This week’s theme is inspired by the fact that Iggy Pop is headlining our major youth concert, The Big Day Out this month. And Bob Dylan, Elvis Costello and Jethro Tull will all be here in April for the Byron Blues Festival. I’m a baby boomer, so I’m ecstatic to be able to see all my heroes from the 60’s still performing. But, I have to ask: what is it about the first generation of rock n rollers – what keeps them going?
The reality is that from the moment rock music arrived on the scene it was a young person’s game: music made by young people for young people. It never intended to grow up or grow old. But it did. So what happens when rock’s youthful rebelliousness is delivered wrapped in wrinkles?
Lemmy from Motorhead has a formula for staying alive. He reckons you just breath (at all times). Lemmy, like Keith Richards, is one of the all time rock n roll survivors and therefore much revered by fans of a similar vintage.
Much to the dismay of our children, we baby boomers have carried on being the oldest swingers in town. We haven’t shown any sign of giving up on rock concerts, taking recreational drugs, (if we want to), and staying up all night. It’s why the biggest earners for rock concerts aren’t the Lady Gagas of the world, but veteran performers like AC/DC, The Eagles, Paul McCartney and The Who.
On MY GENERATION The Who were actually saying that they hoped they’d die before they got old. Hey, hold on a minute, they’re still singing it and they ARE old. What happened?
What happened started in the 50s when an entirely new species emerged with its very own music. They were called teenagers. And their music was called rock n roll:
Rock n roll created something special: The joy of hearing your parents shout out: “Turn that bloody racket down!” Because one of the social functions of rock has always been the defiance of the older generation. For performers like Elvis every gesture, every note was all about social disenfranchisement and rebellion. Elvis hit the scene wearing pink and black and leather outfits. He looked more like a pimp than a musician. “Outrageous!” reeled the grown-ups. But to the teenagers, he represented an escape from the stuffiness of the post-World War Two era.
No-one, even the musicians themselves, took rock and pop seriously, though. It was seen as a novelty, something that wasn’t meant to last. As the soundtrack to growing pains, it was temporary and disposable just like the people who made it.
By the early 60’s Beatlemania was gripping youth’s attention. The Establishment, however, remained doubtful that it was a fever that would last. Even the Beatles accepted the idea of their own inbuilt obsolescence.
With Beatlemania, and the British Invasion in general, many of the young established groups were being left behind. The tyranny of youth dictated that if you didn’t change with the times, you were old hat. One of the new incumbents was the band Manfred Mann.
In 1965 The Who recorded one of the ultimate anthems to youth, one that damned growing up and growing old. The young went on the offensive claiming their territory through guitar, bass and drums. The older generation were still recovering from a World War and all they wanted was some peace and quiet. To the younger generation old age just seemed really boring.
Ironically, the British Beat boom of the mid 60’s was based on music that was already old. Bands like the Stones, The Animals & Manfred Mann worshipped American Blues of the 20s 30s and 40s. Their recording heroes were still alive, but by rock roll’s new standards they were old men. Charlie Parker was born in 1920, Miles Davis in 1926 & Muddy Waters in 1913.
The self-absorbed rebelliousness of rock n roll gathered speed with the Rolling Stones. While the Who were busy burying the older generation, the Stones were singing about finding their satisfaction in sex.
The arrival of album culture in the late 60s proved that rock n roll was now thinking more in the long term. It didn’t sound disposable anymore. It was growing up, just like the people who made it. The Beatles Sgt Peppers album dared to imagine what life would be like at SIXTY FOUR. Up until now that was completely unthinkable for the baby boomer generation.
In the same year that the Beatles released the Sgt Peppers album, Procol Harum had a hit single with WHITER SHADE OF PALE. Things had started to get serious. The more experienced young musicians began wondering how far they could take their music. And they took their diehard fans with them. In many cases the fans had grown up with these bands and, along the way, they’d developed an appreciation of lyrics and music with more depth.
The end of the sixties saw the beginning of the rock n roll casualty list. The death of Brian Jones in 1969 seemed to crystalise a ‘live fast, die young’ attitude and brought a new reality to “I hope I die before I get old.” Janis Jopliin, Jim Morrison, Jimi Hendrix all died at 27, confirming the myth that if you wanted to be a rock legend you had to die young.
The Stones, however, seemed determined to mature. After the death of Brian Jones they picked themselves up and went back on the road. For the band, it wasn’t over yet.
By the end of the 60’s the Stones had discovered the secret of survival, at least for now. Unfortunately, the Beatles didn’t. As if to prove that longevity and rock n roll was difficult for a group of young guys growing up together, they split in 1970. The Fab Four would go on to enjoy successful solo careers for many years to come but the surge of creativity that fed them in their youth proved more elusive for them and their generation as they grew older.
Today, Mick Jagger, Paul McCartney and Pete Townsend can play arenas 45 years after they first had hits. Which is great. But the real question is: are they writing great songs? Or is the outpouring of creativity that launched their careers a factor of youth?
Herman’s Hermits got together in 1963 when lead singer Peter Noone was only 16. Their very first release, I’M INTO SOMETHING GOOD, was a #1 hit and although future recordings would get into the top ten, they were never to have a UK #1 again. The band, without Noone, continue to perform to this day and Peter Noone has gone on to have a successful career as both a singer and actor.
In the early 70’s, no performer demonstrated rock n roll’s reliance on youthful invention and raw power more than Iggy Pop. Here’s a great little doco that illustrates why he is known as the “Godfather of Punk”:
Not all rock n roll of the early 70’s was an expression of sexual energy and youthful physicality. By now prog rock was plundering the classical music collections so beloved of its middle class parents, as proof of its intention to last. It’s perpetrators, bands like Yes & Jethro Tull, seemed to be contemplating careers beyond the age of 30.
Performers found themselves living with their songs and growing into their material. One of the most requested songs from troops serving in Vietnam was I GOTTA GET OUT OF THIS PLACE by Eric Burdon & The Animals. Burdon continues to perform this song today when he entertains servicemen and women in Iraq and Afghanistan. In fact, it’s written into his contract. That’s what they call an anthem, folks.
In 1976, before the 60’s generation had a chance to mature, they were rudely cast aside by punk. It was a three-chord reign of terror, the ultimate Oedipal act. Snarling, spitting and clawing its way to the stage.
These weren’t the kids of the optimistic 60’s but a new young generation who felt abandoned. Everyone was in their way and, as always, no one understood them.
The bands of the post-punk era, like the Specials and Madness, while less dismissive of the past, still believed that rock and pop music were part of an essentially young experience.
In the early 80’s the Stones were back, yet again, having been absent from the stage for 6 years – while punk and its aftermath were the centre of attention. They were proving that they were in for the long haul.
In July 1985 the benefits of hanging in for the long term reached unexpected and unprecedented heights, with Live Aid. The international event sometimes looked like a version of Dad’s Army with acts like Paul McCartney, Bob Dylan, The Who, and the Beach Boys joining pop stars of the 80s on stage. Watched by more than 400 million viewers in 60 countries, this was the rock n roll survivor’s finest hour. Suddenly being 40 didn’t seem so uncool. These were the masters, the legends, the acts deemed capable of feeding the world.
A lot of young people heard some of the older bands for the first time, saying “These bands are fantastic.” And then, the most hated people in their musical vocabulary, their parents, responded with “Yeah, we know, we love them too!”
What had begun with Live Aid in the 80’s continued into the 90s with projects like War Child. Performers from three generations of rock n roll – Paul McCartney, Paul Weller and Noel Gallagher recorded COME TOGETHER, in the new spirit of multi-generational tolerance. It was no longer a case of ‘My Generation’ but ‘Your Generation too”. Just as importantly, audiences for the music also started to span generations.
The new millennium witnessed an entirely new phenomenon: the revival and the comeback. Leonard Cohen, already in his 70’s, had decided to stop performing and recording altogether. At least that was the plan. But after having all his money misappropriated by a crooked manager, he had to go back on the road. And guess what, he loves it!
Audiences who had grown up and grown old with their heroes wanted them back. Age had invested their favourite bands with a new authenticity. Performers couldn’t believe their luck. Even Brian Wilson returned from the wilderness to be a Beach Boy once again.
Rock n roll is now revelling in a long life. What was about risk and youth is now about enjoying a grand old age. It’s about longevity, survival, nostalgia. Refusing to grow up, give up or shut up. The whole point of the baby boomer generation is that we made it up from the beginning and we’ve been making it up ever since. We’ve been pushing the boundaries, and unlike our parents, we’ve refused to accept old age.
Many thanks to BBC and You Tube community for the wealth of material, without which this week’s show would not be possible.
Next week, my special guests will be The Fridays, performing live in the studio, plus lots of songs about RESOLUTIONS. Any suggestions/requests, please leave me a message here.
In the meantime, here’s this week’s complete playlist:
Lust For Life, Trainspotting soundtrack, Iggy Pop
My Generation, Austin Powers: The Spy Who Shagged Me soundtrack, The Who
Johnny B. Goode, Martin Scorsese Presents the Blues, Chuck Berry
Jailhouse Rock, Elvis Presley
Get A Job, Get a Job, The Silhouettes
Paul McCartney quote
Twist And Shout, Please Please Me, The Beatles
Paul Jones quote
Come Tomorrow, The Five Faces of Manfred Mann, Manfred Mann
(I’m Your) Hoochie Coochie Man, Martin Scorsese Presents the Blues, Muddy Waters
Let’s Spend The Night Together, Hot Rocks 1964-1971, The Rolling Stones
When I’m Sixty-Four, Sgt. Peppers Lonely Hearts Club Band, The Beatles
She’s Leaving Home, Sgt Peppers Lonely Hearts Club Band, The Beatles
A Whiter Shade Of Pale, The Big Chill soundtrack, Procol Harum
Brown Sugar, Sticky Fingers, The Rolling Stones
Peter Noone quote
I’m Into Something Good, The Original 60’s Summertime album, Herman’s Hermits
Iggy Pop i/view
Search And Destroy, Raw Power, Iggy Pop & The Stooges
Too Old To Rock ‘N’ Roll, Too Young To Die, Jethro Tull
We’ve Gotta Get Out Of This Place, The Most of the Animals, The Animals
God Save The Queen, Never Mind the Bollocks, The Sex Pistols
Too Much Too Young, The Singles Collection, The Specials
Baggy Trousers, Complete Madness, Madness
Mick Jagger quote
Start Me Up, Tattoo You, The Rolling Stones
Rockin’ All Over The World, Rockin’ All Over The World, Status Quo
Surfin’ USA, Endless Summer Legends, The Beach Boys
We Will Rock You, News of the World, Queen
Come Together, Help (War Child Benefit), Paul Weller & Friends
1969 (with i/view), Iggy Pop
In My Secret Life, Ten New Songs, Leonard Cohen
God Only Knows, Pet Sounds, The Beach Boys
Forever Young, Napolean Dynamite soundtrack, Alphaville
Next week: RESOLUTIONS
Ok, so there are intros and then they’re are great intros. What qualifies as great in my books? In this week’s playlist some songs feature opening segments that are totally independent from the rest of the track. Others just start with the main riff. Our opening song, INTRO/SWEET JANE is from Lou Reed’s live album Rock n Roll Animal, released in 1974, and it’s a terrific example of a great intro. The opening jam from guitarists Steve Hunter and Dick Wagner creates an air of anticipation for what is still to come. The quality of this video clip isn’t great but I had to include it because any chance to see Lou and the band performing in 1974 is worth the annoyance.
The Breeders, (what a brilliant name for an almost all girl band), was formed in 1988 by Kim Deal of The Pixies and Tanya Donnelly of Throwing Muses. Their most successful album Last Splash produced the hit single CANNONBALL and the outstanding part of that song’s intro is the bass line, performed by Josephine Wiggs. The music video was directed by Kim Gordon and Spike Jonze and its a doozy:
The opening salutation on Stevie Wonder’s SIR DUKE is not an introduction that blends into the song; those actual chords are never repeated. It’s a tribute to Duke Ellington and so the intro sets the tone for the piece as a whole, foreshadowing the looser, jazzier solos later in the song.
On Isaac Hayes’ brilliant funk version of the Dionne Warwick classic WALK ON BY the intro becomes a song within a song. On this clip Isaac performs live at Music Scene in 1969. OMG: Sex on a stick. But, about those girls dresses…..
The song ONE STEP BEYOND is from the Madness album of the same name. It was originally written and recorded by the Jamaican ska musician Prince Buster. The spoken line, “Don’t watch that, watch this” in the intro is from another Prince Buster song The Scorcher. Here they are at Glastonbury 2007 showing why they have such a great reputation for live performance:
One of the most recognisable intros in rock history is HOTEL CALIFORNIA from The Eagles. But when it comes to intros that get your attention and then drag you in, kicking and screaming, it has to be rock legends Led Zeppelin. IMMIGRANT SONG is famous for Robert Plant’s distinctive wailing cry at the beginning and the recurring staccato riff from Jimmy Page, John Paul Jones and, (sigh), John Bonham.
The Rolling Stones’ GIMME SHELTER starts rather timidly, with Keith Richards’ set of wavering chords, but it soon builds into a crescendo dominated by the lead guitar line. Here they are performing live in Amsterdam, 1995 with Lisa Fisher on back-up. Watch until the end and get a little bonus from Charlie Watts.
SMOKE ON THE WATER from Deep Purple is known for Ritchie Blackmore’s instantly recognisable opening riff. The lyrics of the song tell a true story: on 4 December 1971 Deep Purple had set up camp in Montreux Switzerland to record an album using a mobile recording studio at the entertainment complex that was part of the Montreux Casino. On the eve of the recording session a Frank Zappa and The Mothers of Invention concert was held in the casino’s theatre. In the middle of Don Preston’s synthesizer solo on “King Kong”, the place suddenly caught fire when somebody in the audience fired a flare gun into the rattan covered ceiling. The resulting fire destroyed the entire casino complex, along with all the Mothers’ equipment. The “smoke on the water” that became the title of the song referred to the smoke from the fire spreading over Lake Geneva from the burning casino as the members of Deep Purple watched the fire from their hotel across the lake.
It was difficult to pick from AC/DC’s repertoire of great introductions but I went with my all-time favourite, THUNDERSTRUCK. Angus Young gets the crowd going during this intro at Donnington 1991:
Derek & The Dominoes’ LAYLA has got to be one of rock’s definitive love songs. The introduction contains an overdub-heavy guitar solo, a duet of sorts between Duane Allman’s slide guitar and Eric Clapton’s bent notes.
A couple of controversial tracks followed, both with unique introductions. FIRESTARTER, by UK band The Prodigy, caught attention because the song was deemed, by some, to be violent. The video clip, directed by Walter Stern, further fueled these claims. Shot in stark black and white, in an used part of the London Underground, some television stations refused to air the clip. Which just makes me want to show it to you, even more! I think its brilliant.
The Prodigy are a hard act to follow but I think we succeeded with the compelling and dark Massive Attack track INTERTIA CREEPS. It’s from their excellent album Mezzanine.
When The Temptations’ PAPA WAS A ROLLING STONE was released in 1972 it was 12 minutes long! Thankfully there is a shorter version that’s suitable for radio that keeps that amazing intro intact. It begins with an extended instrumental starting with a solo plucked bass guitar, backed by hi-hat cymbals. Other instruments including a blues guitar, wah-wah guitar, Wurlitzer Electric Piano, handclaps, horns and strings gradually join in.
In 1974 David Bowie became obsessed with soul music and it resulted in the album YOUNG AMERICANS, which he created with the help of the great soul singer Luther Vandross. Here’s the Thin White Duke on the Dick Cavett Show in 1974 with, amongst others, Vandross singing back-up! Loving the shoulder pads.
The Beatles track I FEEL FINE was the first recorded song to feature guitar feedback. The story goes that, while recording, John Lennon accidentally left his guitar too close to his amp, producing the interesting whine that’s in tune with the riff’s opening note.
As an intro to our Gig Guide, I couldn’t resist playing some of Screamin’ Jay Hawkins’ I PUT A SPELL ON YOU. The demented opening and the cabaret style act, together with a cigarette smoking skull called ‘Henry’, laid the foundation for future ‘shock rock’ performers like Dr. John.
Another iconic opener belongs to the The Small Faces tune TIN SOLDIER. Here’s some rare coverage of the band with P.P.Arnold on Belgium TV in 1968. Go the Mods!
Quentin, from BayFM’s ‘Q’s Blues & Jazz’ suggested I do a show on Roads and Streets but I’d already done that quite a while ago. (I know, even I can’t remember what themes I’ve covered most of the time!). But she planted a seed that led me to Gerry Rafferty BAKER STREET and that consequently led to this week’s theme. So thank you Q! BAKER STREET has a stand-out opening with its prominent eight-bar saxophone hook, played by Raphael Ravenscroft.
As we headed for the close of the show, my favourite rock groups came to the fore. Pink Floyd’s MONEY had to be included for its distinctive opening of an impressive bass line and its seven-beat loop of money related sound effects.
While the Beatles may have been the first band to use feedback on a recording, the incredible Jimi Hendrix perfected the art. Again, which track to choose? FOXY LADY has always been a favourite and it does feature that almost excrutiating feedback at the beginning.
Our final track had me pushing up the sound and dancing out of the studio. Led Zeppelin seem to specialise in fantastic opening segments. A track that I absolutely adore is KASHMIR.
Next week we’ll be previewing the Mullumbimby Music Festival. Lots of great music and, I hope, an interview or two. Should be fun.
Here’s the complete playlist from this week’s show on Great Introductions:
Intro / Sweet Jane – Rock And Roll Animal, Lou Reed
Cannonball – Last Splash, The Breeders
Sir Duke – Songs In The Key Of Life [Disc 1], Stevie Wonder
Walk On By – Dead Presidents, Isaac Hayes
One Step Beyond – Total Madness: The Very Best Of Madness Madness
Hotel California – Hotel California, The Eagles
Immigrant Song – Rock 3, Led Zeppelin
Gimme Shelter – Hot Rocks, 1964-1971 [Disc 2], The Rolling Stones
Wipe Out – The Perfect Wave, The Surfaris
Smoke On The Water – Machine Head, Deep Purple
Thunderstruck – Razor’s Edge, AC/DC
Layla – Layla & Other Assorted Love Songs, Derek and The Dominos
Firestarter – Fat of the Land, The Prodigy
Inertia Creeps – Mezzanine, Massive Attack
Papa Was A Rollin’ Stone – Motown: The Classic Years [Disc 2], The Temptations
Young Americans – Young Americans [Bonus Tracks], David Bowie
I Put A Spell On You – Replay/Gold – Vol 1 No 5, Screamin’ Jay Hawkins
I Feel Fine – Beatles 1, The Beatles
Tin Soldier – The Best Sixties Album In The World Ever III-[Disc 2], The Small Faces
Baker Street – City To City, Gerry Rafferty
Money – Pink Floyd, Pink Floyd
Foxy Lady – Experience Hendrix: The Best Of Jimi Hendrix, Jimi Hendrix
Kashmir – Physical Graffiti, Led Zeppelin
Next week: MULLUMBIMBY MUSIC FESTIVAL PREVIEW
I can’t believe that going into our 5th season I still hadn’t put a show together on carnivals, circuses and the like. Well, we remedied that this week. A great introduction was supplied by Eddie Izzard doing a cover of The Beatles BEING FOR THE BENEFIT OF MR KITE. It’s from the soundtrack to the film Across The Universe directed by Julie Taymor. “Just tune in, turn off, drop out, drop in, switch on, switch off, and explode!”
