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
NIGHT is a time that’s often associated with danger and the fear of the unknown. Midnight, especially, has a particular importance in human imagination and culture. Seances, for instance, are usually conducted around this time. And then, of course there are the vampires and werewolves, who only come out at night. Yes, there’s lots happening out there in the dark! When it comes to song lyrics, however, night-time is a great time for love-making. As Ray Charles points out, NIGHT TIME IS THE RIGHT TIME. But I’m getting ahead of myself.
We opened the show with HERE COMES THE NIGHT. The song was originally recorded in 1964 by Lulu but the version we played was a huge hit for the band Them and their lead vocalist Van Morrison in 1965.
I’m pretty impressed by the very talented singer-songwriter Sufjan Stevens who contributed one of the few songs on the list that references the occult. THEY ARE NIGHT ZOMBIES! THEY ARE NEIGHBOURS! THEY HAVE COME BACK FROM THE DEAD! AHHH is from his 2005 album Illinois. Here he is performing live with the very cute Illnoisemakers:
We followed with supreme soul singer Marvin Gaye with IF I SHOULD DIE TONIGHT. It’s from his classic 1973 album Let’s Get It On. Serving as Gaye’s first venture into the funk genre and romance-themed music, Let’s Get It On incorporates smooth soul, doo-wop and quiet storm. It’s been noted by critics for its sexually-suggestive lyrics, and was cited by one writer as “one of the most sexually charged albums ever recorded”. Woohoo.
And talking of Woohoo, thanks to the Woohoo Review Band who donated their latest album, Dear Animals, for a giveaway on the show this week. They’re a Melbourne based, gypsy style band and the song we played from the album, MR 9 O’CLOCK was a good example of the madcap dance tunes that inhabit the album.
They say that Frank Sinatra was at his best vocally in the 1950’s and it’s hard to argue when you listen to IN THE WEE SMALL HOURS OF THE MORNING . That goes out to Inchie who does a great show on BayFM on Friday’s 4-6pm, called Strictly Vinyl.
Back to the 70’s. The Eagles were one of the most successful recording artists of the period. Their 1975 album, One of These Nights, was the last album to feature founding member Bernie Leadon, who left the band during the One of These Nights tour, disillusioned with the direction the band were going in. With the departure of Leadon, the Eagles’ early country sound almost completely disappeared and the band moved on to a harder sound. One Of These Nights would prove to be a breakthrough album for the band, making them international superstars.
You all know by now that I consider Roy Orbison the patron saint of Theme Park and I realise that I’ve played this song before, but hey, what the …. had to give Roy’s I DROVE ALL NIGHT another play. Jeff Lynne remixed Orbison’s 1987 recordings for the posthumous album King of Hearts of which I DROVE ALL NIGHT was one of the tracks.
Brilliant reggae artist Gregory Isaacs passed away on October 25 after a long battle with lung cancer. So of course, I had to play his signature tune NIGHT NURSE.
I’m also a bit of a Tom Waits fan and his debut studio album, Closing Time, recorded in 1973 is an absolute classic. It was produced and arranged by Lovin’ Spoonful member Jerry Yester. The song we chose was MIDNIGHT LULLABY. Then it was time to go way back to 1953 and some New Orleans Blues with Professor Longhair singing IN THE NIGHT. I’m pretty sure Tom would have approved.
Opening the second hour of the show was Gladys Knight & the Pips with their 1973 number one hit single, MIDNIGHT TRAIN TO GEORGIA. Oh my God, The Pips, the moves! Check it out:
Two goodies from 1965 followed. Maryanne Faithful sang of SUMMER NIGHTS and The Strangeloves did a great version of NIGHT TIME. The Strangeloves were a New York garage band who created a false back-story that they were Australian sheep farmers. I don’t think it helped their record sales somehow, so not sure what that was all about!
Here’s a quirky Blues number for you: Zulu Bollin with WHY DON’T YOU EAT WHERE YOU SLEPT LAST NIGHT? Reasonable question, surely.
The 85 year old B.B. King is still going strong and, in fact, will be here next April for the Byron Blues Festival. I, for one, can’t wait. We played the sublime NIGHT LIFE with King and Willie Nelson. How great would it be to see Willie Nelson at the Festival? One can only hope and pray I ‘spose.
Another of my faves is Bob Seger. You can’t sit still to anything he plays and that includes NIGHT MOVES.
