Birtha - My Pants Are Too Short

 

#Birtha #hard rock #blues rock #classic rock #boogie rock #heavy blues rock #1970s 

Hiding in a box under the frills and petticoats of a Victorian costume shop I spied “Spirit of Rock – The Probe Family Sampler”, It’s wild psychedelic cover featuring a naked green woman, adorned with strings of beads, throwing her head back in ectsasy had such an impact visually that I had to take her home. The opening track instantly blew me away. That was Birtha’s first single Free Spirit, female fueled rock like I never heard before, even my ovaries where banging along. Birtha pioneered the all female rock lineup, successfully breaking the mould of an almost exclusively male dominated genre. They paved the way for the likes of The Runaways and the Slits. These four ladies were highly accomplished musicians who totally kicked ass. Hailing from Los Angeles, Rosemary Butler (Bass) and Shele Pinnizotto (guitar) met at school where they formed their first band The Rapunzels. Rosemary went on to join the Ladybirds who opened for The Rolling Stones in 1965, whilst Shele got a job in a recording studio. In 1967 they came together again along with Sherry Hagler (Keyboard) and later joined by the extraordinary Liver Favela. Birtha had been gigging for four years playing on the west coast before they were signed. During their early performances they tested the water with their own material whilst throwing Motown and Rock covers into the mixture.
In November 1971, all-female blues rock act Fanny took off with their hit single Charity Ball. ABC Dunhill saw their chance and quickly signed up Birtha, taking up rank amongst label mates Three Dog Night and Steppenwolf. Birtha never earned the same commercial success as Fanny, though were both marketed as heavy rock. After two albums and a final single (a cover of Steely Dan’s Dirty Work) Birtha’s success waned and they were dropped by Dunhill before 1973 was out. For me, Birtha totally overshadow Fanny’s comparatively average blues sound. Birtha have huge rock appeal in a way that fanny just don’t, so Fanny, you can just get to the back of the queue and stay there!
Fanny’s label Reprise Records decided to brand their girls with the slogan “Get Behind Fanny.” Perhaps it was felt that rock audiences of the time would be put off by an all girl group. Whatever the reason, Dunhill would not be outdone and had to go one better with “Birtha Has Balls”. The slogan was a winner; especially when slapped onto their infamous T shirts. When they played the 1972 Rockingham Festival, members of Alice Cooper, Fleetwood Mac and the James Gang all chose to wear them for their own sets and revelers could clearly see the logo disappear from view as Alice left the arena hanging out of a helicopter still sporting his Birtha shirt. Oddly enough, Playboy magazine had a problem with the tastefulness of the Advert and refused to print the slogan on their matchboxes when they played at the Chicago club. Supporting the Kinks, Birtha hit the UK and even bagged an appearance in the British coffee table mag ‘Titbits’, posing topless on the front cover proclaiming “We want male groupies”. They were serious contenders who really lived up to their allocated metaphor, they are 100% women but there is no doubt that Birtha unquestionably has balls. I wish there were lots of all-female bands I could say cut it the same, but Birtha have to be my favorite all female band ever. They skillfully combine numbers which are gritty and heavy along side soulful blues numbers and ballads. They are seductive, solid, funky, from the heart sisters whose sound is unmistakably their own. Only Rosemary Butler went on to have a continuing career which disappointingly went in the totally opposite direction singing with the likes of Linda Ronstadt, James Taylor, Jackson Browne, and Dolly Parton.
BILLBOARD MAGAZINE - 9/9/72:
There is no getting around it. Birtha has it! They're an all chick group and we all know that you've sort of got to make allowances . . . well forget it, they project more power and drive than most male groups with similar instrumentation. The intensity and proficiency they exhibit is total rapture excelling both instrumentally & vocally. Rock on with "Free Spirit," "Judgment Day" and "Feeling Lonely."
This first eponymous album was produced by Steppenwolf’s producer Gabriel Mekler whose high credentials definitely work to their advantage. Birtha is a mammoth stomper and has to be the most powerful and versatile record ever made by an all-girl band. They got the same kind of groove as Grand Funk, heavy funk and blues laden guitars with crystal clear vocals, great harmonies and that all American sound. They are always bass driven; Rosemary has that deep humming sound that really pounds some seriously exiting energy into the songs. These girls are serious rockers; they kick the shit out of loads of male rock bands of the time and all time for that matter. Out of the four, three of them take lead vocal. For the main part though it’s Liver Favela, who has all the guts and rasp of Janis Joplin. With an abundance of untamed fervor, she is by far the coolest, and she’s without doubt the wildest singing female drummer you ever heard.  From: https://www.headheritage.co.uk/unsung/review/1439/

 

Black Sabbath - Live Brussels 1970

 Part 1

Part 2

#Black Sabbath #Ozzy Osbourne #heavy metal #hard rock #classic rock #heavy blues rock #British blues rock #doom metal #1970s #live music video

Black Sabbath - Live in Paris 1970 Directed by Jacques Bourton. This footage was originally shot at Théatre 140 in Brussels, Belgium on October 3rd, 1970 for Yorkshire Television. Bootleggers have long repeated a fictional claim that done in Paris, but that has long since been debunked. In any case, this is the earliest footage of a complete concert of Black Sabbath in existence. Here they perform many songs from their most recent album at the time, Paranoid, as well as several from their debut. Interestingly, many of the songs from Paranoid feature their original pre-album lyrics - or Ozzy had simply forgotten the new ones! The original show was split into two halves and includes some behind-the scenes clips of the band before the show.  From: https://letterboxd.com/film/black-sabbath-live-in-paris/

In Finland, it is customary to yell "Soittakaa Paranoid" ("Play Paranoid") at a live band. It's a riff on the bizarre American tradition of yelling "Play Freebird" (a heckling practice the late comedian Bill Hicks referred to as "the mantra of the moron") at a live band. And this is merely one of many stories related to Black Sabbath's 2:48 second metal masterpiece "Paranoid." The band's biggest hit of their entire career which, according to members of Sabbath, only came to be because they needed to make the album a bit longer. According to drummer Bill Ward, whipping the head-pounding jam together took less than 30 minutes. Other members of Sabbath have varied recollections. When listening to the recording, Geezer Butler (who wrote the lyrics), along with Ozzy were both unsure about "Paranoid," as it sounded very similar to Led Zeppelin's "Communication Breakdown." In a 2018 interview, Ozzy reiterated he wasn't even entirely sure what the word "paranoid" even meant at the time. Eventually, Ozzy asked Butler (much to the bassist's surprise) to explain the definition of the word to him in 1971. Oh, how the mythology and legend of Ozzy Osbourne never, ever disappoints – much like the history that went into making "Paranoid" and its enduring influence in metal, popular culture, and beyond. So, in no real particular order, let's get to the time Frank Zappa almost joined the band on stage in 1976 to perform three songs with Sabbath that he had previously learned to play. One of the songs was allegedly "Paranoid," a jam the band saved for their encores.
Frank Zappa was on team Black Sabbath early on, praising the band and specifically the song "Supernaut" from the group's 1972 powered-by-cocaine album Vol 4. As far as Sabbath goes, Geezer Butler was a Frank Zappa superfan whose life was "changed" after hearing Frank Zappa and The Mothers Of Invention when he was still a teenager. Tony Iommi spoke about Zappa's love for Sabbath's "Snowblind" (also Vol. 4), and detailed the events of the show at Madison Square Garden in December of 1976 – the night Zappa was set to take the stage with Sabbath (after learning three of their songs). The plan was devised during Zappa's annual Thanksgiving dinner which was quite the rock and roll shindig. Frank had invited Geezer and Ozzy to his special Thanksgiving dinner in 1976 during which conversation turned to Zappa joining Sabbath on stage to perform two songs, "Iron Man" and "Paranoid" during the band's encore.
Unfortunately, Sabbath wasn't at the top of their game that night. In addition, Zappa hadn't been summoned for the show's soundcheck. Zappa told his version of the night's events to Sounds journalist Hugh Fielder saying when he showed up, Tony Iommi was having issues with his guitar strings and, at the last minute, changed them out. At this point, the crowd of 20K had been milling around for over an hour waiting for Sabbath to get going. And though there was a stack of sweet Marshalls waiting for Zappa on stage, he would only end up introducing Sabbath that night. Iommi recalled things a bit differently, echoing the notion Sabbath was not in top form and advised Zappa that joining them would've been "disastrous." Recordings of the show exist and at least one unofficial release, where you can hear Zappa's banter including describing Sabbath as the "rockin' teenage combo known to the universe as Black Sabbath." Understandably, the crowd went fucking bananas. Later, Iommi would take in Zappa's show in Birmingham, during which Zappa and The Mothers launched into a cover of another of Frank's favorite Sabbath songs, "Iron Man."  From: https://metalinjection.net/editorials/back-in-the-day/black-sabbaths-paranoid-almost-didnt-make-the-record-the-compelling-history-behind-their-biggest-single