Yes, I know that the Red Hot Chilli Peppers do a great version of LOVE ROLLERCOASTER, but it was the original that made the playlist. It first appeared on the Ohio Players Honey album in 1975. In this clip from the television show Midnight Special, you get the bonus of Wolfman Jack doing the intro and some crazy boy dancers. Ahhh the 70’s.
Thanks to Ku Promotions for our giveaway this week: two tickets to The Audreys’ concert. They’re a band of four boys and one girl, playing rootsy kind of music and are based in Adelaide, Australia. They have released two records, one in 2006 called Between Last Night and Us and one in 2008 called When the Flood Comes, both of which has won the ARIA Award for Best Blues and Roots Album. I’ve seen them perform twice now and they really are a knockout. Their latest album, Sometimes the Stars, features the track TROUBLE SOMEHOW:
I love the collaborative work between Mark Lanegan (ex Queens of the Stone Age) and Isobel Campbell (ex Belle & Sebastian). THE CIRCUS IS LEAVING TOWN is from their latest album, Ballad of the Broken Seas. Here’s a great interview with them which features a slice of the song within it. It was shown when Isobel won the Mercury Prize for the album, which she produced.
Total change of pace came with a couple of tracks from the 60’s: Al Johnson with CARNIVAL TIME from his 1962 album, Mardi Gras in New Orleans and Freddie Cannon with his hit, PALISADES PARK. And just to mix it up a bit I threw in some Fun Lovin’ Criminals with CONEY ISLAND GIRL.
The Stylistics were one of the most successful soul groups of the early 70’s and their song SIDESHOW fitted the theme perfectly. As did a true classic from Smokey Robinson and the Miracles – THE TEARS OF A CLOWN.
Nellie the Elephant is a classic children’s song written in 1956. It became a UK #1 hit for punk band, The Toy Dolls, when they covered the song in 1983. Michael ‘Olga’ Algar, led vocalist, guitar and bass player, is the only remaining member of the original line-up, who continue to perform. I love the way that they used the aesthetics of punk to express a real sense of fun.
This following clip is from the Martin Scorsese film The Last Waltz, a documentary of the concert by The Band, held on Thanksgiving Day, November 25 1976. It was advertised as the group’s last show and they were joined by an illustrious line-up of talent including Van Morrison. Here they are with CARAVAN:
The Decemberists’ songs range from upbeat pop to instrumentally lush ballads, and often employ instruments like the accordian, Hammond organ, Wurlitzer organ and upright bass. In their lyrics, the band rejects the angst and introspection common to modern rock and instead favour a storytelling approach, as evidenced in songs such as MY MOTHER WAS A CHINESE TRAPEZE ARTIST. It’s from the 5 Songs EP.
The 1986 Madness song (Waiting for) THE GHOST TRAIN was actually about apartheid in South Africa but hey, I love the title and based on that alone it made the playlist.
“I got blisters on my fingers!!!!” yells Ringo Starr, (I think), at the end of The Beatles’ frenetic HELTER SKELTER. Written by Paul McCartney, he deliberately tried to create a sound that was as loud and dirty as possible. Done.
Moving onto something a lot more mellow, it was Alison Goldfrapp with the very beautiful CLOWNS from her 2008 album Seventh Tree. And you thought I only played the old stuff. Oh you of little faith!
With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the ’80s. He was inspired equally from bluesmen like Albert King, Otis Rush and Muddy Waters and rock & roll players like Jimi Hendrix and Lonnie Mack as well as the stray jazz guitarist Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre. It’s been said that Vaughan bridged the gap between blues and rock like no other artist had since the late ’60s. His tragic death in 1990, at the age of 35 in a helicopter accident, only emphasized his influence in blues and American rock & roll. Here he is with Double Trouble performing TIGHTROPE:
There Goes Rhymin’ Simon is the second solo studio album from Paul Simon, released in 1973. the album covers several styles and genres. Our choice from the album was, of course, TAKE ME TO THE MARDI GRAS.
Natalie Merchant has been quoted as saying that she named her first solo album Tigerlily because the word evoked a feeling that was both ‘fierce’ and delicate’. Released in 1995 the album included the hit single CARNIVAL in which the protaganist compares the colourful sights and sounds of New York with being at a carnival.
A trio of guilty pleasures were lined up next: Back in 1967 The Hollies released ON A CAROUSEL and Manfred Mann were also were enraptured with the circus on HA! HA! SAID THE CLOWN. But the guiltiest of pleasures was still to come: In 1971 Cher released her first chart-topper, as a solo artist, in the United States: GYPSIES, TRAMPS AND THIEVES. Come on, you’ve gotta love Cher!
Swedish group, The Cardigans, had their first international breakthrough with their 1995 album Life which included the track CARNIVAL, a very cruisy pop tune with the gorgeous Nina Persson on vocals.
Beirut is an interesting band. They’re American yet their music combines elements of Eastern European and Balkan folk with Western pop music. They successfully fuse mainstream and indie-rock with the World Music market and consequently have a very unique sound. CAROUSELS, from their 2007 album Lon Gisland, is a great example of their work.
Beirut proved to be a great lead in to our final song of the day, the very gothic CARNY by Nick Cave and The Bad Seeds. I love the use of accordian on this track (thanks to Warren Ellis). It gives the song an even more intense circus-like feel.
I’m happy to say that I’ll be back for another season of the Theme Park, same time same airspace. So keep listening locally on BayFM99.9 or streaming live on BayFM.org. And I’d love to get your suggestions for next week’s show, which will be on GAMBLING.
Here’s this week’s complete playlist:
Being For The Beneﬁt Of Mr. Kite – Across The Universe, Eddie Izzard
Carnival – The Black Rider, Tom Waits
Love Rollercoaster – Funk Classics, The 70’s, Ohio Players
Enter The Circus – Back To Basics, Christina Aguilera
Troubles Somehow – Sometimes the Stars, The Audreys
The Circus Is Leaving Town – Ballad of the Broken Seas Isobel Campbell and Mark Lanegan
Carnival Time – Mardi Gras In New Orleans, Al Johnson
Palisades Park – The Rock ‘n’ Roll Classics, Freddy Cannon
Coney Island Girl – Come Find Yourself, Fun Lovin’ Criminals
Sideshow – Ultimate Slow Jams 9 [Disc 4], The Stylistics
The Tears Of A Clown – Motown’s Biggest Pop Hits, Smokey Robinson and The Miracles
Nellie The Elephant – The Wonderful World Of The Toy Dolls, Toy Dolls
Caravan – The Last Waltz [Disc 2], The Band + Van Morrison
My Mother Was A Chinese Trapeze Artist – 5 Songs, The Decemberists
Goodbye Cruel World – Jukebox Hits 1961, James Darren
The Ghost Train – Rock TV Classic, Madness
Helter Skelter – The Beatles (White Album) [Disc 2], The Beatles
Clowns – Seventh Tree, Goldfrapp
Tightrope [Live] – SRV (Disc 3), Stevie Ray Vaughan & Double Trouble
Take Me To The Mardi Gras – There Goes Rhymin’ Simon, Paul Simon
Carnival – Tigerlily, Natalie Merchant
Fire Eater – Naturally, Three Dog Night
Ha! Ha! Said The Clown – Manfred Mann
On A Carousel – The Hits Of 1967, The Hollies
Gypsies, Tramps And Thieves – Billboard Top Rock ‘N’ Roll Hits: 1971, Cher
Carnival – Life, The Cardigans
Carousels – The Lon Gisland EP, Beirut
The Carny – The Best Of, Nick Cave and The Bad Seeds
Insects and spiders can be an absolute nuisance, especially in summer. They get in our hair, on our skin, even in our beds. They suck our blood and destroy our veggie gardens. But they also keep nature in balance, if we don’t go crazy with insecticides that is. And without those busy little bees we wouldn’t have all that lovely honey. So, like most of the subjects I pick for this show, our relationship with these creeping, crawling, flying and buzzing creatures is a complex one.
James Brown knows what I mean. He’s got ANTS IN HIS PANTS AND HE NEEDS TO DANCE Ouch! A great follow up to that was English soul singer Alice Russell with A FLY IN THE HAND. Here she is performing live in 2008. Great voice.
The B-52s’ song JUNE BUG is about a little beetle that only comes out at night. Sounds like a friend of mine. Lead singer, Fred Schneider, says the song’s message is to “go organic, don’t use pesticides”. Excellent. Loving the sound effects too.
Jason Mraz followed with a nice piece of pop about a BUTTERFLY and then it was Nina Simone with probably the best title for a song this week: FUNKIER THAN A MOSQUITO’S TWEETER. What is a mosquito’s tweeter? I have no idea and neither did any of our listeners when I asked. Anyone who does, please let me know.
The Eels do a great song about relationships, (the love/hate kind), called ANT FARM. And I’ve always loved Carly Simon’s version of ITSY BITSY SPIDER too. Who knew that there could be so many good songs about insects?
The Blues artists know how to make a song on any subject sound provocative. Slim Harpo does it to perfection with the very suggestive I’M A KING BEE. But if you want a funny song about a creepy crawly then you can’t go past country singer Jim Stafford’s rendition of SPIDERS & SNAKES.
Our hard-working BayFM President, Ros, suggested Ziggy Marley’s DRAGONFLY. Did you know that dragonflies can fly both forward and backward? And they can fly up to 30 miles an hour. Perfect choice for someone who doesn’t ever seem to stay still.
The Who’s BORIS THE SPIDER was written by the band’s bassist John Entwistle. It was supposedly Jimi Hendrix’s favourite Who song. Go figure.
I love the quirkiness of the Presidents of the United States and BOLL WEEVIL is a great example of their crazy novelty punk style. It’s from their self-titled album, released in 1995.
