Ted Tocks Covers – Top 3 Posts for August and some bonuses – featuring #JohnPrine #BobbyDarin #TracyChapman #Chic #TheWho #TheBand #RobbieRobertson

Where did the summer go?

Well, another month has gone by and another 30,000 words have been shared. I say ‘shared’ because only a percentage of what Ted Tocks Covers offers are truly my words. Much of what Ted Tocks Covers offers exists as quotes from people related to the art I discuss, as well as perhaps most importantly, the lyrics that we all enjoy.

It all helps me tell a story.

As we head toward the fall, Ted Tocks continues to average well over 100 page views a day. Nothing huge by blogging standards, but for a hobby, I continue to be very pleased that my love of music is relatable to so many, and gradually…slowly, more and more people seem to be coming on board. In just over five and a half years, Ted Tocks Covers has managed to build to 598 followers. This is a fact that continues to blow my mind. From a modest hobby, to something that others seem to enjoy. It all makes me smile.

Recently a friend on Facebook shared this quote from visionary Martin Luther King Jr. This really spoke to me because within the context of this message you could point to the power of music and its ability to enhance our social network.

All of humanity is tied together. All life is interrelated. We are all caught in an inescapable network of mutuality, tied in a single garment of destiny. Whatever affects one directly, affects all indirectly. This means I can never be what I ought to be until you are what you ought to be. You can never be what you ought to be until I am what I ought to be – this is the interrelated structure of reality”

Martin Luther King Jr.

Further to this pearl of wisdom from Martin Luther King Jr. music is often the medium that serves to connect so many of us. Frequently, the ones who are most drawn to the powerful message contained in song, tend to be the most compassionate and empathetic among us.

Further to this sentiment, consider this profound observation from spiritual advisor Richard Rohr.

Suffering can lead us in different directions: it can make us very bitter and cause us to shut down, or it can make us wise, compassionate, and utterly open, either because our hearts have been softened, or perhaps because we feel as though we have nothing more to lose.” –

Richard Rohr

Quite often, it is music that serves to soften the most hardened among is. It definitely gives us a place to land smoothly.

As always, before I move on to the top three Ted Tocks Covers features for August, I would like to give a nod to a couple of posts from the past that have surpassed the 1000 page view milestone.

‘Saddle in the Rain’ by John Prine and ‘Mack the Knife’ by Bobby Darin, among others became the twelfth and thirteenth Ted Tocks Covers features to surpass this number.

Saddle in the Rain – The potential peril of living in a society without a net. #MusicisLife #TedTocksCovers #JohnPrine #AmandaShires

For Ted Tocks Covers the fact that ‘Saddle in the Rain’ has done so well is very satisfying. To begin, any time I celebrate the words and music of John Prine, I feel eternally blessed. When I share his wisdom and readers engage, it makes me feel even better. As always, I give a nod to the entire John Prine fanbase. They are the best people on social media and they continue to demonstrate the fact that this world really is full of good people. Don’t let the bad actors who hog the news cycle fool you. Speaking of good people, ‘Saddle in the Rain’ also points out the important work John Prine’s close friends Jason Isbell and Amanda Shires are doing for women’s reproductive rights with the ‘Yellowhammer Fund’. Ted Tocks Covers takes pride in the information shared in this blog, but when I offer important work like this it makes my heart swell knowing that there are people out there like Amanda and Jason advocating for human rights. This is just one example.

Mack the Knife – A fascinating exploration into the history of this iconic song. #MusicisLife #TedTocksCovers #BobbyDarin #LotteLenya #LouisArmstrong #TheDoors

This song is closing in on the century mark. ‘Mack the Knife’ goes back to 1928. Its popularity has spanned the generations and enjoyed some quality covers from multiple genres. Naturally, this makes for a perfect Ted Tocks Covers subject. I was exposed to this song in depth by The Doors. Jim Morrison managed to improvise ‘Mack the Knife’ into a prelude for ‘Whiskey Bar’ and another cover; ‘Alabama Song’. It was this rendition that made me explore the song’s history several years ago. This made it a natural to be included as part of Ted Tocks Covers, and it is gratifying that people have read this feature at such a high volume.

Now let’s move on to the top three new posts for July.

