exposed a dark chapter in Canadian history but by bringing it to the forefront he was determined that through the legacy of his work and Chanie’s name, our country may be able to take steps to reconcile with our First people and create a more promising future.

Here is ‘The Stranger’ from a ‘Secret Path’. In this depiction of Chanie’s journey Gord Downie leaves the listener in a state of contemplation about how horrific Chanie’s final days were. Knowing it was all an escape, both physically and emotionally, leaves the listener absolutely shattered.