Butterflies have to be one of the most beautiful creatures on earth and they are just so important ecologically, as agents of pollination. So I made sure that there were a few songs about these wonderful flying insects in the show. One of my favourites is by Corrine Bailey Rae. She says that the song BUTTERFLY was written with her Mum in mind.
Another terrific butterfly song is by Chakra Khan. It’s called PAPILLON, which if my schoolgirl French serves me correctly, also means butterfly.
Some butterflies have evolved symbiotic and parasitic relationships with social insects such as ants. So it seemed the right time to introduce Adam Ant with his signature tune, ANTMUSIC.
Louie the Fly introduced a couple of songs about a much maligned little insect:
SHOO FLY PIE AND APPLE PAN DOWDY, by Doris Day, isn’t so much about a fly than about a pie made with molasses. This sticky, sweet substance attracts flies that have to be “shood” away. Tim Buckley’s song BUZZIN’ FLY is also about being attracted to something sweet, but in this case it’s a girl’s affections.
Did you know that the humble cockroach has been around for over 350 million years?
They Might Be Giants, do a very cheeky version of the SPIDER MAN theme song that had to be included. And then it was another suggestion from Andrew, one of the few Theme Park listeners who could come up with a suggestion for this week’s topic. It was a terrific song that I had totally forgotten: A SONG FROM UNDER THE FLOORBOARDS by Magazine. Here they are performing on the Jools Holland show in 2009:
We definitely needed a bit more Blues in the show, especially as I was giving away a great DVD, RED, WHITE AND BLUES, part of the 7 part series on the Blues by Martin Scorsese. This part, on the Blues in Britain, was directed by Mike Figgis, director of the film Leaving Las Vegas. Congratulations Mike who won that. Enjoy.
So, looking for more Blues, I couldn’t go past John Lee Hooker’s song about spiders, CRAWLIN’ BLACK SPIDER.
Robyn Hitchcock has a bit of a thing about spiders with both an album and an EP with tarantula in the name, but INSECT MOTHER is actually from his first album with The Egyptians, Fegmania.
Andrew had another great suggestion: Iggy Pop’s LOCO MOSQUITO. Heres a bit of insect trivia for you: Did you know that a mosquito beats its wings an amazing 500 times per second? No wonder I can never catch the little buggers.
The Dire Straits song THE BUG is about how random life is. One minute you’re the windshield, the next you’re the bug. So yeah, live life to the fullest is what I suppose they are suggesting, because you never know when it might all end.
On that note, its only fair that we finished the show on an up note. What better than something from disco diva Tina Charles. She’s been bitten by the best bug of all: THE LOVE BUG.
I’d love to have your suggestions for next week’s show which, as a lead up to my election show the following week, will be on TRUTH AND LIES. I think this has the potential to be a really interesting show, so get your thinking caps on.
For now, here’s this week’s full playlist:
I Got Ants In My Pants -The Big Payback, James Brown
A Fy in the Hand (Remix) – Alice Russell
Junebug – Cosmic Thing, B52s
Butterﬂy – We Sing, We Dance, We Steal Things, Jason Mraz
Funkier Than A Mosquito’s Tweeter – Nina Simone
Ant Farm – Electro-Shock Blues, Eels
Coming Around Again/Itsy Bitsy Spider – Greatest Hits Live, Carly Simon
Glow Worm Cha-Cha-Cha – Ultra Lounge, Jackie Davis
I’m A King Bee – Martin Scorsese Presents The Blues, Slim Harpo
Spiders & Snakes – Jim Stafford
Dragonﬂy (Live) – Love Is My Religion Re-release, Ziggy Marley
There’s A Change In The Weather (extract to intro Weather update) Preservation Act 1, The Kinks
Boris the Spider – My Generation: The Very Best of the Who, The Who
Boll Weevil – The Presidents of the United States, The Presidents of the United States
Butterﬂy – Corinne Bailey Rae, Corrine Bailey Rae
Papillon – The Platinum Collection, Chaka Khan
Antmusic – Antbox 2, Adam Ant
Louie the Fly (Mortein ad)
Shoo Fly Pie and Apple Pan Dowdy – The Story of Jazz, Doris Day
Buzzin’ Fly – The Dream Belongs To Me, Tim Buckley
La Cucharacha – Born Free, The George Mann Orchestra
Spider Man – They Might Be Giants
A Song from Under the Floorboards – Real Life and Thereafter / Forum, Magazine
Crawlin Black Spider – Boom Boom CD2, John Lee Hooker
Loco Mosquito – The Best of Iggy Pop, Iggy Pop
Insect Mother – Luminous Groove, Robyn Hitchcock And The Egyptians
The Bug – On Every Street, Dire Straits
Love Bug – Greatest Hits, Tina Charles
Next week: TRUTH & LIES
Listen to Lyn McCarthy at the Theme Park on BayFM, Tuesdays 4-6pm, Sydney time
You may have heard that revenge is sweet but the truth is that it can be devastating, (well for one of you at the very least!). Hey, but I’m not here to give you a reality check. We all know that being sensible is incredibly difficult when you’re the one suffering from jealousy, or you’re demoralized, humiliated or simply just mad as hell. It’s times like these that you can’t be blamed for at least fantasizing about acts of vengeance.
Songwriters are in a great position to retaliate against slings and arrows than us mere mortals. They can attack their enemies in song and get away with it. Its non-violent and, (here’s the best bit), they even get paid to do it! How good is that? Maybe success is the best revenge!
We started the show with the ‘Godfather of Soul’, Mr. James Brown, singing THE PAYBACK from the album of the same name, released in 1974. The song’s lyrics are about the revenge Brown intends to take against the man who betrayed him, stole his money and his woman. Triple ouch! Here’s a clip from a show he did in Zaire in the same year as the album was recorded. Loving the bling.
Why shouldn’t Ben Folds get a little upset on SONG FOR THE DUMPED? After all, she took off with his black t-shirt. Unforgiveable.
Two of the great revenge songs have been covered ad infinitum. Wilson Pickett does a great version of STAGGER LEE as does Sam Cooke with FRANKIE & JOHNNY so, of course, both had to be included in the list.
When Alanis Morissette recorded the album Jagged Little Pill it changed the course of her career. The whole album is a revenge tactic against an old boyfriend but YOU OUGHTA KNOW is the standout track. Here’s a clip recorded live at Nulles Part Aillerurs in 1995. No longer the pop/dance artist of her teenage years, she’s quite the rock chick by this stage.
Lily Allen is hilarious on her revenge song, NOT BIG. Is there a better way to get revenge on a guy than to suggest that he doesn’t stack up in a certain department? The gorgeous Rihanna, on the other hand resorts to BREAKIN’ DISHES when her man has been out all night cheatin’. Of course this was way before a certain incident indicated that breaking dishes wasn’t going to make much difference to this girl’s love life. But let’s don’t go there. There’s been enough said, surely. Let’s just check out a very hot performance:
It was time for a response from the male sector: Robert Cray tried to convince us that he came out on top in I GUESS I SHOWED HER. And on BB King’s and Etta James’ THERE’S SOMETHING ON YOUR MIND, you have to wait a while for the punchline, but it’s worth it.
The Beatles deliver a nice little revenge tale with ROCKY RACOON, from their White Album, and The Dixie Chicks use comedy to get away with murder in a song aimed squarely at the issue of domestic violence on GOODBYE EARL.
Jimi Hendrix does a great version of HEY JOE, about a guy who takes retribution when his wife cheats on him. Here he is performing on the TV show ‘It’s Lulu’, sometime in the 70’s, and I love the expression on his face when the guitar goes out of tune for a second. A bit of a bonus too, with an extra song – dedicated to Cream – ‘Sunshine of Your Love’.
Mississipi John Hurt sings about a woman who takes some drastic action when her man does her wrong on FRANKIE. Bob Dylan’s revenge song steers away from domestic dilemmas and, instead, is aimed squarely at the Greenwich Village residents who criticized his departure from traditional folk towards the electric guitar and rock music. The song is POSITIVELY 4th STREET.
Robyn requested IT’S ALL OVER NOW BABY BLUE. She loves the song so much she suggested that I could play any version I like. So here’s Graham Bonnet with his excellent cover of the Bob Dylan classic. The clip is dated 1977. Thanks Rob!
I also included two New Wave songs that fit our theme of ‘Revenge’ very nicely. First up, another request from Robyn: Graham Parker gives the bird to all those girls that rejected him once upon a time on LOCAL GIRLS. And Deborah Harry sounds something akin to a ‘bunny boiler’ on a track that takes me back – ONE WAY OR ANOTHER.
Next up, it was a brilliant revenge song from the Drive By Truckers. THE WIG HE MADE HER WEAR is from their latest album The Big To Do and is, in my humble opinion, the best thing on it. Wish I had a decent clip of this track for you but alas, nowhere to be found.
Another request came from Judi. She wanted to hear any version of CRY ME A RIVER. When you give me carte blanche like that what am I to do than to take the opportunity to slip in the very sensuous voice of Julie London? Judi, who lives miles away in Cairns, Northern Queensland, tells me that she listens on the Internet. You can do that too you know. Just go to the BayFM.org site at the time the show is on air and press the listen button. Simple as that.
For something completely different, it had to be Kate Miller-Heidke with a song that I had to censor a little for radio. But no problem with uploading a clip here on the blog, assuming you don’t mind very funny, if explicit, lyrics. Here’s a live version of ARE YOU F****ING KIDDING ME? (THE FACEBOOK SONG).
Had to include the classic revenge song, Nancy Sinatra’s THESE BOOTS ARE MADE FOR WALKING and something just a little more serious, J.J. Cale’s quite disturbing song about retribution, RIVER RUNS DEEP. But for a different kind of revenge song altogether, how about WHAT IF WE ALL STOPPED PAYING TAXES?, from Sharon Jones and the Dapkings. Yeah, let’s get back at the government! Brilliant idea.
We closed the show with an amazing track from The Decemberists: THE MARINER’S REVENGE SONG, a song filled with evil sea captains, vengeful mariners, giant whales, and much sea-faring woe. Revenge of the nerds, indeed.
Next week I won’t be here, but the lovely Des will be filling in for me with a show on MEN and I’ll be back the following week with a show on MADNESS.
In the meantime, remember that the greatest revenge is to live well.
Here’s this week’s complete playlist:
The Big Payback – The Big Payback, James Brown
Song for the Dumped – Whatever and Ever Amen, Ben Folds Five
Stagger Lee – I’m in Love, Wilson Pickett
Frankie & Johnny – Greatest Hits, Sam Cooke
You Oughta Know – Jagged Little Pill, Alanis Morissette
Not Big – Lily Allen
Breakin’ Dishes – Good Girl Gone Bad, Rhianna
I Guess I Showed Her – Strong Persuader, Robert Cray
There’s Something On Your Mind – BB King & Etta James
Revenge of the Sugar Plum Fairy – Transiberian Orchestra
Rocky Racoon – The Beatles (White Album) [Disc 1], The Beatles
Goodbye Earl – Fly, Dixie Chicks
Hey Joe – Jimi Hendrix
Frankie – Martin Scorsese Presents The Blues, Mississippi John Hurt
Positively 4th Street – Biograph (Disc 2), Bob Dylan
It’s All Over Now Baby Blue – Graham Bonnet
Local Girls – Squeezing out Sparks, Graham Parker
One Way or Another – Parallel Lines, Blondie/Deborah Harry
The Wig He Made Her Wear – The Big To-Do, Drive By Truckers
Cry Me A River – Diva Classics Icons, Julie London
Are You F*cking Kidding Me (Facebook Song) – Live At the Hi-Fi, Kate Miller-Heidke
These Boots Are Made For Walking – Boots, Nancy Sinatra
River Runs Deep – Naturally, J.J. Cale
What If We All Stopped Paying Taxes – The Dynamic Funk and Soul Sound of Daptone Records, Sharon Jones & The Dap-Kings
The Mariner’s Revenge Song – Picaresque, The Decemberists
Week after next: MADNESS
Listen to Lyn McCarthy at the Theme Park on BayFM, Tuesdays 4-6pm, Sydney time
Just to prove that I don’t take anything too seriously, especially sex, we opened this week’s show with BUSINESS TIME from the absolutely brilliant Flight of the Conchords.
The ‘sexy’ theme seemed to connect with many of our listeners because I had quite a bit of input this week. And its clear that different music serves different moods. For smooth and erotic you can’t go past R&B and for hot and heavy it has to be rock or funk. I tried to steer away from the patently obvious, but some sex anthems just couldn’t be omitted because, hey what the hell, they do it for me!
What makes a song sexy? Sometimes it’s in the smallest details. It can be an erotic tone to the voice or a throbbing bassline. A song that does both has to be AM I THE ONE from the amazing Beth Hart.
On FOXY LADY, Jimi Hendrix’s instrument isn’t so much a guitar as a penis with an amplifier. Even Hendrix might have met his match with Betty Davis, especially when she sings IF I’M IN LUCK I MIGHT JUST GET PICKED UP. Her hubbie, Miles Davis, suspected the two of having an affair at one stage. Despite the song’s title, her carnal, funk-rock delivery leaves no doubt as to who’s picking up who here.
OK, let’s calm down a bit. Time for the wonderful Dusty Springfield with BREAKFAST IN BED. On this track she offers a shoulder to cry on, and much more as well. I have to agree with listener Ian that Al Green just can’t be left out of a playlist of sexy songs, so I included LETS STAY TOGETHER to keep both of us happy.
Dinah Washington and Julia Lee were a couple of free-spirits who used the thin veil of double entendre to sing about their basic desires. Long before she made a name for herself singing the Great American songbooks, Washington often sang from a far more racy playlist that included the blatantly provocative BIG LONG SLIDIN THING. And Julia Lee & Her Boyfriends weren’t ashamed to demand that you DON’T COME TOO SOON.
Chris Isaak is one sexy looking dude and the perfectly pitched WICKED GAME was a certainty for this list. As was the far more explicit HEAD from pocket sexpot Prince. You can’t get a decent Prince clip and I prefer to show you the Isaak clip any old way. Helena Christiansen and Chris Isaak, directed by Herb Ritts. A no-brainer.
Santana’s SAMBA PA TI was suggested by Lynden who says that author Nick Hornby nominated it as a ‘song that exudes sex, despite having no lyrics/ vocals”. I think he may be right.
Alison Goldfrapp is the perfect fusion of disco, glam and electro. Not to mention sex. Check out the video clip of TWIST:
Is there a lyric as sexy as Kate Bush’s breathy, evocative “Mmmm yes” on THE SENSUAL WORLD?
Tim Buckley’s GET ON TOP was requested by Tracey, who assures me that his album, ‘Greetings From LA’ is what you need if you want to rock the Casbah with someone special. I can’t actually argue with that. After all, he talks in tongues and how good is that?
One of my favourite sexy songs comes from ex Belle & Sebastian member, Isobel Campbell, and Queens of the Stone Ager, Mark Lanegan, who sing the very provocative COME ON OVER TURN ME ON. Irresistible. I’d be over in a flash.
Don’t ask me what the title of Happy Mondays BOB’S YER UNCLE means but the lyrics seem to have as much to do with an Uncle Bob as Prince’s Red Corvette is about a car.
Fiona Apple’s song CRIMINAL is apparently a guilty admission about using your sexuality to get what you want. So that’s a bad thing, right?
Two songs that I find pretty sexy, although they couldn’t be more different, followed. On paper, the lines, “Will you come inside me/Do you wanna ride inside my love?” would seem to defy subtlety, but Minnie Riperton’s famous five-octave range lends those words an almost spiritual dimension on INSIDE MY LOVE. Minnie’s polar opposite is the one and only Janis Joplin. From one of my top 10 albums, Cheap Thrills, I chose the desperate yearning of I NEED A MAN TO LOVE.
How sexy is Marvyn Gaye’s LET’S GET IT ON? Here he is a the 1980 Monreux Festival. Someone hand that man a towel! Hotter than hot.
Another sexy song, from the gorgeous vamp Meow Meow, is I’M HUNGRY (AND THAT AIN’T RIGHT). She’s a fantastic New York based cabaret performer that I saw in Sydney in March. If you ever get a chance to catch her act, do it!
Heading towards the end of the show and I hadn’t played any hard rock! Easily fixed with AC/DC’s YOU SHOOK ME ALL NIGHT LONG. The music video has proven to be somewhat controversial with its use of leather clad women and a mechanical bull. During the shot with the bull, the woman playing lead singer Brian’s lover accidentally jabbed herself with her spur twice. The roadie who came to her aid married her a year later. Angus gave them a mechanical bull for a wedding present as a joke. When asked about the meaning of the video, the band said that its goal was to, quote, “be as politically incorrect as possible.” See what you think:
A natural closer was another rock classic – WHOLE LOTTA LOVE, by Led Zeppelin and we even got to fit in about 20 seconds of disco queen Donna Summer’s LOVE TO LOVE YOU BABY. Oh, come on, I had to have at least one disco cliche in there, surely.
Thanks to Steve from Sax Leather in the Byron Industrial Estate for a great giveaway of some very saucy sex toys. And thanks too to the Gay Mardi Gras Film Festival, which is taking place this weekend at the Dendy Cinemas, for their ticket giveaway.
Thanks also to Lynden, Tracey, Julie, and Steve for your suggestions this week. Apologies to those whose songs didn’t make the list including Andrew whose pick of Ian Dury’s WAKE UP AND MAKE LOVE TO ME, while amusing, wasn’t what I’d call erotic. But I love having your input. And that brings me to next week’s theme, which was going to be on Winter until I remembered that I’d done that last June! So a little segue to the left and we’ll do a show on BAD WEATHER. Rain, storms, wind and even snow. So get your thinking caps on, preferably a nice little woolly beanie and let me know what you’d like to hear.
Here’s this week’s playlist:
Business Time – Flight of the Conchords
Am I The One – Beth Hart
If I’m In Luck I Might Get Picked Up – Betty Davis, Betty Davis
Foxy Lady – Experience Hendrix: The Best Of Jimi Hendrix, Jimi Hendrix
Breakfast In Bed – Anthology Disc 2, Dusty Springﬁeld
Let’s Stay Together – Tarantino Experience II, Al Green
Big Long Slidin’ Thing – Ultimate Rock N’ Roll Drinkers & Sinners, Dinah Washington
Don’t Come Too Soon – Ultimate Rock N’ Roll Drinkers & Sinners, Julia Lee And Her Boyfriends
Wicked Game – Best of Chris Isaak, Chris Isaak
Head – Dirty Mind, Prince
Samba Pa Ti – The Ultimate Collection (CD1), Santana
Twist – Black Cherry, Goldfrapp
The Sensual World – The Sensual World, Kate Bush
Get On Top – Greetings From L.A., Tim Buckley
Come On Over (Turn Me On) – Sunday At Devil Dirt, Isobel Campbell And Mark Lanegan
Criminal – Fiona Apple
Bob’s yer Uncle – The Platinum Collection [Re-Mastered], Happy Mondays
Inside My Love – Perfect Angel / Adventures In Paradise, Minnie Riperton
I Need A Man To Love – Cheap Thrills, Janis Joplin/Big Brother & The Holding Company
Stay With Me Til Dawn – Smooth Groove Masters
Let’s Get It On – Anthology (Disc 2), Marvin Gaye
I’m Hungry (and that ain’t right) – Here kitty kitty … the lost sessions, Meow Meow & Thomas M.Lauderdale
You Shook Me All Night Long – Back in Black, AC/DC
Whole Lotta Love – Early Days: The Best of Led Zeppelin, Vol. 1, Led Zeppelin
Love To Love You Baby – Donna Summer
Next week: BAD WEATHER
Listen to Lyn McCarthy at the Theme Park on BayFM, Tuesdays 4-6pm, Sydney time
This week’s theme is ostensibly about shelter which in the dictionary sense is a building. But it’s hard to express a real sense of bricks and mortar in a song. Let’s face it, do you learn anything about being in jail from Jailhouse Rock? Convincing songs about buildings, or shelters, are really songs about the people who find themselves in them, by design or not.