 

The Honey Pot - Light Splinters

 #The Honey Pot #psychedelic rock #classic rock #neo-psychedelia #psychedelic folk rock #retro-1960s

The Honey Pot are a psychedelic/pop 5-piece band, steeped in a musical fantasy time-warp where they groove among their most revered bands, Jefferson Airplane, The Doors and The Small Faces to name a few, but totally modern in every other way. Had they been around back then, they would be riding high with the rest. They are happy, though, to be playing to the crowd who 'were there' and those who groove anew whenever they can.
What is the connection between talented Theremin player and founder member of the Buggles Bruce Woolley and psychedelic pop band The Honey Pot? Well, in the autumn of 2008 Bruce kindly listened to Icarus Peel's newly-completed album "Tea At My Gaffe" and suggested that he should stay on the psychedelic journey. Soon after, Icarus met DJ Marrs Benfire of Bay FM, who featured the album on one of his "Smart Set" shows. The challenge from Marrs was for Icarus to write a "Revolver" style album with shorter songs, and thus "To The Edge" was composed and produced with Wayne Fraquet on drums and Jacqueline Bourne and Iain Crawford on vocals. The album was so well received that a performing band needed to be formed to play the songs live, at which point Tom Brown was welcomed in to play bass. Their first gig was a local festival in 2013. Since then they've played at many groovy festivals and venues with different line-ups, and are looking forward to many more live performances in the future.  From: https://www.thehoneypotcollective.com/newpage


 

 

Buddy Miles - Them Changes

 #Buddy Miles #soul #R&B #funk #classic rock #funk rock #psychedelic soul #1960s #1970s #ex-Electric Flag

Best known as the drummer in Jimi Hendrix's Band of Gypsys, Buddy Miles also had a lengthy solo career that drew from rock, blues, soul, and funk in varying combinations. Born George Miles in Omaha, Nebraska, on September 5, 1947, he started playing the drums at age nine, and joined his father's jazz band the Bebops at a mere 12 years old. As a teenager, he went on to play with several jazz and R&B outfits, most prominently backing vocal groups like Ruby & the Romantics, the Ink Spots, and the Delfonics. In 1966, he joined Wilson Pickett's touring revue, where he was spotted by blues-rock guitarist Mike Bloomfield. Bloomfield had left the Paul Butterfield Blues Band earlier in 1967 and was putting together a new group, the Electric Flag, which was slated to be an ambitious fusion of rock, soul, blues, psychedelia, and jazz. Bloomfield invited Miles to join, and the band made its debut at the Monterey Pop Festival; unfortunately, the original lineup splintered in 1968. With founder Bloomfield gone, Miles briefly took over leadership of the band on its second studio album, which failed to reignite the public's interest.
With the Electric Flag's horn section in tow, Miles split to form his own group, the similarly eclectic Buddy Miles Express. Signed to Mercury, the group issued its debut album, Expressway to Your Skull, in 1968, with Miles' fellow Monterey Pop alum Jimi Hendrix in the producer's chair. In turn, Miles played on Hendrix's Electric Ladyland album, and later took part in an all-star jam session that resulted in Muddy Waters' Fathers and Sons album. Hendrix also produced the Miles Express' follow-up, 1969's Electric Church, and disbanded his backing band the Experience later that year; shortly afterward, Hendrix, Miles, and bassist Billy Cox formed Band of Gypsys, one of the first all-Black rock bands. Bluesier and funkier than Hendrix's previous work, Band of Gypsys didn't last long in its original incarnation; Miles departed in 1970, replaced by Experience drummer Mitch Mitchell, but not before his powerhouse work was showcased on the group's lone album, the live Band of Gypsys.
After backing John McLaughlin on 1970's Devotion, Miles returned to the role of bandleader and recorded his most popular album, Them Changes, in 1971; it stayed on the charts for more than a year, and the title cut became Miles' signature song. From December 1971 to April 1972, Miles toured with Carlos Santana, which produced the CBS-released concert document Carlos Santana & Buddy Miles! Live!; recorded inside an inactive volcano in Hawaii, the album sold very well. Miles cut a few more albums for CBS, participated in a short-lived Electric Flag reunion in 1974, then moved to Casablanca in 1975 for a pair of LPs.  From: https://www.allmusic.com/artist/buddy-miles-mn0000943936#biography

The Rolling Stones - Child of the Moon

 #The Rolling Stones #blues rock #hard rock #classic rock #British blues rock #rock & roll #folk blues #garage rock #R&B #1968 music video

The promotional film for the Rolling Stones’ 1968 track “Child Of The Moon” has been newly restored in 4K resolution. The clip, again directed by the group’s frequent collaborator of the time, Michael Lindsay-Hogg, is the latest in ABKCO’s series of restored clips from the band’s 1960s era. “Child Of The Moon” is perhaps one of the lesser-known songs in the Stones’ canon, largely since it was the non-album B-side of their May 1968 smash “Jumpin’ Jack Flash.” It was recorded at Olympic Studios with producer Jimmy Miller that March, as sessions began for what became the classic Beggars Banquet LP. Miller’s voice is heard at the beginning of the track, which was sufficiently rated by the band to earn its own promotional video, recently described by Mojo as “an early semi-narrative work” by British director Lindsay-Hogg. The visually striking clip was filmed, in monochrome, in the Surrey countryside. “‘Child Of The Moon’ plays like a British sci-fi/horror short,” wrote the magazine, “seemingly referencing Italian giallo, Village Of The Damned and J. Lee Thompson’s 1966 pagan horror (and Wicker Man forerunner) Eye Of The Devil. The film possesses the dusk-light glow of a peaking acid trip, magic-hour euphoria tinged with a chilly unease, yet also tunes into the darker subtext of the Stones’ occult dalliances.” The song featured keyboards by Stones alumnus Nicky Hopkins, with the saxophone played by Brian Jones. It went on to be included in the More Hot Rocks (Big Hits & Fazed Cookies) compilation in 1972. Allmusic’s review notes that it “was indicative of their slide toward a slightly more laid-back, funkier rock sound than they’d pursued on their more pop- and psychedelic-influenced 1966-1967 releases.” The Elsewhere website describes the song as a “droning little gem” and “certainly the last gasp of the Stones in psychedelic mode.”  From: https://www.udiscovermusic.com/news/watch-restored-promo-film-rolling-stones-child-of-the-moon/