I also can’t get enough of Tom Waits so we had to play LOOKING FOR THE HEART OF SATURDAY NIGHT from the album of the same name, released in 1974. The album cover is based on THE WEE SMALL HOURS by Frank Sinatra, which we had played earlier in the show.
Van Morrison thinks he knows how to have a WILD NIGHT. But I have a feeling that The Rolling Stones might know a thing or two about that too. LET’S SPEND THE NIGHT TOGETHER was written by bad boys Mick Jagger and Keith Richards and was originally released as a single in 1967. Here’s a clip from Top of the Pops from that same year:
NIGHT TIME IS THE RIGHT TIME is a blues standard that has been interpreted and recorded by a variety of music artists. Ray Charles’ hit version was released in 1958 and is featured on the soundtrack to the film Ray.
I almost didn’t include The Moody Blues’ classic anthem, NIGHTS IN WHITE SATIN, simply because it might seem just so predictable. But, let’s face it, that hasn’t stopped me in the past! Here they are at The Montreaux Festival in 1997, still going strong.
As a prelude to the end of the show, could I find anything better than the beautiful sound of The Spaniels with GOOD NIGHT SWEETHEART. It’s a great piece of doo-wop from 1953.
I closed the show with a great double. Eric Clapton’s AFTER MIDNIGHT got the ball rolling and it was taken up with a vengeance by AC/DC. This time it was YOU SHOOK ME ALL NIGHT LONG from the 1980 album Back to Black. Here they are performing live at Donington in 1991:
For next week’s show I’m looking for songs that announce themselves in style, so start nominating your FAVOURITE SONG INTRODUCTIONS. Leave me a message on the blog or at the Theme Park page on Facebook. I’d love to hear from you.
Until then, here’s this week’s complete playlist:
Here Comes The Night – The Best Of Van Morrison, Them
They Are Night Zombies!! They Are Neighbours!! – Illinois, Sufjan Stevens
If I Should Die Tonight – Let’s Get It On, Marvin Gaye
Mr 9 O’Clock – Dear Animals, The Woohoo Revue
Nighthawkin’ – Greetings From L.A., Tim Buckley
December 1963 (Oh What a Night) – Oh What a Night, Four Seasons
In the Wee Small Hours of the Morning – In the Wee Small Hours, Frank Sinatra
One Of These Nights – One Of These Nights, The Eagles
I Drove All Night – The Soul of Rock And Roll, Roy Orbison
All Night Long – The R&B Years – 1954 [Disc 4], Joe Houston
Night Nurse – Night Nurse, Gregory Isaacs
Midnight Lullaby – Closing Time, Tom Waits
In The Night – Martin Scorsese Presents: The Blues, Professor Longhair
Midnight Train To Georgia – Mellow Moods [Disc 2], Gladys Knight and The Pips
Summer Nights – Marianne Faithfull, Marianne Faithfull
Night Time – Nuggets: Original Artyfacts From The First…., The Strangeloves
Why Don’t You Eat Where You Slept Las Night – Hot Rhythm And Cool Blues, Zulu Bollin
Night Life – Deuces Wild, B.B. King With Willie Nelson
Night Moves – Greatest Hits, Bob Seger
(Looking For) The Heart Of Saturday Night – The Heart Of Saturday Night, Tom Waits
Night Train – Sex Machine, James Brown
Wild Night – Twentyfourseven, Van Morrison
Let’s Spend The Night Together – Hot Rocks, 1964-1971 [Disc 1], The Rolling Stones
(Night Tiime Is) The Right Time – Ray, Movie Soundtrack, Ray Charles
Nights In White Satin – The Moody Blues
Goodnight Sweetheart, Goodnight – Earth Angel – Doo Wop Classics, The Spaniels
After Midnight – The Cream Of Clapton, Eric Clapton
You Shook Me All Night Long – Back In Black, AC/DC
Bette Midler opened the show with COOL YULE and that set the mood for what followed. I never thought I would see the day that Bob Dylan recorded a Christmas album, and isn’t he collecting some flak for doing so? But I, for one, happen to love the album Christmas in the Heart and appreciate the guts it took to release it. We played a couple of songs from the album. First up it was MUST BE SANTA. Check out the clip. Gotta love a guy with a sense of humour!
Now if you’re talking cool, there is no cooler, in my opinion, than ‘Keef’ Richards. My favourite Rolling Stone gave us RUN RUDOLPH RUN and then it was Patsy Raye & The Beatniks with BEATNIK’S WISH. All Patsy wants for Christmas is a man. Tall order Pats, especially here in Byron Bay!