We started this week’s playlist with music’s most famous home away from home – Elvis Presley’s HEARTBREAK HOTEL. You’ll find it down at the end of Lonely Street. We followed with Lucinda Williams who gets a little bit of help from Elvis Costello. He’s a three-time loser and consequently she’s got a case of JAILHOUSE TEARS. The track is from the very excellent ‘Little Honey’ album.
The Rolling Stones’ GIMME SHELTER is usually associated with the Vietnam War (it was released on the 1969 album Let It Bleed). The lyrics, which speak of seeking shelter from a coming storm, painting a picture of devastation and disaster but it also talks of the power of love. We followed with a fantastic Irish singer, Mary Coughlan with a song about prostitution: THE HOUSE OF ILL REPUTE.
Aretha Franklin funks up Hal David’s lyric, “a-house-is-not-a-home” on THE HOUSE THAT JACK BUILT and we followed with The Temptations, who prove that even Motown wasn’t immune to the Psychadelic era with PSYCHEDELIC SHACK.
Can you believe that Bob Dylan has turned 69? Yikes. We wished him happy birthday for May 24 with SHELTER FROM THE STORM. The Housemartins’ swansong was a song called BUILD, about the widespread construction in the 1980s that spelt disaster for working-class communities.
A nice change of tone came from the gorgeous Julie London who wants you to COME ON A MY HOUSE. And she’s got candy. How good is that?
MANSION ON THE HILL is a Neil Young song from his 1990 album ‘Ragged Glory’. The clip is an absolute hoot. Enjoy.
Norwegian singer/songwriter, Ane Brun, who recently toured Europe with Peter Gabriel, sings a great song about shelter called THE TREEHOUSE SONG. The Basement Jaxx song TAKE ME BACK TO YOUR HOUSE first appeared on their 2006 album ‘Crazy Itch Radio’. The album features Swedish popster Robyn among the guest vocalists. Another interesting video too:
Irma Thomas sent us a great message about the emotional refuge that a true friend can give you during hard times in the song SHELTER IN THE RAIN. Jimi Hendrix sings about his house on the hill; He’s got a bad, bad feeling his baby don’t live there no more. But, as he so eloquently puts it, ‘That’s Ok cause I’ve still got my guitar”. The song is RED HOUSE.
Blur had a big hit with a song that tapped into a common ideal of escaping the rat race and living in a COUNTRY HOUSE.
A SUGAR SHACK refers to a small building n which maple syrup is processed. Its also the name of a song written in 1962 by Keith McCormack and his aunt Fay Voss. It was a hit for Jimmy Gilmer and the Fireballs but I preferred to play the Ricky Nelson version.
Two songs that link houses with fire, at least metaphorically, are Natalie Merchant’s THIS HOUSE IS ON FIRE and BURNING DOWN THE HOUSE by Talking Heads.
Arguably the most idiosyncratic song in the playlist this week would be Mmmmm… SKYSCRAPER I LOVE YOU by Underworld, otherwise known to their Mums as Karl Hyde and Rick Smith. Not quite Kraftwerk, but still lots of fun.
The Rapture put a cowbell to good use in their very catchy dance-punk number, HOUSE OF JEALOUS LOVERS:
Elvis Costello celebrated the amazing art deco Hoover factory, that welcomes drivers entering London on the Western Avenue, in HOOVER FACTORY. While David Byrne, revisiting themes from his Talking Heads days, gave us GLASS, CONCRETE & STONE. It’s about a weary worker whose residence is “a house, not a home”. There’s that Hal David lyric again.
The ultimate shelter song for Byron Bay, with our own iconic lighthouse is, of course, THE LIGHTHOUSE SONG from Josh Pyke.
We finished the show on an upbeat note with the B-52s and LOVE SHACK. The song’s inspiration was a cabin in Georgia, complete with tin roof, where the band conceived “Rock Lobster”, a single from their first album. B-52’s singer Kate Pierson lived in the cabin in the 1970s, and the cabin existed until 2004, when it burned down in a fire.
The topic for next week’s show was requested some time ago by Nicole, but I’ve been waiting until I’m in the right mood. The theme is SEXY SONGS. Now I’m not suggesting that this is a playlist to have sex to. To be honest I don’t think I want to know what other people listen to in bed! Not all the songs will even be about sex, but they will have an erotic charge to them. And, yes, I know its all incredibly subjective but, hey, every week’s show is. And I may just have a very interesting giveaway for you too. This is one that shouldn’t be missed!
Here’s this week’s complete playlist:
Heartbreak Hotel – The 50 Greatest Hits (Disc 1), Elvis Presley
Jailhouse Tears – Little Honey, Lucinda Williams (with Elvis Costello)
Gimme Shelter – Hot Rocks, 1964-1971 [Disc 2], The Rolling Stones
The House of Ill Repute – Mary Coughlan
The House That Jack Built – 20 Greatest Hits, Aretha Franklin
Psychedelic Shack – My Girl: The Very Best Of The Temptations [Disc 2], The Temptations
Shelter From The Storm – Blood On The Tracks, Bob Dylan
Build – The Beautiful South & The Housemartins, The Housemartins
Come On -A My House – Swing Me An Old Song, Julie London
Rock House – Ultra Lounge, The Ernie Freeman Combo
Mansion On The Hill – Ragged Glory, Neil Young
The Treehouse Song – Ane Brun
Take Me Back To Your House – Triple J 14, Basement Jaxx
Shelter in the Rain – After the Rain, Irma Thomas
Red House – Martin Scorsese Presents The Blues, Jimi Hendrix
Country House – Blur
Sugar Shack – Ricky Nelson
This House Is on Fire – Motherland, Natalie Merchant
Burning Down The House – Classic MTV – Class of 1983, Talking Heads
Mmm.. Skyscraper I Love You – Underworld
House of Jealous Lovers – Echoes, The Rapture
Glass, Concrete & Stone – Grown Backwards, David Byrne
Hoover Factory – Get Happy!! Elvis Costello
The Lighthouse Song – Triple J Hottest 100, Vol. 16 [Disc 2], Josh Pyke
Love Shack – B-52s
Next week: SEXY SONGS
Listen to Lyn McCarthy at the Theme Park on BayFM, Tuesdays 4-6pm, Sydney time
Theme Park is now in Drive Time! I’m very excited, (explanation points aside, can you tell?). To celebrate, the topic this week was CHANGE. There were songs about every possible variety of change: political, social, cultural, emotional, physical, even the kind you find at the bottom of your handbag when you most need it.
BayFM is now in its Winter season and with Theme Park’s new time of Tuesdays 4-6pm, you may have only just discovered us. So, if this is your first visit, the idea is not to find a list of the “best” songs on a subject, because “best” is boring and more or less just involves me reaffirming how great the Beatles, Radiohead and Roy Orbison are. No, what we’re trying to create is a thematically coherent playlist with a mix of genres, eras and moods. Some songs you’ll already know; some, maybe, you won’t, and hopefully each week we’ll rediscover the classics, and discover new music, together.
We opened the show with Michael Jackson’s MAN IN THE MIRROR. And what a great message it is: if you want to change the world then start with yourself and your attitude to those less fortunate than yourself. We followed with something a little less serious: the great Ella Fitzgerald with ANYTHING GOES from her album ‘The Cole Porter Songbook’. It was the first album she recorded for the Verve album in 1956.
John Mayer is in Australia at the moment and I’ll forgive his indiscretions in recent interviews because WAITIN’ ON THE WORLD TO CHANGE is such a great track. Here he is with an acoustic version of the song. Very nice.
We followed with the definitive cover of Bob Dylan’s ALL ALONG THE WATCHTOWER by Jimi Hendrix. Dylan wrote this song at a time that he was experiencing a complete life change, with two young children and a growing interest in the Bible. Hendrix’s version is so highly regarded that Dylan has been quoted as saying: “I liked Jimi Hendrix’s record of this and ever since he died I’ve been doing it that way… Strange how when I sing it, I always feel it’s a tribute to him in some kind of way.”
Everyone’s allowed to change their mind now and again. A couple of terrific songs about the subject are the Cardigans’ ERASE/REWIND and soul singer Tyrone Davis’ CAN I CHANGE MY MIND?
A completely different perspective on change came from the band Blind Melon. The track CHANGE is from their 1992 self-titled debut album and was the first written by lead singer Shannon Hoon, who struggled with a drug dependancy. The song encourages you to change your life when it gets too hard. Unfortunately Hoon found it difficult to take his own advice and he died in 1995, at 28, from an overdose. His grave is inscribed with words from the song.
Do you think money changes you? According to Cyndi Lauper MONEY CHANGES EVERYTHING. Aretha Franklin, on the other hand, reckons MONEY WON’T CHANGE YOU. I think Aretha may have won that round.
Daniel Merriwether received a little bit of help from, rapper, Wale in the song CHANGE. The song and, in fact, the whole album was produced by wunderkid Mark Ronson. Rather than just play the official video clip, here’s a ‘making of’ that you might find interesting.
Country rockers, The Allman Brothers Band, sound as if they have hit rock bottom and are ready to do something about it in the very bluesy CHANGE MY WAY OF LIVING.