At end of the European tour in 1967, the Rolling Stones found themself in huge troubles. The tension inside the band was really high. The failure of their new psychedelic Lp “Their Satanic Majesties Request” few months later put them into a limbo, that paradoxally spurred the Stones to record one of the best rock’n’roll singles of all the times. “Jumpin’ Jack Flash” was a karma: an anthem never heard before. It came out May 24th, 1968, in England and the 1st of June in Usa, with a strange B side called “Child of the Moon”. As with “Jumpin Jack Flash”, “Child of the Moon” was recorded during the session for the seventh studio album of the band “Beggar’s Banquet”, on March 28, 1968, at the Olympic Studios in London. Unlike the “A side” of the single, “Child” has a gothic sound, introduced by a country blues riff and by a chilling scream sang by the the producer Jimmy Miller just like apocalypse was nearly done. A strange mix for a single that is still recognised as one of their best records ever. “Child of the Moon” was a love letter from Mick Jagger to Marianne Faithfull, fixed with a lot of references to pagan rituals: a gloomy vision in the dark side of love. The band thought enough of the song to accompany it with a promotional video. Directed by Michael Lindsay-Hogg, this video was inspired by “Village of the Damned”. A sort of horror movie to give emphasis to the obscure mood of the Stones, according to their colder and satanic soul, in which a band of five men blocking the path to three figures: a child, an elder and a young woman. Maybe it’s the representation of most rebel side of The Stones or maybe it was the representation of the future in the middle of the Sixties for the youngest generations. A decade in which very soon things would have changed and everything would not have been the same again.  From: https://medium.com/@massimilianoleva/child-of-the-moon-the-psychedelic-vision-of-the-rolling-stones-65d932f61604

Gene Vincent & The Blue Caps - Be-Bop-A-Lula

 #Gene Vincent & The Blue Caps #rock & roll #rockabilly #classic rock #1950s #music video

When a music critic wants to indicate that a song lacks lyrical sophistication, he or she will often refer to its lyrics as being of the “moon in June” sort. It’s a label left over from the Tin Pan Alley era, when even great composers like Irving Berlin churned out a hundred uninspired Moon/June tunes for every highly original classic like “Blues Skies” or “Puttin’ On The Ritz.” If rock and roll has an equivalent in the area of clichéd lyrics, it is probably “Baby” and “Maybe”—a rhyming pair made most famous in the smoldering early-rock classic “Be-Bop-A-Lula,” which was recorded in Nashville, Tennessee, by the rockabilly legend Gene Vincent in 1956. The story of how the decidedly un-complex lyrics of “Be-Bop-A-Lula” got written is shrouded in a certain amount of controversy. Officially, Gene Vincent’s business manager credits Bill “Sheriff Tex” Davis, a savvy 40-year-old songwriter from Connecticut, as the songwriter. However, others credit a young man named Donald Graves — a buddy Gene Vincent made in a Portsmouth, Virginia, Veteran’s Hospital. Vincent — born Vincent Eugene Craddock in 1935 — had just reenlisted in the U.S. Navy in the spring of 1955 when he suffered a devastating leg injury in a motorcycle accident. That injury would land him in hospital for more than a year, where a fellow patient remembers Vincent and Graves tooling around the facility working out the song that would eventually become a classic. By the time Gene Vincent’s demo tape reached Capitol Records the following spring, however, Graves had been bought out of his share in “Be-Bop-A-Lula” by Sheriff Tex, reportedly for just $25. It wasn’t the obvious brilliance of “Be-Bop-A-Lula,” but rather the uncanny resemblance between Gene Vincent’s voice and Elvis Presley’s that explains the speed with which Capitol snapped Vincent up and got him into the studio. In fact, when Vincent and his Blue Caps recorded “Be-Bop-A-Lula” on May 4, 1956, it was as a “B” side to a now largely forgotten tune called “Woman Love.” As soon as disk jockeys began “flipping” Vincent’s debut single, however, “Be-Bop-A-Lula” became a smash, selling more than 2 million copies in its first year of release.  From: https://www.history.com/this-day-in-history/gene-vincent-records-be-bop-a-lula

Humble Pie - I'm Ready

 #Humble Pie #Steve Marriott #Peter Frampton #hard rock #blues rock #classic rock #British blues rock #ex-Small Faces #1960s #1970s

Humble Pie were an English rock band formed by Steve Marriott in Essex during 1969. They are known as one of the late 1960s' first supergroups and found success on both sides of the Atlantic with such songs as "Black Coffee", "30 Days in the Hole", "I Don't Need No Doctor" and "Natural Born Bugie". The original band line-up featured lead vocalist and guitarist Steve Marriott from Small Faces, vocalist and guitarist Peter Frampton from The Herd, former Spooky Tooth bassist Greg Ridley and a 17-year-old drummer, Jerry Shirley, from The Apostolic Intervention.

1969–1970: Humble Pie Formation and Chart Success
In January 1969 Steve Marriott, having just left Small Faces, got together with Greg Ridley, Peter Frampton and Jerry Shirley. Marriott had brought together Shirley and Ridley as a possible band for Frampton, then ended up joining the band himself. They chose the name Humble Pie and were signed to Andrew Loog Oldham's record label Immediate Records. Their debut album, As Safe as Yesterday Is, was released in August, 1969, along with the single, "Natural Born Bugie", which reached No. 4 hit in the UK Singles Chart; the album peaked at No. 16 in the UK album charts. As Safe as Yesterday Is was one of the first albums to be described by the term "heavy metal" in a 1970 review in Rolling Stone magazine. Their second album, Town and Country released in the UK during 1969 while the band was away on it’s first tour of the US. This album featured a more acoustic sound and songs written by all four members. Humble Pie concerts at this time featured an acoustic set, with a radical re-working of Graham Gouldman's "For Your Love" as its centrepiece followed by an electric set. Recent tape archives show that the band recorded around 30 songs in its first nine months of existence, many of which remained unreleased for decades, including an interpretation of Henry Glover's "Drown in My Own Tears".

1970–1971: Humble Pie Early Success
During 1970, Humble Pie switched to A&M Records and Dee Anthony became their manager. Anthony was focused on the US market and discarded the acoustic set, instigating a more raucous sound with Marriott as the front man. The group's first album for A&M, Humble Pie, was released later that year and alternated between progressive rock and hard rock. A single, "Big Black Dog", was released to coincide with the album and failed to chart, however the band was becoming known for popular live rock shows in the US.
It was during this period that Peter Frampton acquired his famed "Phenix" guitar, the black 1954 Les Paul Custom which became his signature instrument and his favourite guitar for the next decade. Humble Pie was playing a run of shows at the Fillmore West in San Francisco in early December 1970, and during the first show Frampton was plagued by sound problems with his then-current guitar, a semi-acoustic Gibson 335, which was prone to unwanted feedback at higher volumes. After the show he was approached by fan and musician Mark Mariana, who loaned him a modified 1954 Gibson Les Paul, and by the end of the second show Frampton had become so enamoured of the guitar that he offered to buy it on the spot, but Mariana refused payment. Frampton played it almost exclusively for the next ten years. It was featured on the cover of Frampton Comes Alive and was thought to have been destroyed in 1980 when a plane carrying Frampton's stage equipment crashed in Venezuela during a South American tour, killing the crew, but with the guitar in fact surviving the accident with some minor damage. It was eventually returned to Frampton in 2011.
On 9 July 1971, Humble Pie opened for Grand Funk Railroad at their historical Shea Stadium concert, an event that broke the Beatles record for fastest selling stadium concert, to that date. Also in 1971 Humble Pie released their most successful record to date, Rock On, as well as a live album recorded at the Fillmore East in New York entitled Performance Rockin' the Fillmore. The live album reached No. 21 on the US Billboard 200 and was certified gold by the RIAA. "I Don't Need No Doctor" was a FM radio hit in the US peaking at No. 73 on the Billboard Hot 100, propelling the album up the charts. But Frampton left the band by the time the album was released and went on to enjoy success as a solo artist.