#3. Fast Car

Fast Car – We gotta make a decision. #MusicisLife #TedTocksCovers

Sometimes when I write Ted Tocks Covers features I quietly root for certain songs to generate higher readership. ‘Fast Car’ by Tracy Chapman is one of those songs. This post tells the story of how the song graduated from coffee houses in the Boston area to the stages of the world in relatively short order. ‘Fast Car’ is a societal masterpiece and because elements of our leadership seem committed to perpetuate the cycle of poverty. If only owning a ‘Fast Car’ was enough to escape.

Le Freak – Come On and Have a Real Good Time. #MusicisLife #TedTocksCovers #Chic #NileRodgers #BernardEdwards #EdgarSampson #TheUkuleleOrchestra #Slash #Prince

#3. Le Freak – This feature was a ton of fun to write. Nile Rodgers literally steals the show as he tells the story of how ‘Le Freak’ by Chic managed to go from he and Bernie Edwards being turned away from New York City’s Studio 54 to becoming a worldwide smash hit 45 years ago. This is a classic example of the evolution of a song. It just makes you feel good to listen.

Who Are You – A day in the life of the 70s edition of Pete Townshend. #MusicisLife #TedTocksCovers

#2. Who Are You – Part of the Ted Tocks Covers mission is to share the music and also provide deeper context to the songs we have listened to and enjoyed throughout our lives. Occasionally, I share information I already know, but often I learn as I write. For several years I have understood that ‘Who Are You’ was Pete Townshend recounting a tumultuous day in his own life. It was narrated by the superlative vocal prowess of the great Roger Daltrey. What I did not know is that there was a ‘lost’ verse in the middle. This verse spoke more to Pete’s frustrations with Allen Klein and the corporate structure of the music world. If this verse were more widely known, perhaps the root of Townsend’s night of debauchery might have been better understood. Don’t get me wrong; Townshend definitely had issues with addiction that he fortunately addressed many years ago, but as is so often the case, there is way more to this story. I just find this interesting, and in writing this post, I learned a whole lot more

Caledonia Mission – Now I Must Be on My Way. A Tribute to Robbie Robertson #MusicisLife #TedTocksCovers

#1. Caledonia Mission – For the second month in a row and in a pattern that has repeated itself way too often over the years, this Ted Tocks feature was written as a tribute to Robbie Robertson. Sadly, the music world lost this great guitarist and songwriter in the first half of August. Coincidentally, Robertson died on the same day as fellow guitar legend, Jerry Garcia. Through the years Ted Tocks Covers has featured several songs by The Band, but instead of just re-posting any of them I hastily put together a short homage using his 1968 song ‘Caledonia Mission’. This was a tip of the hat to his childhood home in the shadows of Six Nations, Ontario and it also features this bit of foreshadowing.

Now I must be on my way
I guess you really have to stay

Robbie Robertson

Godspeed Robbie!

Thank you for the music.

So today, I too must be on my way.

Happy listening.

Ted Tocks Covers thanks you all.

In August, Ted Tocks Covers was enjoyed (I hope) by people in over 60 countries worldwide. The highest engagement by far comes from residents of the United States. In fact, the U.S. represents nearly 70% of the readership. Keeping it in North America, Canada resides at #2, followed by the United Kingdom, Australia and Ireland. Many seem to come back day after day.

The strongest catalyst for the growth outlined above continues to be the search engines which serves to drive people to this site. About 70% of Ted Tocks readers come through search which is mind-boggling. Evidently, some even choose to stay.

By all means, share any post you like. Your following, is appreciated more than words can say.

If you missed the features listed above the first time around, by all means enjoy them now. If you think a friend might like to spend a few minutes with some good music, please share because…

#MusicisLife

Early in August, I sat down with my son Sebastian and he showed me how to effectively post this feature in a teasing form on Instagram. This seems to be getting a bit of traction.

So…

If you haven’t already, please sign up yourself or invite other people to follow Ted Tocks Covers at:

Linked In – https://www.linkedin.com/feed/

Facebook – https://www.facebook.com/TocksTed

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By signing up to the blog site, Ted Tocks Covers posts will be delivered to your email, and you can read it on your own time. The benefit of this is, you are not held captive by Facebook or Instagram and their ridiculous algorithms.