Another great rock group is Muse. The song FEELING GOOD is probably best known for Nina Simone’s outstanding recording. Here, Muse take the optimism of Simon’s standard to a whole other place.
We rounded out the hour with THE REVOLUTION WILL NOT BE TELEVISED. Recorded in 1971, it’s a poem and a song by Gil Scott-Heron, generally considered to be the father of hip-hop and neo soul.
I’M COMING OUT is a joyous disco number from Diana Ross. Nile Rodgers and Bernard Edwards, of the 70’s Disco band ‘Chic’, wrote and produced the track. Rodgers got the idea for the song when he went to a transvestite club in New York City. He went to the bathroom, and while he was standing at the urinal, he saw three men who were all dressed as Diana Ross.
I love my R&B. Anyone who saw Sharon Jones and the Dap Kings at the Blues Fest a few years ago know what a dynamic group they are. A great song from them is SOMETHING’S CHANGED. We followed with A CHANGE IS GONNA COME. Sam Cooke’s Dylan-inspired, lump-in-the-throat protest song mourns both racial intolerance and his infant son’s fatal drowning. And it’s the most requested song in our list today.
Joni Mitchell’s song BIG YELLOW TAXI is about changes brought about by so-called ‘progress’; “they paved paradise and put up a parking lot.” Sound familiar? And a big shout out to everyone in Mullumbimby, while we’re on the subject of unnecessary change.
David Bowie’s song CHANGES is one you must have predicted. And I’m nothing, if not predictable. We followed with another very predictable track: THE TIMES THEY ARE A CHANGIN’, although it’s not Bob Dylan but a wonderful version by Nina Simone.
Let’s talk physical change. Can you get any better than Lou Reed’s TAKE A WALK ON THE WILD SIDE? It’s from the Transformer album, recorded in 1972 and produced by David Bowie. “Plucked her eyebrows on the way, shaved her legs and then he was a she.” Yep, that’s what I call change.
Talking of changing teams, Eric Clapton and Steve Winwood contributed a track from their Live From Madison Square Garden album, called, appropriately, TEAM CHANGES. And then it was time to head back to a song about political change: Tracey Chapman with TALKIN’ BOUT A REVOLUTION.
John Legend got some help from Snoop Dogg on I CAN CHANGE. That’s for the right girl, he asserts. Yeah yeah, heard it all before Johnny.
The Audreys do a gorgeous cover of the INXS song DON’T CHANGE. It challenges you not to change. Because you’re perfectly OK as you are, you know. The song is from the album, Between Last Night and Us. Here they are performing at Woodford Folk Festival, 2009:
We closed the show with a beauty: the Beatles and ACROSS THE UNIVERSE. “Nothings going to change my world.” Well, maybe, but one thing I do know is that change is inevitable and while we might not appreciate it at the time, its all good.
Next week’s theme will be MORE CRED WHEN DEAD. Yes, every track will be from an artist who has passed on to that big disco in the sky and more than likely became more successful after they were gone. Big list to choose from, so inevitably there will be some omissions. But let me know your requests anyway. Love to hear from you.
Here’s this week’s playlist. From this week, I’ll include the album names as well. You can find all songs on iTunes.
Man in the Mirror – Bad, Michael Jackson
Anything Goes – The Cole Porter Songbook (CD1), Ella Fitzgerald
Waiting on the World to Change – Continuum, John Mayer
All Along The Watchtower – The Ultimate Experience, Jimi Hendrix
Erase/Rewind – Gran Turismo, The Cardigans
Can I Change My Mind – Billboard Top 100 Of 1969, Tyrone Davis
Change – Blind Melon, Blind Melon
Money Changes Everything – Twelve Deadly Cyns, Cyndi Lauper
Money Won’t Change You – Lady Soul, Aretha Frankin
Change – Love & War, Daniel Merriweather (and Wale)
Change My Way of Living – Where It All Begins, The Allman Brothers Band
Feeling Good – The Best of Muse CD2, Muse
The Revolution Will Not Be Televised – The Breaks II, Gil Scott-Heron
I’m Coming Out – Floorﬁllers 80s Club Classics CD3 – Diana Ross
Something’s Changed – 100 Days, 100 Nights, Sharon Jones and the Dap-Kings
A Change Is Gonna Come – The Man & His Music, Sam Cooke
Big Yellow Taxi – Ladies of the Canyon, Joni Mitchell
Changes – Hunky Dory, David Bowie
The Times They Are a Changin’ – Forever Young, Gifted & Black, Nina Simone
Take a Walk on the Wild Side – Transformer Lou Reed
Team Changes – Live From Madison Square Garden Cd1, Eric Clapton, Steve Winwood
Talkin’ Bout a Revolution – Tracy Chapman, Tracy Chapman
I Can Change feat. Snoop Dogg – Get Lifted, John Legend
Don’t Change – Between Last Night and Us, The Audreys
Across The Universe – Let It Be, The Beatles
Next week: MORE CRED WHEN DEAD
Listen to Lyn McCarthy at the Theme Park on BayFM, Tuesdays 4-6pm, Sydney time
Memories can haunt us, no matter how much we want to escape them. There are false memories, conflicting memories of the same event and memories that clash with the reality of the present. Thanks to mass media, memory isn’t something that only belongs to us as individuals. When we see scenes at the cinema or television or on DVDs over and over again, they become part of our collective memory. Even if you’ve never seen the film King Kong you know that there’s a scene where a big gorilla climbs up the Empire State Building with a human girl in his hand. And whenever a comedy show or film features a scene where someone is killed or threatened in a shower most people understand it’s a parody of Psycho. So mass media, film and television in particular, have contributed hugely to a memory that we share with millions of other people.
Unfortunately, we remember melancholy and pleasure in equal measure. The concept of looking back in hindsight is also a bit complicated. It’s easy to write off youthful idealism as simply being naïve as Stevie Wonder did in our opening number YESTERME, YESTERYOU, YESTERDAY. According to Stevie it was all “a cruel and foolish game we used to play”. Well that’s how he remembers it anyway.
And talking of cruel, I can’t imagine anything worse than getting Alzheimer’s disease and Elvis Costello’s song VERONICA is all about that. It tells the story of an old lady who lives in a nursing home and is gradually losing her memory. It was inspired by Costello’s grandmother.
The Ramones want to know DO YOU REMEMBER ROCK ‘N’ ROLL RADIO? Has it ever gone away?
Collecting objects that remind us of old times should bring back good memories, but that’s not always the case as Soft Cell tell it in MEMORABILIA. Sarah Vaughan would rather experience something that didn’t work out than never do anything at all in I’D RATHER HAVE A MEMORY THAN A DREAM. The real classic of this triple play, however, was the Shangri-Las with their ode to a lost love affair: REMEMBER (WALKIN IN THE SAND). Here’s a great clip from the excellent “Songmakers Collection” DVD, with interviews with Mary Weiss and writer producer George ‘Shadow’ Morton about this track and their other hit, LEADER OF THE PACK.
Jurassic 5 dug deep into their memory banks for REMEMBER HIS NAME. As did Fall Out Boy for THNKS FR TH MMRS . The Zutons, REMEMBER ME is about those kind of friends who seem to forget you once they are entrenched in a romantic relationship. Don’t you just hate that!
THOSE WERE THE DAYS is from Cream’s 1968 album Wheels of Fire. The album cover was designed by Australian artist Martin Sharpe and it won the the New York Art Directors Prize for best album cover in 1969. The sound on the album was characterised by a hybrid of blues, hard rock and psychdelic rock, combined with Eric Clapton’s blues guitar, Ginger Baker’s jazz-influenced drumming and the basslines and voice of Jack Bruce.
One of the most beautiful voices I’ve heard belongs to Sarah McLachlan. And one of my favourite songs of hers is one that I first heard on the soundtrack to the film The Brothers McMullen. It’s called I WILL REMEMBER YOU.
Otis Redding’s name is synonymous with the term ‘soul’ and we had to include his classic with I’VE GOT DREAMS TO REMEMBER. Redding died at the very early age of 26 but his memory is kept alive with the Youth Educational Dream Foundation and a very good website. Go to: http://www.otisredding.com/
British group Bloc Party look back regretfully on an opportunity for love that wasn’t realised in I STILL REMEMBER:
The Kinks wonder what ever happened to their childhood friend in DO YOU REMEMBER WALTER? It’s from their album The Kinks Are the Village Green Preservation Society.
The Supremes reflected on the good and bad memories of a love that used to be in REFLECTIONS while Jimi Hendrix had only good memories of a past love, (he even wants her back!), in REMEMBER.
Relationships that survive depend partly on shared memories, but those memories need constant topping up. Indie rockers, Yo La Tengo document this well in OUR WAY TO FALL.
There was a fair bit of nostalgia in this week’s show, (well what did you expect?) and one of my faves was The Platters with REMEMBER WHEN. Also fitting the bill was Elvis Presley who seems somewhat confused in I FORGOT TO REMEMBER TO FORGET.
Memories, daydreams, disconnected thoughts – they fill our minds in a never-ending rush. Our next song, THE WINDMILLS OF YOUR MIND, evoked this beautifully, conveying the incredible weirdness of our thought processes. If you’re after nostalgia then what about Noel Harrison with the original version of the song that served the film The Thomas Crown Affair so well.
Ok back to recent memories. Jack Johnson wonders DO YOU REMEMBER? and P.M. Dawn are SET ADRIFT ON A MEMORY. Thanks to Lynden for suggesting that one and several others on our list today.
One of my favourite films deals with amnesia. Memento, starring Guy Pearce, and directed by Christopher Nolan, is a fascinating story about someone who can’t store new memories. A song about about the subject is I DON’T REMEMBER by Peter Gabriel.
Bob Dylan’s memory song is a love ballad from the Empire Burlesque album: I’LL REMEMBER YOU. And if its nostalgia that you’re after, consider MEMORIES ARE MADE OF THIS from Dean Martin. An oldie but a goodie, as they say.
I’ll never forget Michael Jackson with REMEMBER THE TIME from the Dangerous album. Another sad memory for me is Freddy Mercury singing THOSE WERE THE DAYS OF OUR LIVES which many think was the song he dedicated to his fellow Queen members when he knew that he was dying.
Back to the 70’s and some Aussie based punk rock: remember The Saints and MEMORIES ARE MADE OF THIS?
We closed the show with a cover of a song that I swore I wouldn’t play this week, but this version is so sweet it had to make the cut: The Waifs with a little help from Clare Bowditch. They’re singing Frank Ifields I REMEMBER YOU.
This week’s theme on MEMORY segues nicely into next week’s topic. My computer crashed last week and I had to invest in a drive with a lot more memory to cope with all the songs that I collect for these shows. So next week its MACHINES, ROBOTS AND COMPUTERS. No Television or Radio songs please because you know they are a whole theme to themselves. and no modes of transport, for the same reason. But any other gadget or gizmo is up for grabs.
Here’s this week’s complete playlist. All songs available on iTunes.
Yesterme Yesteryou Yesterday – Stevie Wonder
Veronica – Elvis Costello
Do You Remember Rock ‘N’ Roll Radio – The Ramones
Memorabilia – Soft Cell
I’d Rather Have a Memory Than a Dream – Sarah Vaughan
Remember (Walkin’ in the Sand) – The Shangri-Las
Remember his name – Jurassic 5
Thnks fr th Mmrs – Fall Out Boy
Remember Me – The Zutons
Those Were The Days – Cream
I Will Remember You – Sarah Mclachlan
I’ve Got Dreams To Remember – Otis Redding
I Still Remember – Bloc Party
Do You Remember Walter – The Kinks
Reﬂections – Diana Ross & the Supremes
Remember – The Jimi Hendrix Experience
Our Way to Fall – Yo La Tengo
Remember When – The Platters
I Forgot to Remember to Forget – Elvis Presley
Do You Remember – Jack Johnson
The Windmills Of Your Mind – Noel Harrison
Set Adrift On Memory Bliss – P.M. Dawn
I Don’t Remember – Peter Gabriel
I’ll Remember You – Bob Dylan
Memories Are Made Of This – Dean Martin
Remember The Time – Michael Jackson
Memories Are Made of This – The Saints
Those Were The Days Of Our Lives – Queen
Remember You (feat. Clare Bowditch) – The Waifs
Slip on your kaftans and tie-dye t-shirts. Adorn yourself with flowers and beads. We’re going to light-up some joss-sticks, “ban the bomb” and “make love not war!” This week’s theme is dedicated to that period in 1967 that saw as many as 100,000 people converge on the Haight-Ashbury neighbourhood of San Francisco, creating what was to become known as the counterculture movement. The melting pot of music, psychedelic drugs, sexual freedom, creative expression and politics became a defining moment of the 60’s and forever more will be known as THE SUMMER OF LOVE.
It’s easy to reject songs that seem to have been around forever, but consider the context of these songs’ origins and you’ll realize that what many of these musicians were doing hadn’t been done before and, in many cases, would never be done again. So respect to the hippies and the funk soul sisters & brothers and the year 1967 – a time of exploration and finding new ways of expression.
We opened the show with the THE ACID COMMERCIAL from Country Joe & The Fish and then it was the Beatles with ALL YOU NEED IS LOVE. Arguably the greatest band in the world at the top of their powers, Lennon’s anthem to love may not be his strongest but it’s definitely his catchiest. The Beatles made a worldwide television broadcast of the song, in between sessions of transcendental meditation, and it became a #1 hit in both the US & UK. Check out the clip from this transmission and see if you can see Mick Jagger in the audience.
A song that summed up the mood of those flocking to Haight-Ashbury in that Summer of 67 is, of course, Scott McKenzie’s IF YOU’RE GOING TO SAN FRANCISCO, (be sure to wear flowers in your hair). Written by John Phillips of the Mamas & The Papas, it was originally created to promote the 1967 Monterey Pop Festival, which is regarded as being the beginning of the Summer of Love.
FOR WHAT ITS WORTH, by Buffalo Springfield, is about the closing of the Pandora’s Box Club on the Sunset Strip in Los Angeles and the clash that followed between the police and kids. But the song quickly took on a larger meaning, symbolizing the generational friction happening all across the country as the hippies and flower children freaked out the authorities from coast to coast. Here’s a great clip from the Monterey Festival:
When you listen to PURPLE HAZE, from Jimi Hendrix’s ‘Are You Experienced?’ album, you can’t help but imagine the rush of a million wanna-be guitarists running into music stores hoping to be just like Jimi. Check out this video from 1967 with Jimi Hendrix on Guitar, Noel Redding on Bass and Mitch Mitchell on Drums:
In the early sixties The Beach Boys were synonymous with surfing and Californian youth culture. By the mid-sixties, however, their musical style had become a little more complex. A 1967 example of this new sophisticated sound was HEROES AND VILLAINS. We followed with a song that had the distinction of being the first track to be played on BBC Radio One when it launched in 1967, FLOWERS IN THE RAIN by The Move. And, to round out the triple play, The Turtles with HAPPY TOGETHER. This track can lift anyone’s mood. While their vocal harmonies verged on sugar-sweet, I don’t know anyone that doesn’t like this song.
I’M A BELIEVER, the Monkees’ hit, was written by none other than Neil Diamond. The song stayed at the top of the charts for six weeks and was the biggest selling single of 1967. That’s right, they even outsold the Beatles and the Stones, and while Neil Diamond, continued to write and perform, he never really needed to work another day in his life after this song took off. The Mamas & Papas hit, DEDICATED TO THE ONE I LOVE, was originally a hit for the Shirelles in 1961. Here are the Mamas & The Papas with their ’67 version:
Three more classics of the period: Cream’s I FEEL FREE, the Byrds’ SO YOU WANT TO BE A ROCK N ROLL STAR and Jefferson Airplane’s SOMEBODY TO LOVE. And then it was Procol Harum with WHITER SHADE OF PALE. This track contains perhaps the most recognizable Hammond B-3 organ rock line ever, snatched from Bach and perhaps a soul player or two. The vague lyrics, however, aren’t very memorable, making the organ bit seem even more imposing and significant than it probably deserves. But hey, what do I know? Here they are on Top of the Pops 1967. Make up your own mind.
Three more songs from that magical time in 1967 referred to as THE SUMMER OF LOVE include I’M A MAN from The Spencer Davis Group, written by Steve Winwood, SAN FRANCISCO NIGHTS from Eric Burdon & the Animals and GET TOGETHER from the Youngbloods.
But the band that epitomised the musical creativity of the sixties is The Beatles. A DAY IN THE LIFE, from their Sgt Pepper’s Lonely Hearts Club Band album, utilised a 40 piece orchestra taking 24 bars to go from the lowest note on their instruments to the highest and six people banging on three pianos at the same time in order to produce one huge power chord. The song obliterated every rule that ever existed for what a pop song should sound like and how it should be made, simple as that. Check it out:
One of the most instantly recognizable riffs in rock history is SUNSHINE OF YOUR LOVE, from Cream. And one of the most representative of the period is the Small Faces tune ITCHYCOO PARK. For me, though, when it comes to this period, I can’t overlook Janis Joplin. So an essential track from 1967 has to be Big Brother and the Holding Company with Janis Joplin singing DOWN ON ME.
Jimi Hendrix also deserved another play and this time it was FOXEY LADY. It’s probably worth mentioning here that up until this point Blues guitarists would never have done what Hendrix does on this track. The rule was that the guitar sound should be clean and pure. Jimi however, never got that memo and thank goodness for that.
As well as a time that was marked by anti-Vietnam demonstartions, 1967, unfortunately, was also a time of race riots, which also fed into the peace movement and hippie revolution with its ideals of compassion, awareness and love. So, in deference to our soul brothers and sisters, it was time for some R&B with I HEARD IT THROUGH THE GRAPEVINE by Gladys Knight and the Pips. This song became a #2 hit in 1967 and Marvin Gay’s renditon hit #1 the following year. But sticking to the plan, we listened to The Pips version and followed with the one and only Jackie Wilson with his landmark single, HIGHER AND HIGHER.
Although they were a white band, the Young Rascals GROOVIN’ was pure soul with its memorable Afro-Cuban mood and mid-tempo groove. Timeless song. Check out the clip of them performing live.
The next track was a bit of a cheat, since it wasn’t released until 1969, after the band had broken up. But TIME OF THE SEASON by The Zombies was written and recorded in August 1967 and the vibe is pure SUMMER OF LOVE, baby. And then it was the Who with I CAN SEE FOR MILES, the only real hit from their crazy concept album The Who Sell Out and SHE’S A RAINBOW from the Rolling Stones. We’ll overlook the Stones vain attempt of trying to one-up the Beatles and just concentrate on those first seven piano notes, which have been likened to the musical equivalent of heroin.
We closed the show with STRAWBERRY FIELDS FOREVER from the Beatles. The band recorded a version by themselves in one key and then they did a version with an orchestra in a different key. The version you know and love is BOTH versions mixed together, speeding the band version up and the orchestral version down. Magic. This promotional video was filmed in January 1967 and was directed by Peter Goldmann, at the time a Swedish TV director.
Now next week’s show is going to be hotter than hot. As a tribute to the upcoming Summer holiday season the theme will be HEAT. Put your thinking caps on and get in touch!
Here’s this week’s complete playlist:
Next week: HEAT
Listen to Lyn McCarthy at the Theme Park on BayFM, Tuesdays 2-4pm, Sydney time.
Also streaming on http://www.bayfm.org