1972–1975: Clem Clempson, The Blackberries and Further Success
Frampton was replaced by Clem Clempson and Humble Pie moved towards a harder sound emphasising Marriott's blues and soul roots. Their first record with Clempson, Smokin', was released in 1972, along with two singles "Hot 'n' Nasty" and "30 Days in the Hole" (the latter of which became one of their best-known efforts). It was the band's most commercially successful record, and reached No. 6 on the US charts, helped by a busy touring schedule. After the success of Smokin' the band's record label A&M released Humble Pie's first two Immediate albums in one double album, as Lost and Found.
Looking for a more authentic R&B sound, Marriott hired three female backing vocalists, The Blackberries. The trio consisted of Venetta Fields, Clydie King and Sherlie Matthews who was later replaced by Billie Barnum. They had performed with Ike and Tina Turner as The Ikettes and with Ray Charles as The Raelettes. This new line-up included Sidney George on saxophone for the recording of Eat It, a double album released in 1973 made up of Marriott originals (some acoustic), R&B numbers, and a Humble Pie concert recorded in Glasgow. The album peaked at No. 13 in the US charts. Thunderbox was released in 1974, and Street Rats a year later. In 1975, Humble Pie conducted their Goodbye Pie Tour before disbanding.

From: https://www.ronnielane.com/steve-marriott-and-humble-pie.html

Spooky Tooth - Musikladen 1973

 Part 1

Part 2

#Spooky Tooth #Gary Wright #Mike Harrison #Mick Jones #hard rock #blues rock #psychedelic rock #progressive rock #classic rock #British R&B #1960s #1970s #live music video

Spooky Tooth were an incredibly proficient gaggle of musicians whose individual talents were often greater than the sum of the band — when they were good, they were brilliant, but when they were okay, well they were just okay. The original line-up included two powerful keyboard-playing lead singers Gary Wright and Mike Harrison, a brilliant guitarist in Luther Grosvenor (who became equally famous as Ariel Bender with Mott the Hoople), bassist Greg Ridley (who was a founding member of Humble Pie with The Small Faces’ Steve Marriott) and drummer Mike Kellie (a future member of The Only Ones). Later, the line-up included Mick Jones who (of course) went onto world domination with Foreigner — yeah, I know, but somebody had to do it. 
Originally tinged with psychedelia and early prog rock, Spooky Tooth’s musical focus was shaped by the songwriting talent of Gary Wright over the first two albums — It’s All About (1968) and Spooky Two (1969). But this nascent potential was literally destroyed by the strange collaboration with electronic wizard Pierre Henry for their third album Ceremony (1969), which Wright claims ended the band’s career: “Then we did a project that wasn’t our album. It was with this French electronic music composer named Pierre Henry. We just told the label, “You know this is his album, not our album. We’ll play on it just like musicians.” And then when the album was finished, they said, ‘Oh no no — it’s great. We’re gonna release this as your next album.’ We said, ‘You can’t do that. It doesn’t have anything to do with the direction of Spooky Two and it will ruin our career.’ And that’s exactly what happened.” Devastated, Wright temporarily quit, and Spooky Tooth’s next album The Last Puff (1970) - billed as Spooky Tooth featuring Mike Harrison - was a rather mixed bag of covers, though it did contain the greatest ever Beatles cover “I Am The Walrus.” 
Then Grosvenor and Kellie quit, Jones joined and Wright returned to the fold penning nearly all of the songs for their bizarrely titled fifth album You Broke My Heart So…I Busted Your Jaw (1973).  Next came Witness, which was Harrison’s last album with the band, before the arrival of the more poppy The Mirror (1974), which was generally well received.  The band split — Jones went onto greater success, while Wright released his million-selling solo album Dream Weaver. Spooky Tooth deserve attention not just because of the quality of their disparate players, but also because of the quality of their early and late music — which can partly be seen in these “lost broadcasts” where Spooky Tooth perform “The Weight” on Beat Club in 1968, followed by “Old As I Was Born,” two versions of “Cotton Growing Man,” “Waiting For The Wind” and two versions of “Moriah” for Musikladen in 1973.  From: https://dangerousminds.net/comments/spooky_tooth_the_lost_broadcasts

Steely Dan - Show Biz Kids - The Midnight Special 1973

 #Steely Dan #jazz rock #pop rock #album rock #classic rock #The Midnight Special #music video

Earlier this month, rare footage of Steely Dan playing Reelin' In The Years and Do It Again on The Midnight Special appeared on the show's official YouTube channel. The footage came from a show broadcast in February 1973, but the band returned to the show in August the same year and played three more songs. They revisited Reelin' in the Years and added My Old School, alongside a sensational Show Biz Kids, and the latter is the latest video to make its way online. And it is sensational. Donald Fagen, famously nervous about singing live, shows absolutely no sign of being so. Jeff 'Skunk' Baxter plays Rick Derringer's original slide guitar part with an exuberance bordering on maniacal. And the two backing singers, Gloria 'Porky' Granola and Jenny 'Bucky' Soule, have more fun with the famous "You go to Lost Wages, Lost Wages," lines than you can possibly imagine. Impressively, it appears that the band refused to self-censor the "You know they don't give a fuck about anybody else" line – later used as the basis for the song The Man Don't Give a Fuck by Welsh psychedelia enthusiasts Super Furry Animals – forcing the show's producers to punch in a brief moment of family-friendly silence during the edit.  From: https://www.loudersound.com/news/steely-dan-show-biz-kids-the-midnight-special

This is a song which disparages a certain class of L.A. residents - wealthy offspring of entertainment moguls - show biz kids who don’t give a fuck about anybody else. Steely Dan were New Yorkers who had relocated to L.A. for work. Later they moved back to NYC but at this point much of their lyrical content outlined their dissatisfaction with many of the sleazier things about the West Coast. They kept writing about it even after they returned to the East Coast, for example in 1980’s “Babylon Sisters” from ‘Gaucho’, and also 2000’s “West of Hollywood” from ‘Two Against Nature’.  From: https://genius.com/Steely-dan-show-biz-kids-lyrics

"Show Biz Kids" was such an utterly bizarre choice for the first single from Countdown to Ecstasy that one has to assume that Donald Fagen and Walter Becker chose it deliberately as a veiled affront to ABC Records and anyone who expected "Do It Again" redux. Although the song features a stellar slide guitar solo (by guest Rick Derringer instead of group members Denny Dias and Jeff "Skunk" Baxter, the first example of the studio musician ethos that would soon become Steely Dan's stock in trade) and a funky piano-led groove, "Show Biz Kids" is eccentrically structured, without a bridge or middle eight, giving it an endless, plodding quality that suits the bitter lyrics about cliquishness and hedonism in the group's adopted hometown of Los Angeles. It also seems unlikely that a song whose payoff line is "Show business kids making movies 'bout themselves/You know they don't give a fuck about anybody else" was likely to top the charts in 1973. Incidentally, that repetitive chant of the female backing vocalists is "You go to Lost Wages," a Rat Pack-era joke name for Vegas.  From: https://www.allmusic.com/song/show-biz-kids-mt0000372379

Alice Cooper - Elected

 #Alice Cooper #hard rock #heavy metal #glam rock #art rock #classic rock #glam metal #garage rock #1970s #music video

Alice Cooper’s truly hilarious promo film for Elected, features everyone’s favourite shock-rocker cruising the streets on his fictitious presidential campaign, ‘meeting’ the public (including one lady who appears to think he’s an actual candidate) and planning his next senatorial move with the aid of a suited-up chimp. It’s hard to convey in words just how expertly assembled this bit of irreverent comic nonsense is, from the moment a limo pulls up to reveal him grinning out of the window, to the madcap rally invaded by someone in a sub-Banana Splits elephant suit at the end, but if you’re familiar with Elected and know how good it is, then saying that it’s a perfectly judged visual accompaniment should get the manifesto across just fine. What’s particularly interesting is that while this may all seem like a two-fingered response to America’s political establishment in the wake of Watergate, the actual scandal was still some months away from breaking when the song was recorded and indeed released as a single, and this promo film will almost certainly have in fact been filmed while the initial attempt at covering up was taking place. Nothing ever hits quite so hard as inadvertent satire way before the event.  From: https://timworthington.org/2020/08/07/were-all-gonna-rock-to-the-rules-that-i-make/

Forget Marilyn Manson, forget the Sex Pistols; when it came to shocking the self-appointed guardians of international morality to the core, Alice Cooper pretty much wrote the handbook. Flaunting a sketchy past swathed in urban legend and cunningly fabricated falsehoods concerning witches, ouija boards, dismembered chickens, blurred genders and necrophilia, Alice Cooper succeeded in outraging the forces of decency to an unprecedented degree over the course of his casual early-70s transition from cult notoriety to mainstream ubiquity. Cooper’s infamy was such that in May 1973 Leo Abse, the incumbent Labour MP for Pontypool, spluttered in the House of Commons: “I regard his [Cooper’s] act as an incitement to infanticide for his sub-teenage audience. He is deliberately trying to involve these kids in sado-masochism. He is peddling the culture of the concentration camp. Pop is one thing, anthems of necrophilia are another.” The nation’s leading censorial nanny figure, Mary Whitehouse, head of the National Viewers’ and Listeners’ Association, offered eager support to Abse’s campaign to ban Alice Cooper from returning to the UK. But as public reaction veered in the general direction of hysteria, sales of Billion Dollar Babies (Cooper’s most provocative recording to date) soared stratospherically; then, as now, controversy sells, and in 1973 nobody was selling more than Alice Cooper. Of course, back in those days Alice Cooper were a band; five individuals who had translated a shared fascination for the mop-tops and the macabre into a million-dollar industry that had not only brought them universal vilification as depraved, corruptive pariahs, but also celebrity beyond their wildest dreams.
The quintet’s story begins innocently enough in Phoenix, Arizona, when track athlete Vincent Furnier is volunteered to organise the Cortez High School’s autumn 1964 Letterman Talent Show. Unfortunately no one seems to boast any discernible talent, so Vince encourages some friends to take the stage as The Earwigs where they mime along to Beatles records while wearing Beatles wigs. Guitarist Glen Buxton can actually play his instrument. And while drummer John Speer fumbles his way around the rudiments of percussion, bassist Dennis Dunaway hones his craft with the benefit of some valuable lessons from Glen. The Earwigs metamorphose into The Spiders; they play local Battle Of The Bands shows; and they replace their departing rhythm guitarist John Tatum with ex-Cortez High football star Michael Bruce of The Trolls. Following a move to LA in spring ’67, the fledgling Coopers, now known as The Nazz, replace John Speer with fellow Phoenix emigré Neal Smith and set about endearing themselves to the Sunset Strip in-crowd by hosting regular séances.  Soon enough – now that they’re mixing in a social circle that includes The Doors’ Jim Morrison and Love’s Arthur Lee – Miss Christine (of The GTOs) arranges for the band to audition for Frank Zappa’s Straight label. The somewhat over-eager Coopers famously turn up for their 6:30 pm appointment at 6:30 am, but find their naive tenacity amply rewarded when Zappa offers them a record deal. Two days after changing their name to Alice Cooper they are taken on as the house support band at the 20,000-capacity Cheetah Ballroom, where they gradually build a following in spite of the fact that their vocalist – having ditched the name Vince in favour of the infinitely more noteworthy Alice – had taken to wearing full make-up and a pink clown costume.
Gradually, the winning Alice Cooper formula takes shape, and after recording a brace of feet-finding collections on Zappa’s Straight imprint (1969’s Pretties For You and ’70’s Easy Action) the band sign to Warner Brothers and, with Canadian whiz-kid producer Bob Ezrin at the controls, hit the peak of their form with three set-piece collections released in rapid succession: June ’71’s Love It To Death (the album that shocked America), December ’71’s Killer (the album that conquered America) and July ’72’s School’s Out (the album that conquered the world). School’s Out, bolstered by the enormity of its anthemic title track, quickly attained the accolade of being the biggest-selling album in Warners’ history and, thanks to a frenzied tabloid press virtually foaming at the mouth with a level of hyperbolic vitriol unseen since the advent of the Rolling Stones, Alice Cooper became the most newsworthy and controversial band on the planet. But now came the difficult bit. In the face of blanket condemnation from the great, the good, the humourless, the pious and the post-pubescent, the band needed to consolidate their position. Specifically, they needed to make the greatest album of their career: an over-inflated Grand Guignol masterpiece; an ostentatiously offensive, flashy, crass and unbelievably expensive combination of Herschel Gordon Lewis and Busby Berkeley positively guaranteed to expand the generation gap to Grand Canyon proportions. In short, they needed to make Billion Dollar Babies. Following School’s Out was always going to be a daunting task, but with band morale at an all-time high no one involved harboured a shred of doubt that they could not only do it, but also do it in style.  From: https://classicrockreview.wordpress.com/2021/07/27/the-scandalous-story-of-alice-coopers-billion-dollar-babies-1973-2020/

Creedence Clearwater Revival - Effigy

 #Creedence Clearwater Revival #roots rock #blues rock #country rock #swamp rock #classic rock #1960s #1970s

"Effigy," written by Creedence Clearwater Revival frontman John Fogerty, is the last track on the Willy and the Poor Boys album. This was the fourth studio album released and the third platinum album for CCR, riding the peak of their popularity in 1969. This song is a good example of the "roots rock" style that CCR helped to pioneer. While Bob Dylan is largely credited with starting the roots movement in 1966, only a handful of bands followed that lead, while the rest turned to folk, blues, or psychedelia. CCR fits into the niche within the country-influenced roots rock genre in between The Byrds, Tom Petty, Lynyrd Skynyrd, the Eagles, and of course The Flying Burrito Brothers. By sticking to the basics while everybody else was jumping on the experimentation bandwagon, they could be progressive and anachronistic at the same time.
Another thing that set CCR apart was the tight cohesion of the band members. While other groups swapped members between each other like so many kids playing Red Rover, CCR remained their own little island of Fogerty, Fogerty, Clifford, and Cook, with the only change being when Tom Fogerty split in 1971, after which they were down to a trio. Furthermore, they had considerable influence for a band that was only releasing albums together five years!
CCR drummer Doug Clifford said that this is a political song through and through. "It's pointing the finger at the Nixon administration when they were crumbling," he explained in Bad Moon Rising: The Unofficial History of Creedence Clearwater Revivial. "The dark period, if you will." An effigy is a model of an actual person that is made for the purpose of being destroyed as an act of protest or expression of anger. The "palace lawn" is referring to the lawn of the White House. In Fortunate Son: My Life, My Music, Fogerty affirms Nixon as the inspiration for his song, calling the former president "a schmuck." The specific event that triggered Fogerty to write the song happened October 15, 1969, when millions of people marched around the world to protest the Vietnam War. Nixon completely dismissed the event. As Fogerty remembers it, the former president said, "Nothing you do here today will have any effect on me. I'm going back inside to watch the football game." That dismissive attitude enraged Fogerty at the time and, judging from the writing in Fortunate Son, enrages him still.
From: https://www.songfacts.com/facts/creedence-clearwater-revival/effigy

Queen - Live At The Rainbow 1974

Part 1

Part 2

#Queen #Freddie Mercury #Brian May #Roger Taylor #hard rock #glam rock #progressive rock #heavy metal #classic rock #1970s #live music video

Truly great stage presence is a rare gift for any band. Sure, some acts can get away with just standing around and playing their hits, but a really amazing concert experience requires that little extra something -- that indefinable spark of charisma and electric personality. That ability to reach out into the crowd and command an audience, fully connecting with every single fan no matter how large the venue is. Led by the unique musical charms of Freddie Mercury, Queen had that singular talent, turning every one of their performances into something special, and 'Live at the Rainbow '74' is no different. Featuring the band after the release of their first three albums, the show captures the group at the cusp of super stardom, revealing their early penchant for kinetic showmanship.
Filmed over two nights at the Rainbow Theater in North London in November 1974, the concert spotlights the band during their "Sheer Heart Attack Tour." The lineup consists of Brian May on lead guitar, John Deacon on bass, Roger Taylor on drums, and Freddie Mercury as the lead vocalist and pianist. Primarily made up of tracks from the group's first three albums, the songs carry a distinct mixture of styles, blending hard rock and progressive rock sensibilities with a more melodic and occasionally even operatic quality. With that said, these earlier records don't quite carry the same pop friendly stadium rock style that the band's later anthem hits ("We Will Rock You," "We Are the Champions") would become famous for.
After a brief intro following the band into the Rainbow Room, we quickly segue straight into the show. Opening with a rousing rendition of "Now I'm Here," we start in darkness only to have the lights kick on and off during key beats before finally bathing the stage in a warm glow as the band really kicks it into high gear. From there, we're treated to an energetic and varied view of the show, complete with close-ups, wide-shots, zooms, and frequent dissolves. Likewise, the lighting design keeps things interesting, washing the screen in moody oranges, greens, and blues, nicely complementing the tempos of each song. And what would a rock show be without smoke? Well, I'm not sure, but fret not! We get plenty of atmospheric fog.
Of course, Freddie Mercury is not one to be up-staged by mere lights and camera angles, and the legendary front-man commands the spotlight. First decked out in all white and then sporting a black ensemble complete with diamond claws (apparently a gift from the devil himself), the only thing louder than the singer's costume choices, is his voice. And wow, what a voice it is. With incredible range and seemingly effortless poise, Mercury carries us through the set-list without skipping a beat, infusing each note with deep emotion and charm. Likewise, the musician will playfully address the audience in between tracks to introduce new songs, maintaining a fun and intimate rapport with his fans. The rest of the band also get their moments to shine keeping things from becoming a one-man show, and we're treated to some fantastic drum and guitar solos as well.
Highlights include spirited performances of "Killer Queen" and "Keep Yourself Alive," and the band's climactic take on "In the Lap of the Gods… Revisited" is simply riveting. Really, there are no missteps throughout the entire production and each song is fully realized. Together, Mercury, May, Taylor, and Deacon create a truly engaging concert experience, using a little bit of rock star flash to enhance but not overpower their music. Instead, everything flows together perfectly, and each band member is firing on all cylinders, bringing the group's unique sound to life with a dynamic spark.  From: https://bluray.highdefdigest.com/12753/queenliveattherainbow74.html

 

The Zombies - I’ll Call You Mine

 #The Zombies #Rod Argent #Colin Blunstone #psychedelic rock #blues rock #pop rock #baroque pop #psychedelic pop #classic rock #British invasion #1960s

Q: Where did the name, The Zombies, come from?

Rod Argent: We got together in 1961, at the very beginning of the English band scene. That was even a year before the Beatles. We didn't know what to call ourselves. For the first month or so, we were called the Sundowners. But I think that may well have been a western film in the same way as the Searchers' name was from a John Wayne movie. We were also the Mustangs for a couple of weeks, but never went out on a gig with that name.  One day, our bass player at the time, who was the only one initially who left the band before we were professional, said, "What about The Zombies?" This was in the days before any of the crop of zombie films, like "Return Of The Living Dead." Now I just about knew what a zombie was. It had something to do with Haiti, and some sort of voodoo, unsavory sorts of things. Colin Blunstone didn't even know that. He hated the name! But I loved it. If we were lucky enough to get any recognition later, then very soon the name itself would be unimportant. It would just become whomever the members of the band were. A year after the Beatles were named, no one that I know thought about insects or even the play on words. They just thought about John, Paul, George and Ringo. That proved to be the case with us. When we were in the studio once, I was wandering around and heard the sound of Miles Davis coming from a record player in someone's dressing room. I knocked on the door. It opened, and there was Manfred Man. I asked if that was Miles playing, and he said, "Yeah, yeah." Then he looked at me and asked, "You're Rod Argent, aren't you?" I said, "Yeah." He said, "Man, I love your record, but you have to change that band name." But we never did [laughs].

Q: How did you meet Colin Blunstone?

Argent: The day we had our first rehearsal was the first day I met Colin. He was a friend of the bass player, who was a friend of mine. Originally, I was supposed to be lead singer, and not play piano at all. We had a little jam, and thought it was all going pretty well. Then we had a coffee break. I wandered over to an old, beaten-up piano, and started playing some Stingers records I'd heard. Colin came running over and said, "That sounds fantastic. You've got a great playing ability. Why don't you sing AND play piano?" I thought that would be too much, to sing lead vocals and play piano, so I said, "No." Twenty minutes later, we had another break. Colin sat down and started strumming a guitar, because he was going to play second guitar, rhythm. He started singing a Ricky Nelson song. It sounded absolutely lovely! I said, "My God, I had no idea you could sing like that. I'll tell you what. - you be lead singer, and I'll play piano." And that's how we started. It was Easter of 1961.

From: https://www.forbes.com/sites/jimclash/2020/06/08/how-did-the-1960s-band-the-zombies-come-up-with-their-strange-name/?sh=4af7dfa63d4e

The Who - Rael

 #The Who #Pete Townshend #Roger Daltrey #hard rock #heavy blues rock #psychedelic rock #art pop #classic rock #1960s #1970s

Rael was Pete Townshend’s first rock opera. A lot of the themes in it were apparently recycled into Tommy and Lifehouse based on musical evidence. The story was set in 1999, where China was the world power. They were conquering lands and destroying the religious cultures in their conquest. China was overthrowing Israel and an Israeli hero travels back to his homeland on a mission against all odds to save his people. There isn't much more information than that as Pete hasn't release many notes or demos from the opera.
According to the book “Who Are You: The life of Pete Townshend” it was intended to be done with a full orchestra written as a genuine opera starring Arthur Brown in the lead. There were to be 20 scenes. We have a prelude song that's easily found on the internet called Motherland Feeling. Rael part 1 has the scene of him leaving on the boat, a storm scene (which is the sparks part) and the scene of him arriving. We also know there was an organ Fugue which may be the organ part of the demo. There is also a lyric floating around for a song called Party Piece from Rael where we learn that the hero’s wife had died years earlier and was buried in the homeland.
Following a visit to Caesarea, Israel in 1966 with his first wife, Karen Astley, and the subsequent outbreak of the Six-Day War, Townshend began work on Rael, a song cycle loosely based on Israel’s struggle to survive despite being massively outnumbered by its enemies. Rael — short for Israel — got sidetracked, partly due to the demands of the Who’s record company for faster delivery of more hit singles, and Rael was consigned to the shelf. The only song that has surfaced from that project is called Rael and appears on the late 1967 album, The Who Sell Out.
In recent years, Townshend’s thoughts have once again turned back toward the concerns he expressed in Rael. As he told an interviewer for Rolling Stone in 2006: Last week, I was reading about this book that’s just come out. It’s about the Polish Jews who got out of concentration camps and went back to their homes, which had been taken over by Christians who assumed the Jews weren’t coming back. What happened was another wave of anti-Semitism in which dozens were slaughtered by Christians in Warsaw. The premise for it was that there was witchcraft going on. The Jews, of course, drank the blood of children. Been there, done that. Fucking hell. And I asked myself, ‘Why am I so heated up about this fucking story?’ But it’s because, as a kid, my best friend, Mick Leiber, was a Jew. We grew up in a community that was about a third Polish. We lived in a house that divided in two, and in the top part lived a Jewish family who were quite devout. Polish Jews were the kids I played with. They were my people. I remember saying to my mother, ‘Aren’t Polish people from Poland?’ And she said, ‘Yes, they were Britain’s first ally in the war.’ I’d say, ‘But they’re not like foreigners. They’re just like we are.’ And she said, “Yes, they’re just like we are.”
From: https://www.reddit.com/r/TheWho/comments/slb4mo/can_somebody_explain_rael/ 

Queen - Funny How Love Is

 #Queen #Freddie Mercury #Brian May #Roger Taylor #hard rock #glam rock #progressive rock #heavy metal #classic rock #1970s

Freddie Mercury’s attitude to writing about love changed over the years, from the optimism of “Funny How Love Is” (from their second album Queen II) to the mid-1980s, when he was writing edgy songs about love being dangerous and referring in interviews to his own love life as similar to a game of Russian roulette. “Funny How Love Is,” though, was a sunny, optimistic reflection on how love is omnipresent (“love is anywhere you’re bound to be”). It started out, in the first five takes, as a piano-led acoustic song, and evolved into a “wall of sound” track via Mercury’s friend and producer Robin Cable. “That album was when we first really got into production, and went completely over the top,” commented Taylor. “Funny How Love Is” was sung in demanding high-register vocals, which was the reason Mercury declined to sing the song in live shows. Although there are more famous Queen love songs, “Funny How Love Is” captures the innocence and optimism of the band at the start of their journey.  From: https://www.udiscovermusic.com/stories/queen-love-songs/

Jethro Tull - Kissing Willie

 #Jethro Tull #Ian Anderson #progressive rock #folk rock #hard rock #blues rock #English folk rock #art rock #classic rock #progressive folk #music video

"Willie" is British slang for the penis, and this song is about oral sex. There are other sexual references throughout the song, something that is not typical of Jethro Tull. In spite of the apparent bawdy nature of the lyrics, Jethro Tull front man Ian Anderson is no lecher. As he told us: "I'm usually rather put off by naked ladies unless the time is right. Well, indeed, unless the money's right." In fact, he turned down performing at Woodstock based on the likelihood of it being a scene involving naked women and hippies! (Check out the full Ian Anderson interview)

Jethro Tull front man Ian Anderson isn't your typical Rock Star. He's never done drugs and has no use for the trappings of fame. So what does he have in common with the boys from Led Zeppelin? More than you might think.

Carl Wiser (Songfacts): Ian, I have four different statements about you that appeared in pretty notable publications. I was wondering if you could tell me if these are true or false. The first one is: you kept a urinal you used to clean as a souvenir.

Anderson: I wish I had. I don't have it anymore. It was one of the spare and probably cracked or slightly broken urinals that was in the store room of the Ritz Cinema in Luton in late 1967. My job was to clean the theatre, including the toilets, in the mornings, which took me half the day. And I thought, well, this old urinal is probably not going to get used, because it had a chip out of the side. So I managed to take it home. And I did keep it for a while with some idea of turning into perhaps a drinking fountain. But along the way it got abandoned, and the nearest I came to reliving the urinal moment was when we used to have a urinal bolted to the side of John Evan's Hammond organ onstage, and at some point during the performance around 1972 he would pretend to relieve himself into said urinal to the amusement – and horror, indeed – of some of the audience. But it was, in fact, just playacting. Because he did in fact relieve himself into a beer can backstage, but hopefully no one was looking during the drum solo. So, yes, partly true.

Songfacts: Okay, next one. You refused to play Woodstock because you thought it wasn't a big deal.

Anderson: No, I knew it was going to be a big deal. The reason I didn't want to play Woodstock is because I asked our manager, Terry Ellis, "Well, who else is going to be there?" And he listed a large number of groups who were reputedly going to play, and that it was going to be a hippie festival, and I said, "Will there be lots of naked ladies? And will there be taking drugs and drinking lots of beer, and fooling around in the mud?" Because rain was forecast. And he said, "Oh, yeah." So I said, "Right. I don't want to go.” Because I don't like hippies, and I'm usually rather put off by naked ladies unless the time is right. Well, indeed, unless the money's right.

Songfacts: Okay. Yet you toured with Led Zeppelin.

Anderson: We did, but happily, outside the orbit of their nightly shenanigans, although Jimmy Page used to show us Polaroids involving close-up blurred parts of young ladies' anatomy, often featuring soft fruit - that seemed to be in quite a lot of these photographs. Yeah, that's about it. We kind of heard the tales, but we were on the periphery of all that, didn't really experience it.

Songfacts: Was that the way it was for many of the bands that you toured with?

Anderson: That they stayed on the periphery? No. My impression was that the majority of bands were really enjoying and living up those moments when they were temporarily famous and about to have the good fortunes of young ladies' attentions thrust upon them on a nightly basis, which I could never have possibly kept up with the pressure to fulfill. So, yeah, that's my impression, everybody was at it. I mean, out of all the bands, and all the people I've known, really, I'm probably the only person I know for sure never did what we popularly called "drugs" during all of that period. It was just something everybody did. And I didn't really enjoy being around people who were doing drugs, so I just took myself often to read a book somewhere, and waited for it all to kind of evaporate from the rock and roll lifestyle. But of course it hasn't. These days people drop as often as they did back then, like flies, sadly, before their time. One or two get lucky and manage to control it or survive it, like Keith Richards, but he's one of the small number of people who seem to have emerged – not entirely unscathed – from the heady and demanding experiences of rock and roll.

Songfacts: I read where you said that Led Zeppelin "showed you the way." So you must have learned something from them.

Anderson: I think what they showed to all their peer group as musicians, was that there was, first of all, a very powerful and dramatic way to perform simple, direct rock music and also to introduce elements of more eclectic music. Because Zeppelin, near the beginning, there were a lot of elements of folk music, and Asian music, and African music that crept into their stuff. And if Zeppelin had carried on, I imagine we would have had at least one or two Led Zeppelin "unplugged" albums, and probably some rather more esoteric offerings along the way, where they did explore more thoroughly those more eclectic musical moments that they hinted at early on. Jethro Tull and Led Zeppelin did share that same interest, even passion, for music that was not the normal stuff of rock and roll. And perhaps they, too, were influenced in some ways by what influenced me: Indian music, Mediterranean music, and British folk music. And we shared a chum, a fellow by the name of Roy Harper, who's one of the British folk musicians of the late '60s. And he was chummy with members of Pink Floyd and Zeppelin and with me. Not with the other members of Jethro Tull, who thought he was a bit weird and they didn't really like his music, I don't think. But he was someone who influenced me greatly right at the beginning, around '68 when I first came across him. And I think that rubbed off a little bit on Jimmy Page, too, as did some of the other British folkies, like Bert Jansch and Davey Graham, and I think that music must have infected the early Jimmy Page style with some of its innovative guitar work.

From: https://www.songfacts.com/blog/interviews/ian-anderson-of-jethro-tull

David Bowie - Oh! You Pretty Things

 #David Bowie #glam rock #hard rock #art rock #classic rock #electronic #singer-songwriter #pop rock #album rock #proto-punk #experimental #1970s #Old Grey Whistle Test #music video

Wake up, you sleepy head
Put on some clothes, shake up your bed
Put another log on the fire for me
I've made some breakfast and coffee
Look out my window, what do I see
A crack in the sky and a hand reaching down to me
All the nightmares came today
And it looks as though they're here to stay

What are we coming to?
No room for me, no fun for you
I think about a world to come
Where the books were found by the golden ones
Written in pain, written in awe
By a puzzled man who questioned
What we were here for
All the strangers came today
And it looks as though they're here to stay

Look out at your children
See their faces in golden rays
Don't kid yourself, they belong to you
They're the start of the coming race
The earth is a bitch
We've finished our news
Homo Sapiens have outgrown their use
All the strangers came today
And it looks as though they're here to stay

I firmly believe that to know what this song means you must be familiar with the philosophy of "Thus Spoke Zarathustra" and Nietzsche's superman. The "homo superior" is a euphemism for this superman, the most conspicuous quality of whom, according to "Thus Spoke Zarathustra," was his contempt of the common man's morality. A superman is somebody who doesn't take on society's morals as his own, but rather somebody who creates his own morality through his own inner strength and clarity of vision. An example of this clarity of vision? In Zarathustra, the seer proclaims that, though he loves peace, he is happy when he sees war. Why? Because the idiots who fight are killing themselves, which will ideally eventually result in a purified world where those who are left are peaceful and lack the destructive urge to dominate their fellow man. Now, compare this attitude to the attitude of the anti-war masses during Vietnam. Their position that all war is inexcusable was, and is, dreadfully simple-minded and untenable. Now, for Bowie, this "advancement" to being supermen might just mean sexual liberation, since this was his coming out/homosexual debut. Regardless, at least he knows his philosophy. Btw, the Nietzschean imagery is all over this album, and this is why it's one of my all time favorites.

I am nearly certain that he does mean a superior human when he speaks of "Homo Superior”. One must remember that at the time of writing Hunky Dory, Bowie was beginning to get involved in the occult, magick, brain-change etc. There are many groups out there that take the stance that we are entering a new age, and therefore a new set of humans will come about as well. He also talks in this song of "the coming race", but they are still your children, and you must see them in "golden rays" which is another bit of magickal symbolism. Even in the first verse there is a bit of a prophesy of an apocalypse. You can find a lot of Occult symbolism on Hunky Dory, actually.

To set the record "straight" - Bowie is not gay and never has been. He claimed to be "bisexual" for a time in the 60/70s when it was hip to be "sexually liberated", but it was mostly an act. Even in his interviews he admits this. Also most people get caught up in the theatrical aspect of his characters. A lot of dumb people equate makeup and women's clothing on men as homosexual, but there is quite a difference. You are only a homosexual if you exclusively have sex with only the same gender as yourself. This has never been the case with Bowie.

From: https://songmeanings.com/songs/view/42518/

Fanny - Ain't That Peculiar

 #Fanny #hard rock #blues rock #classic rock #Marvin Gaye cover #1970s #Beat-Club

Fanny - four young women who were accomplished rock instrumentalists and singers; who never depended only on their sexuality to sell the music; who were self-described as being musicians first and women second. But the fact that they WERE women, and that they reached a level of success previously unheard of for a rock band composed solely of women, was a remarkable achievement. Fanny was the first all-female rock act to record an entire album for a major record label, and in fact recorded and released five albums for major labels. Fanny was the first all-female rock act to rise to real prominence in the US and Europe. Acknowledged by both the press and their many fans as an awesome live act - in the words of Steve Peacock, a top UK music journalist of the era, “if you close your eyes, it’s like listening to the Stones” - Fanny toured tirelessly for up to nine months of every year. In a career that stretched from 1970 to 1975, they had a string of hit singles and also played on the studio recordings of some legendary artists. In addition to their many live gigs, they performed on top music and variety television shows of the time, including The Old Grey Whistle Test, the Sonny and Cher Show, American Bandstand and Beat-Club, Germany’s most famous rock music program. The four original members of Fanny were June Millington (guitar, vocals), Jean Millington (bass, vocals), Alice de Buhr (drums, vocals), and Nickey Barclay (keyboards, vocals). June and Nickey were the primary songwriters for the band, but Jean and Alice made significant contributions to Fanny’s repertoire and all four participated in arranging the songs and crafting their stage performances. Some of the biggest music stars of the time, from David Bowie to Deep Purple to George Harrison to the Kinks, were so blown away by these four teenaged rockers that they went out of their way to promote the band and to book them as an opening act. Despite their success, Fanny were never quite superstars, but they prepared the way for women in rock. When they started out, the idea of young women as rock players was as unthinkable as the idea of women having the vote had been to earlier generations.  From: https://fannyrocks.com/about-2/

They were extraordinary: they wrote everything, they played like motherfuckers, they were just colossal and wonderful, and nobody's ever mentioned them. They're as important as anybody else who's ever been, ever; it just wasn't their time.
— David Bowie

Deep Purple - No No No

 #Deep Purple #Ritchie Blackmore #Ian Gillan #hard rock #heavy metal #prog metal #blues rock #classic rock #1970s #Beat-Club

After their breakthrough "In rock" album, Deep Purple consolidated their new found popularity with a remarkably confident and competent follow up. "Fireball" has all the consistency which was lacking in the brash rawness of "In rock", making for a much more satisfying album as a whole. The title track opens the album in blistering fashion, a phonetic representation of the track name indeed. A sort of cross between their own "Black night" Led Zeppelin's "Immigrant song", and Uriah Heep's "Easy Livin", it packs more into three minutes than most albums manage in forty. Classic stuff indeed! The following two tracks sit well together. "No no no" is a powerful, more structured song, with aggressive lyrics and a fine guitar solo by Ritchie Blackmore, while "Demon's eye" is a rather funky mid-paced number with an infectious melody. Ian Gillan is in fine vocal form throughout the album, but he clearly enjoys himself on "Anyone's daughter". This is quite the quirkiest song Deep Purple have ever recorded. It has a country flavor supporting comedic lyrics which tell the tale of Gillan's various conquests. A superbly outrageous piece, to which Blackmore adds some subtly lilting slide guitar, and Jon Lord contributes some wonderfully dirty piano.  From: https://www.progarchives.com/album.asp?id=9121

The Byrds - It Won't Be Wrong

 #The Byrds #Roger McGuinn #David Crosby #Gene Clark #Chris Hillman #folk rock #psychedelic rock #country rock #jangle pop #classic rock #1960s

Although they only attained the huge success of the Beatles, Rolling Stones, and Beach Boys for a short time in the mid-1960s, time has judged the Byrds to be nearly as influential as those groups in the long run. They were not solely responsible for devising folk-rock, but they were certainly more responsible than any other single act (Dylan included) for melding the innovations and energy of the British Invasion with the best lyrical and musical elements of contemporary folk music. The jangling, 12-string guitar sound of leader Roger McGuinn's Rickenbacker was permanently absorbed into the vocabulary of rock. They also played a vital role in pioneering psychedelic rock and country-rock, the unifying element being their angelic harmonies and restless eclecticism.  From: https://www.allmusic.com/artist/the-byrds-mn0000631774/biography

"It Won't Be Wrong" was composed in 1964 by the Byrds lead guitarist Jim McGuinn and his friend Harvey Gerst, who was an acquaintance from McGuinn's days as a folk singer at The Troubadour folk club in West Hollywood, California. The song originally appeared with the alternate title of "Don't Be Long" on the B-side of a single that the Byrds had released on Elektra Records in October 1964, under the pseudonym the Beefeaters. By the time the song was re-recorded in September 1965, during the recording sessions for the Byrds' second Columbia Records' album, its title had been changed to "It Won't Be Wrong". Both the band and their producer Terry Melcher felt that the 1965 version included on the Turn! Turn! Turn! album was far more accomplished and exciting than the earlier Elektra recording of the song.
Lyrically, the song is a relatively simplistic appeal for a lover to submit to the singer's romantic advances. Musically, however, the guitar riff following each verse foreshadows the raga experimentation of the band's later songs "Eight Miles High" and "Why", both of which would be recorded within three months of "It Won't Be Wrong". The Byrds' biographer, Johnny Rogan, has described the difference between the earlier Beefeaters' recording of the song and The Byrds' Columbia version as remarkable. Rogan went on to state that the "lackluster Beefeaters' version was replaced by the driving beat of a Byrds rock classic, complete with strident guitars and improved harmonies, that transformed the sentiments of the song from an ineffectual statement to a passionate plea."  From: https://en.wikipedia.org/wiki/It_Won%27t_Be_Wrong