You can always follow Ted Tocks Covers on Facebook, Instagram or LinkedIn where I post every day, with either new content or reposts of past features. Here, I have also created a Linktree account so everything is together.

Thank you for continuing to read Ted Tocks Covers. I will be in touch. You can count on that. There are many great stories to come in the days ahead.

This is all part of the plan.

Stay safe and have a grateful day!

Fast Car – We gotta make a decision. #MusicisLife #TedTocksCovers

In a candid moment Tracy Chapman recalled her earliest performances of ‘Fast Car’.

She played it to an audience of one.

Her dog…a miniature dachshund took immediate notice.

She seemed to be more perked up than usual. I don’t know if she was responding to my energy or if she was just not as tired as she normally was, but it was kind of funny to have her there for the process of the beginning of writing that song.”

Tracy Chapman

Tracy received a standing ovation. The first of many.

The roots of Tracy Chapman’s success speak to a storybook origin. She made a demo tape while working on a degree in Anthropology and African Studies at Tufts University. A friend of hers named Brian Koppelman liked what he heard. He mentioned to Tracy that his father worked for SBK Publishing. He took a tape to Charles Koppelman who soon signed Chapman to a management deal, which evolved into a recording contract with Elektra Records.

The true beauty of what Elektra did for Tracy resides in the fact that they allowed her to be herself. Producer David Kershenbaum who had done work with Joe Jackson and Joan Baez focused on Tracy’s coffee house appeal. Treatments were kept to a minimum and her backing band consisted of three players; Larry Klein on bass, Denny Fongheiser on drums and Ed Black on guitar.

Bringing the focus back to ‘Fast Car’, Tracy Chapman used this song writing session as an exercise in understanding her personal experience to some extent, but not literally.

It very generally represents the world that I saw when I was growing up and Cleveland, Ohio, coming from a working-class background, being raised by a single mom and being in a community of people who were struggling. Everyone was working hard and hoping that things would get better.”

Tracy Chapman

As you can see, the story she tells becomes relatable because it reflected what she saw all around her. As is so often the case, the best songwriters have the ability to draw from a sense of empathy and translate the story of the audience through their words and music.

In this quote, Tracy Chapman articulates the fact that everything presented in ‘Fast Car’ exists as an amalgam of the people she saw while experiencing life as a youth in Cleveland.

It wasn’t directly autobiographical.  I never had a fast car. It’s a story about a couple and how they are trying to make a life together and they face various challenges.”

Tracy Chapman

The ‘Fast Car’ becomes a lyrical device symbolizing escape.

It’s not really about a car at all… basically it’s about a relationship that doesn’t work out because it’s starting from the wrong place.”

Tracy Chapman

The couple is seemingly in a downward spiral. Written from the woman’s perspective, the lyrics offer a portrait that allows people to sympathize. Her partner is unemployed, drinks too much, is lazy and has no apparent direction. Chapman balances this with a chorus that speaks to a time when the relationship was full of potential.

It is through the chorus that Chapman offers a glimmer of hope…

Someday she is going to be someone.

But the change must happen soon.

You got a fast car
I want a ticket to anywhere
Maybe we make a deal
Maybe together we can get somewhere
Any place is better
Starting from zero got nothing to lose
Maybe we’ll make something
Me, myself, I got nothing to prove

You got a fast car
I got a plan to get us outta here
I been working at the convenience store
Managed to save just a little bit of money
Won’t have to drive too far
Just ‘cross the border and into the city
You and I can both get jobs
And finally see what it means to be living

See, my old man’s got a problem
He live with the bottle, that’s the way it is
He says his body’s too old for working
His body’s too young to look like his
My mama went off and left him
She wanted more from life than he could give
I said somebody’s got to take care of him
So I quit school and that’s what I did

You got a fast car
Is it fast enough so we can fly away?
We gotta make a decision
Leave tonight or live and die this way

So I remember when we were driving, driving in your car
Speed so fast it felt like I was drunk
City lights lay out before us
And your arm felt nice wrapped ’round my shoulder
And I-I had a feeling that I belonged
I-I had a feeling I could be someone, be someone, be someone

You got a fast car
We go cruising, entertain ourselves
You still ain’t got a job
And I work in the market as a checkout girl
I know things will get better
You’ll find work and I’ll get promoted
We’ll move out of the shelter
Buy a bigger house and live in the suburbs

So I remember when we were driving, driving in your car
Speed so fast it felt like I was drunk
City lights lay out before us
And your arm felt nice wrapped ’round my shoulder
And I-I had a feeling that I belonged
I-I had a feeling I could be someone, be someone, be someone

You got a fast car
I got a job that pays all our bills
You stay out drinking late at the bar
See more of your friends than you do of your kids
I’d always hoped for better
Thought maybe together you and me’d find it
I got no plans, I ain’t going nowhere
Take your fast car and keep on driving

So I remember when we were driving, driving in your car
Speed so fast it felt like I was drunk
City lights lay out before us
And your arm felt nice wrapped ’round my shoulder
And I-I had a feeling that I belonged
I-I had a feeling I could be someone, be someone, be someone

You got a fast car
Is it fast enough so you can fly away?
You gotta make a decision
Leave tonight or live and die this way”

Tracy Chapman

When ‘Fast Car’ was released 35 years ago, in April of 1988, it definitely bucked a lot of trends. It was extremely rare for a song that depicted a sense of hopelessness to capture a broad audience. The fact that Chapman was relatively unknown only added to the barriers she faced. It was a combination of circumstances that catapulted Tracy Chapman to prominence.

Clearly, she had backing from her team at Elektra. The label wisely added Tracy Chapman to 10,000 Maniacs tour as an opening act, and her accessible style quickly endured her to a lucrative audience. By early June, ‘Fast Car’ hit the charts in North America and the U.K.

One other major boost occurred on June 11, 1988 when she was added to the star-studded lineup celebrating the 70th birthday of Nelson Mandela at Wembley Stadium. As the story goes, Chapman performed a well-received three song set during the afternoon. Due to the nature of the event Tracy opted not to perform ‘Fast Car’. This demonstrates the fact she is the model of integrity. Instead, she performed material from her debut album that reflected the theme of the day. This allowed her to share ‘Talkin ‘Bout a Revolution’ which would become the follow up to ‘Fast Car’.

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

As fate would have it, karma offered a positive twist. Just before Stevie Wonder was about to take the Wembley stage he discovered that a floppy disk that was required for his keyboard had gone missing. He left the backstage area with his handler, in a panic.

While they went searching for the lost disk, the organizers sought out Tracy Chapman and asked her to take her guitar on stage and play just one song.

She obliged, and this was the scene. You can actually hear the stage crew doing a soundcheck for Stevie Wonder in the background.

Yet, Tracy Chapman tells the story.

They are going to find a job, get a promotion, move out of the shelter, buy a house and move to the suburbs.

Look at the sea of people. This still sends chills.

The acclaim didn’t stop there.

Tracy Chapman won three Grammys in 1989. They included Best Female Pop Vocal Performance, Best Contemporary Folk Album and Best New Artist.

From a demo to this in less than two years.

Here is another beautiful live version that offers ‘Fast Car’ with her complimentary backup band.

Now let’s enter the highway that takes us to the cover versions. This will be an interesting ride, and it will take us to the present day.

Let’s ease our way into it with this abbreviated version by Justin Bieber.

While ‘the Biebs’ can be a little divisive this isn’t bad, and you can tell by the delivery that he connects with the song. It speaks to a maturity. For several years now I have grown to like Justin and what he is doing.

For a complete version that will make your spine tingle, check out Sam Smith. This outstanding cover is brought to you from BBC Radio 1 Live Lounge. This performance came at a time where Smith had become a global musical sensation and he is still riding that wave. This demonstrates why Sam Smith is one of the essential acts of our time.

About the same time, Jonas Blue released this evocative cover featuring Dakota on vocals. The piano/vocal combination offers yet another view of the song. It inspires contemplation.

Here is Jonas Blue recalling what the song meant to him as he was growing up.

 It was a good song in London [during] that time when I was growing up, so it was always on the radio, and it just kind of stuck with me. It was that song on the long journeys, and I loved it.”

Jonas Blue

Let’s head back to the BBC Live Lounge with Khalid in 2018. I love the way he narrates this piece. He is telling Tracy’s story from his own perspective. I featured Khalid as part of a post about Chester Bennington and ‘In the End’ back in July.

Ted Tocks Cover loves the work of Boyce Avenue. This acts’ covers have been shared on a handful of occasions. (See ‘Wonderwall’, ‘Dream On’, ‘Dust in the Wind’ and ‘Superman’.

Now let’s head to the streets of Dublin, Ireland in 2020 and watch a street musician named Jacob Koopman entertain those who wandered by. Suffice to say, he manages to grab their attention. I love what he does here as he seamlessly connects ‘Blackbird’ by The Beatles to ‘Fast Car’. The gathered crowd seem riveted to his rendition. Love it! It needed to be shared.

This 2021 home studio performance by Luke Coombs has evolved to stratospheric heights.

For Combs, ‘Fast Car’ was his first favourite song. As he was a young boy learning to play guitar his ear was captured by Chapman’s hypnotic acoustic riff and passionate delivery. In his cover version Combs’ stays true to Tracy.

It wasn’t until April of 2023 that Luke opted to release ‘Fast Car’ on his album ‘Gettin’ Old’. ‘Gettin’ Old’ is the companion album to his 2022 recording, ‘Growin’ Up’. It should be noted here, that Luke is 33 years old. He seems to have miles to go. An interesting thing about Luke’s ascension to the peak of the Country charts is the fact that he quit Appalachian State University just as he was about to complete his degree. The goal was to pursue his love of music.

It paid off.

By the time summer rolled around ‘Fast Car’ and ‘Last Night’ by Morgan Wallen were #1/#2 on the Hot 100.  This was the first time for a pair of Country acts since 1981 when Eddie Rabbit and Dolly Parton did it with ‘I Love a Rainy Night’ and ‘9 to 5’. They were soon joined by the insipid and mind-bogglingly simple ‘Try that In a Small Town’ by the poser Jason Aldean at 1-2-3. This is the first time three Country songs have enjoyed this level of crossover status.

Success is complicated and the tastes of a mass audience is always intriguing.

Back to Tracy Chapman; she is elated that her message still resonates with audiences 35 years later.

I never expected to find myself on the country charts, but I’m honored to be there. I’m happy for Luke and his success and grateful that new fans have found and embraced ‘Fast Car.'”

Tracy Chapman

Be happy for Luke.

Be happier for Tracy.

I urge you to focus mainly on the positive but just know that according to a Washington Post article by Emily Yahr, Tracy Chapman’s space at the top is a rare achievement that borders on impossible.

Data collected by journalist Jan Diehm and musicologist Jada Watson have determined that less than 0.5 percent of songs played on country radio in 2022 were credited to women of colour or LGBTQ+ artists.

The point is, while Tracy Chapman’s renewed success is exciting and richly deserved it would not be happening unless it was served up by a successful white artist.

Sadder still is the fact that 30% (likely more) of Luke Comb’s audience likely see Tracy Chapman as some sort of threat because she is a woman of colour and openly gay. It says here, that the true meaning and intention of Tracy’s composition is likely lost on many. When you consider the political bent of this audience you can’t help but question this phenomenon.

I point to the success of Jason Aldean. This is the kind of tripe that passes as a hit in the heart of modern country. The sheep follow because when it comes down to it, the fascists who are trying to take over America have little in the way of talent to turn to. When Kid Rock and Ted Nugent carry the flag, you are definitely scraping the bottom of the moonshine barrel.

I stand with Tracy Chapman and any other artist who represent an audience through a message that focuses on empathy and compassion. In short a better society.

That’s where hope for a positive future truly resides.

You gotta make a decision
Leave tonight or live and die this way”

Tracy Chapman

Together we can get somewhere.

Six months after Ted Tocks Covers featured ‘Fast Car’ the story took us all to the 2024 Grammys. This performance summarizes everything. Enjoy Luke Combs and Tracy Chapman doing a stunning duet 35 years after Chapman won three Grammys during the 1989 Grammys.

In 35 years so much has changed, and so little has changed.

I know things will get better.

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

Stand by Me – Today’s classic song and three cover versions released over the past 58 years. #MusicisLife #TedTocksCovers #BenEKing #TheDrifters #TracyChapman #Florence+theMachine #PlayingforChange

We all have those songs that speak to us and provide assurance that everything is going to be alright. For many, I suspect ‘Stand by Me’ by Ben E, King would qualify as one of those songs. ‘Stand by Me’ was released 58 years ago this month after King and the prolific songwriting duo Jerry Leiber and Mike Stoller collaborated on the inspiring lyrics. It will come as no surprise that ‘Stand by Me’ has roots in a religious spiritual song called ‘Stand by Me, Father’ written by Sam Cooke and J.W Alexander. This song was recorded by The Soul Stirrers and a passage from this song can be traced directly to Psalm 46;2c/3c from the King James Version of the Bible.

“God is our refuge and strength, a very present help in trouble”

Cooke and Alexander arranged this line to;

“God, I’m in a mean world
And I’m so all alone, oh, oh
I need You Jesus, stand by, stand by”

Here is ‘Stand by Me, Father’ by The Soul Stirrers.

You can feel the spirituality oozing from the song. It turns out that ‘Stand by Me, Father’ was only the beginning of the inspiration for ‘Stand by Me’. Drawing from a wider source of spiritual gospel hymns, King became enthralled by the writing of Charles Albert Tindley who in 1905 wrote a hymn called ‘Stand by Me’.

When the storms of life are raging, stand by me.

When the storms of life are raging, stand by me.

When the world is tossing me, like a ship upon the sea,

thou who rulest wind and water, stand by me.

In the midst of tribulation, stand by me.

In the midst of tribulation, stand by me.

When the hosts of hell assail, and my strength begins to fail,

thou who never lost a battle, stand by me.

In the midst of faults and failures, stand by me.

In the midst of faults and failures, stand by me.

When I do the best I can, and my friends misunderstand,

thou who knowest all about me, stand by me.

In the midst of persecution, stand by me.

In the midst of persecution, stand by me.

When my foes in battle array, undertake to stop my way,

thou who saved Paul and Silas, stand by me.

When I’m growing old and feeble, stand by me.

When I’m growing old and feeble, stand by me.

When my life becomes a burden, and I’m nearing chilly Jordan,

O thou Lily of the Valley, stand by me.

For his part Tindley was inspired by the psalm that read;

“will not we fear, though the Earth be removed, and though the mountains be carried into the midst of the sea.”

The biblical and spiritual inspiration of ‘Stand by Me’ is now complete. Now we move on to the collaboration between Ben E. King, Stoller and Leiber. The story is fascinating to me because it once again speaks to the songwriting process. Due to the haziness created by years of faded memories the accounts surrounding the writing of the song differ slightly. The one constant seems to be that Ben E. King had written the essence of the song when he brought it to Stoller and Leiber. It is thought that King had written the song for his group at the time, The Drifters, who declined. As a result, King opted to record it as a solo piece. Accounts speak to the notion that ‘Stand by Me’ was a work in progress that drew from the brilliance of the iconic songwriting tandem. As I read about the composition of ‘Stand by Me’ from a few different sources, the recollection by Mike Stoller seems to be the most complete in terms of detail. It also speaks to the clear collaborative process.

“Ben E. had the beginnings of a song—both words and music. He worked on the lyrics together with Jerry, and I added elements to the music, particularly the bass line. To some degree, it’s based on a gospel song called “Lord Stand By Me”. I have a feeling that Jerry and Ben E. were inspired by it. Ben, of course, had a strong background in church music. He’s a 50% writer on the song, and Jerry and I are 25% each…. When I walked in, Jerry and Ben E. were working on the lyrics to a song. They were at an old oak desk we had in the office. Jerry was sitting behind it, and Benny was sitting on the top. They looked up and said they were writing a song. I said, “Let me hear it.”… Ben began to sing the song a cappella. I went over to the upright piano and found the chord changes behind the melody he was singing. It was in the key of A. Then I created a bass line. Jerry said, “Man that’s it!” We used my bass pattern for a starting point and, later, we used it as the basis for the string arrangement created by Stanley Applebaum.”

You will notice that on the record the song is credited to Ben E. King and Elmo Glick. Elmo Glick is a pseudonym used by Mike Stoller and Jerry Leiber.

Due to its widespread appeal, ‘Stand by Me’ became an immediate hit, rising to #1 on the R&B charts and top 10 on the contemporary charts in both 1961 and again upon its re-release as part of the popular movie ‘Stand by Me’. The movie is a classic from 1986. Twenty five years later the song still resonated with the general public as part of the movie’s soundtrack. Interestingly, the re-release and its connection to the movie, served to bring the song to a more secular level; as it speaks to the importance of friendship and loyalty. The movie was an adaptation of a brilliant Stephen King short story called ‘The Body’. It is one of those movies you can watch over and over again. ‘Stand by Me’ plays over the closing credits.

For its part ‘Stand by Me’ is more than a classic song. It is an economy unto itself. This is staggering. Since its composition the song has generated in excess of $25 million. It is thought to be the sixth highest selling song of all time. Based on Mike Stoller’s assertion that the song was 50% King and 25% for each of Stoller and Leiber, Ben E. King received half of this massive payout over the years.

‘’Stand by Me’ has received numerous accolades through the years but most notably it resides in the National Library of Congress as a song considered to be culturally, historically or aesthetically significant. Personally, I think it checks all the boxes.

Sadly, it was four years ago today that Ben E. King passed away at the age of 76. He was suffering from coronary problems. The recognition by the National Library of Congress came just five weeks before his death.

In terms of cover versions of ‘Stand by Me’, it is estimated that the song has been covered by over 400 artists over the last six decades. As a tribute, I am going to provide a link to all of these versions. Just kidding. Seriously though…Where do I begin?  I will provide three versions, with a focus on uniqueness and adulation to the original.

Although The Drifters initially declined to record ‘Stand by Me’ they stepped up when they recognized the sheer brilliance of the piece after Ben E. King released it. Here is their version that combines the beauty of their vocals with the fantastic strings.

Here is a version by the incredibly talented Tracy Chapman from 2015. Just her and her guitar with a soft drum track. Everything Tracy Chapman does speaks to me. She is a treasure.

Every time I hear Florence + the Machine I marvel at the passion of their delivery. It doesn’t matter what they do, they do it well.

I will leave it up you to discover the other 400 versions. I could go on forever. To close, here are the lyrics to the original version of ‘Stand by Me’. They truly stand the test of time. Be there for a friend today.

When the night has come
And the land is dark
And the moon is the only light we’ll see
No I won’t be afraid, no I won’t be afraid
Just as long as you stand, stand by me

So darlin’, darlin’, stand by me, oh stand by me
Oh stand by me, stand by me

If the sky that we look upon
Should tumble and fall
Or the mountains should crumble to the sea
I won’t cry, I won’t cry, no I won’t shed a tear
Just as long as you stand, stand by me

And darlin’, darlin’, stand by me, oh stand by me
Oh stand now, stand by me, stand by me

And darlin’, darlin’, stand by me, oh stand by me
Oh, stand now by me, stand by me, stand by me

Whenever you’re in trouble won’t you stand by me
Oh stand by me, won’t you stand by”

Back in 2004, Mark Johnson, a Grammy Award winning producer and engineer was walking through a New York subway when he encountered two monks playing music. Not only was he captured by their obvious talent, but he was captivated by how a few hundred other people were also moved by their performance. People literally stopped their day to witness their unique interpretation of several well-known songs.

“I was in a subway in New York on my way to work, and I heard these two monks playing music. They were painted head to toe, all white, wearing robes. One was playing a nylon guitar, and the other was singing in a language I didn’t understand. There were about 200 people who stopped to watch, didn’t even get on the train. Some had tears in their eyes. And it occurred to me that here is a group of people that would normally run by each other, but instead they’re coming together. And it’s the music that brought them together.”

This moment inspired Johnson to create a documentary called ‘Playing for Change: A Cinematic Discovery of Street Musicians.’

One year later, three thousand miles away in Santa Monica, California, Mark Johnson recorded and filmed a street musician named Roger Ridley singing ‘Stand by Me’. In this moment he came up with the idea of taking this recording to several of his industry friends and add musicians from all over the world to it. The goal was to “connect, inspire and change the world through music.”

In late 2008, the first ‘Playing for Change’ video was released. It was ‘Stand by Me’ and it went viral.

Since that time ‘Playing for Change’ has featured countless other classic songs and during that time they have far surpassed the one billon page view mark.

Not only does music have the ability to inspire, it has the capacity to fuel change.

Let the music play.