I’ve got a question for you. Who’s feeling a bit grumpy this Xmas? Go on hands up… Well if you’re feeling a little down in the dumps, the perfect song for you is the Staple Singers with WHO TOOK THE MERRY OUT OF XMAS? Another for you mopers is Charles Brown and PLEASE COME HOME FOR XMAS. What you all need is the optimism of Darlene Love’s ALL ALONE ON CHRISTMAS. Lifted from the soundtrack to the film Home Alone, the famous sound of the legendary E Street Band and Love’s voice make being alone at Christmas almost OK. Check out the video if you don’t believe me:
Next up in our Cool Yule show was Bob Seger and The Last Heard with SOCK IT TO ME SANTA. And then it was The Kinks with FATHER CHRISTMAS and The Ramones with MERRY CHRISTMAS (I DON’T WANT TO FIGHT TONIGHT). Whew, that was a rockin’ set of Chrissie tunes. The three tracks came from a compilation album called Christmas A Go-Go, put together by Steven Van Zandt who also goes by the name Little Steven. As well as playing in Bruce Springsteen’s band and acting in the hit series The Sopranos, he also hosts an American radio program called the Underground Garage . Check out the website where you can listen to archived programs.
Tina Sugandh is also known as TablaGirl. Originally from India, now resident in the US, I love her version of WHITE CHRISTMAS with its Bollywood undertones. We followed with an oldie but a goodie, by Little Esther Phillips and the Johnny Otis Orchestra, FAR AWAY CHRISTMAS BLUES.
I had to include the 80’s New Wave group the Waitresses in the show because they recorded a song about something I really do loath: CHRISTMAS WRAPPIING. Yeah, yeah, bah humbug.
Something most of us have to be careful about over the holiday period is drinking and driving. A great song that deals with the repercussions of doing so is The Youngsters with CHRISTMAS IN JAIL from an album entitled Doo Wop Christmas. It wasn’t as serious as it sounds, honestly. And neither was the very funny version of JINGLE BELLS from the Electric Prunes, another great track from Little Stevie’s Christmas A Go-G0 album.
Rufus Thomas makes this rather scary offer: I’LL BE YOUR SANTA. And then it was time for a little Latin in our Christmas show. First up, The Enchanters with MAMBO SANTA MAMBO and the wonderful Celia Cruz with some salsa, FIESTA DE NAVIDAD.
A complete change of tone followed: Clarence Carter with the brilliantly bawdy BACK DOOR SANTA. This Santa makes all the girls happy while the boys are out to play. Naughty Santa.
Roy Woods was one of the founding members of Electric Light Orchestra and left to form Wizzard. Their song I WISH IT COULD BE CHRISTMAS EVERY DAY was a huge hit for them. Check out the video, with lead singer Mike Morley looking rather like Kris Kringle himself:
The great James Brown injected a little politics into the show with SANTA CLAUSE GO STRAIGHT TO THE GHETTO and then it was the extremely excited Jamaican DJ King Stitt with a little reggae. The song was CHRISTMAS TREE.
For all the cynics listening I had to include I DON’T BELIEVE IN CHRISTMAS from the Sonics. And I’m sure all the rodders would have appreciated SANTA DRIVES A HOT ROD from The Brian Setzer Orchestra.
Were any of you born on Xmas Day? My birthday is in January and that’s bad enough, but I’ve always felt sorry for people born on Xmas Day itself. Like here’s your Christmas and your birthday present. Gee thanks. But at least you don’t get everyone’s Xmas rejects as birthday presents as I do in January. Yeah, yeah, cry me a river. For all of you born on Xmas Day, we played I WAS BORN ON CHRISTMAS DAY from St. Etienne. It’s a nice piece of disco-pop, although I do worry about a band that named itself after a footie team.
The Cocktail Slippers, an all girl band from Norway, have been called “The 60’s Shangri Las meet the 70s Stooges meet the 80s Go Gos”. Loved their Christmas song, SANTA’S COMING HOME. I also don’t mind the occasional tribute band as long as they do it well. The Chesterfield Kings heavily mine The Rolling Stones for their garage sound and they do a great job with HEY SANTA CLAUSE.
Here’s the delicious Eartha Kitt, with the help of three ‘friends’ singing her hit of 1953 SANTA BABY. Hilarious.
We closed the show with the amazing Darlene Love with CHRISTMAS, (Baby, Please Come Home). The clip is from the David Letterman show of a couple of years ago. What a voice. Merry Xmas everyone!
Here’s this week’s playlist: