"On The Airwaves" (Hans Rotenberry) Copyright 1994, 1999, 2000 Clut Guckle Music (SESAC)
When The Shazam tumbled out of Nashville in 1994, they should’ve landed as one of the biggest rock bands in America. Instead, they merely left us with 5 fantastic albums of hard-rocking power pop that lodged them on my list of all-time favorite bands. If you’ve never heard them before, here’s your chance to discover their greatness with a song called “On The Airwaves” – certified one of the Coolest Songs In The World.
“On The Airwaves” (Hans Rotenberry) Copyright 1994, 1999, 2000 Clut Guckle Music (SESAC)
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TRANSCRIPT:
Welcome to the “I’m in Love With That Song” podcast, where we use the wisdom of Solomon, the stamina of Atlas, the power of Zeus… but maybe not the speed of Mercury, to explore the magic and mysteries of music.
I’m Brad Page, your host here on the Pantheon Podcast network. Each episode, I pick a favorite song of mine and we delve into it together, discovering what makes it a great song. To date, we’ve explored well over 100 songs; this episode features a song that’s been on my to do list since day one. This is one of my favorite songs, from one of my favorite bands ever. You maybe never heard of this band before, and that’s okay, in fact, I envy you a bit because you get to discover this band for the first time. This is The Shazam with a song called “On The Airwaves”.
[Music]
Shazam was founded around 1994 by Hans Rotenberry. Hans fell in love with music at an early age. His first two favorite singles were Chuck Berry’s “Maybelline” and “Love Me Do” by the Beatles– off to a pretty good start, I think.
He’d been playing in bands as a guitarist and writing songs, but he was never able to find the right singer. So, probably out of frustration more than anything else, he decided to try singing these songs himself. So he went into the studio with drummer Scott Ballew and producer Brad Jones to record some demos. It worked out well enough that they decided to make it official and put a band together. Hans and Scott recruited a 16-year-old bass player named Mick Wilson, and The Shazam played their first gig on August 11, 1994.
They built an audience the old-fashioned way, by playing shows, including the big power pop festivals. And in 1997, they released their first self-titled album. There’s not a bad song on it. Here’s a track from that record. It’s called “Oh No”.
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In 1999, they released their second album, again produced by Brad Jones. It’s called “Godspeed The Shazam”. At this point, they weren’t sure if they’d ever get to make another record, so they really went for it on this album. It’s an all-out, go-for-broke effort. Another killer album. Check out this track, it’s called “Sunshine Tonight”.
[Music]
Around this time, they were joined by an unofficial fourth member, Jeremy Asbrock. Jeremy had been working with them as a recording engineer and he was a friend of the band, but he was also a great guitar player and he would join them on stage to fill out their sound.
The band headed to the UK for some pretty high-profile gigs, including a BBC event at Abbey Road, and opening for Paul Weller at Earl’s Court.
The record label was looking for some new material to release, something they could get out quick, capitalize on some of the success they were having and make a few bucks to offset the cost of that UK trip. The band didn’t have anything ready, but Hans had a handful of songs that he was working on for a solo album, which they quickly turned into Shazam songs. Hans also had the idea to record a cover version of the Beatles “Revolution Number 9”, which was kind of a dare, but the record company said OK. And so the Shazam did one of the most audacious things I’ve ever heard: their take on “Revolution Number 9”.
[Music]
So they took their version of “Revolution 9”, along with those repurposed solo songs and a couple of old Shazam leftovers that they re-recorded, and they put them together on a seven song EP that they called “Rev 9”, which was released in 2000.
Now, one of those leftovers was a demo from 1995 that they had never finished. They polished it off and used it as the opening track for the “Rev 9” EP. Little Steven, on his radio show “Underground Garage”, would choose this song as one of the coolest songs in the world. In fact, years later, when Little Steven would release a series of CD’s that collected all of the coolest songs in the world, for Volume One, song number one, he chose this song: “On The Airwaves”.
[Music]
“On The Airwaves” was performed by Scott Ballew on drums, Mick Wilson on bass (playing an 8-string bass, actually), and Hans Rotenberry on lead vocals and guitars. He also played a Theremin and a bunch of other sound effects, as we’ll hear. The song was produced by Brad Jones.
The song begins with what I think is one of the greatest opening riffs of all time. It’s a big sounding, epic introduction that just demands attention, and that rattling tambourine is a nice addition. Let’s play through the intro. After two times around on the riff, Scott does a drum fill and Mick’s bass follows the guitar.
Then we hear the first of those sound effects at the end of that last chord. Hans is going to pluck at that single guitar string to hold the tension before letting loose with the title of the song, and they break into the main riff.
[Music]
Speaker C: Essentially, that’s a 4-note part. But there’s so much going on, it sounds massive. First, let’s hear the bass guitar. Mick is playing an 8-string Hamer bass through a Big Muff fuzz pedal.
Then there’s an overdubbed guitar part in the left channel on the final mix. I believe this was played on a Hamer Standard, through either a Vox AC 30 amp or a Peavey Classic 30. There’s also a Big Muff pedal on this guitar, too. And then there’s a bunch of overdubbed instruments playing that same riff. There’s a couple of Theremins, a Mellotron on the saxophone setting, a vocoder, and a bunch of guitars run through various effects.
[Music]
It makes for one glorious cacophony of sound waves blasting out in all directions.
The Shazam never made a video for the song, but if they did, Hans envisioned them in some post-apocalyptic world, driving across the wasteland, broadcasting their message to all the last surviving misfits.
Here comes the first verse. There’s a slight pause, and then Hans comes in with the vocals. Sounds like he’s doubled his vocals here. Scott is doing some great drumming all through this song. Let’s go back and listen to his drums, especially those tasty little fills.
[Music]
We hear a couple of guitar parts there. There’s a rhythm guitar part. Let’s hear that. And then there’s a second guitar playing this part:
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And for good measure, let’s hear what the bass is doing there. You can really hear that he’s playing an 8-string bass here. Let’s go back and hear that altogether.
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Here’s the second verse, and I love this verse.
“Radio of the deevolution, what do you say? The lunatics, the hit parade, Don’t listen, Mayday Mayday Talking about the only thing we know, on the airwaves .
Let’s listen to that vocal track first.
[Music]
I love that. Now, underneath that, there’s still all of these crazy sound effects going on. The theremin, mellotron, radio static, manipulated tape echo… There’s even a piano part which you’ll hear towards the end. Let’s listen to all of that.
[Music]
I can picture them barreling across the post-apocalyptic wasteland, broadcasting this out. Let’s go back to the final mix and hear it all together and see what you can pick out in the background now that you know it’s there.
[Music]
That brings us to the bridge, which begins with a pretty heavy riff.
So let’s explore this next part. First, I just want to listen to Scott Ballew’s drums, because he’s playing great during this part. And there’s more of those radio effects going on, including some nonsense vocals, very low in the background. Let’s hear a bit of that.
[Music]
And let’s pick it up when the vocals come in.
“Late at night we’re singing tunes from deep inside our basement rooms, lurking on our secret frequency and in the dark red meters glow a message to the freaks”
And now there’s a nice little piano part under that, and from there, it builds back up for the final refrain
[Music]Notice the tambourine here. There’s the sound of a classic tape echo here. Probably an Echoplex, manipulating it by hand, slowing the tape down to get that descending echo. And let’s listen to what the bass is doing here at the end. You can really hear that 8-string in full effect.
[Music]
Play that back all the way through, with what I assume is a little bit of vocoder at the end.
After the “Rev 9” EP, The Shazam released another full length album called “Tomorrow The World” in 2002. That’s a great album…in fact, that may be my favorite Shazam album.
After that, Mick Wilson left the band and they recruited a new bass player, Mike Vargo, and Jeremy Asbrock finally joined the band as an official full-time member. They released one more album, “Meteor”, in 2009. That album was produced by Mack, a legendary producer who worked with Queen and ELO, just to name a few.
But unfortunately, things just came to an end, as they often do. I wish I understood why some artists catch on and others don’t. In my opinion, The Shazam were one of the best bands to come along in the last 30 years. Seriously, I would stack them up against any band that’s made a record in the last 30 years. They should have sold a million records and played stadiums, but it just didn’t happen.
The good thing, though, is that this music is still out there. You can find these CDs, you can stream all of these songs –and I want you to do it. Go find The Shazam. You will love this music, I promise.
Bassist Mick Wilson more or less retired from the music biz, though he does still play around. His replacement, Mike Vargo, is still playing and he’s actually got a pretty successful career going, including playing Paul McCartney in a McCartney tribute project.
Sadly, drummer Scott Ballew took his own life in April 2019.
I want to thank both Jeremy Asbrock and Hans Rotenberry for helping me with this episode. Hans was especially generous with his time. Jeremy has earned a great reputation as a hired gun guitarist and he’s just launched a new band called Rock City Machine Company. Check them out.
And Hans, he put out an album with Brad Jones in 2010 called “Mountain Jack”. It’s a great record. And as we speak, he’s compiling material for a deluxe reissue of the “Godspeed The Shazam” album. And when that’s available, I’d love to have him on the show. Maybe we can do a track by track or something. That’d be fun.
Anyway, thanks to both Jeremy and Hans for sharing their stories with me, and I thank you for listening. I’ll be back in two weeks with another new episode. If you’d like to get caught up on all of our previous shows, you’ll find them all on our website, lovethatsongpodcast.com, or listen to the show on your favorite podcast app. We’re on Amazon, we’re on Apple, we’re on Google Podcast, we’re on Spotify and Pandora and iHeartRadio… you name it, we’re on there.
Remember to support the artists that you love, like I love The Shazam, by buying their music, and you can support this show by just telling people about it. Won’t cost you a thing, and it really helps spreading the word. I’ll see you soon. Thanks for listening to this episode on The Shazam and “On The Airwaves”.
“Over The Hills and Far Away” (Gary Moore) Copyright 1986 EMI 10 Music Ltd. All rights in the US and Canada controlled and administered by EMI Virgin Songs, Inc
Gary Moore was never a household name, but among guitar players, he was a legend. He reinvented himself multiple times over his 40-year career: first as a hard-rocker with Thin Lizzy, then a jazzy prog-rocker with Colosseum in the 70’s; pioneering a modern heavy-metal sound in the 80’s, and playing the blues in the ‘90’s. On this episode, we delve into a track from his 1987 Celtic-flavored hard rock album, “Wild Frontier”.
“Over The Hills and Far Away” (Gary Moore) Copyright 1986 EMI 10 Music Ltd. All rights in the US and Canada controlled and administered by EMI Virgin Songs, Inc
— This show is just one of many great Rock Podcasts on the Pantheon Podcasts network. Get ’em while they’re red hot! And don’t forget to follow our show, so you never miss an episode!
TRANSCRIPT: Welcome, Citizens of the World, to the “I’m In Love With That Song” podcast on the Pantheon Podcast Network.
One thing that’s shared by almost every culture, in every part of the world throughout history, is that music plays an important part in celebration, in worship, in recreation, in making even the hardest jobs more bearable. Music, it’s part of life, and if you’re from a culture that doesn’t celebrate music… well, I feel sorry for you. On this podcast, we celebrate that greatest form of music: the kind that ROCKS.
Every edition of this podcast, I pick one of my favorite songs and we explore it together on our never-ending quest to discover what goes into making a great song.
Last episode, we spent some quality time with one of my favorite bands, Thin Lizzy. One name that kept popping up on that show was Gary Moore. I wanted to spend a little bit more time with Gary Moore, one of the greatest guitarists of his generation.
He had a long and always evolving history; his career lasted over four decades, most of it underappreciated, I think. On this episode, we’re going to take a look at a song from right about in the middle of his career; this is a song called “Over The Hills and Far Away”.
[Music]
A few years back, I did a show on 5 of my all-time favorite guitar solos– that was episode number 25 of this podcast, if you want to go back and check it out. One of those solos was by Gary Moore. He had all the flash and technique, but unlike many hot-shot players, especially those shredders from the 80’s, Gary had a fantastic sense of melody. He could play blindingly fast, but he could also move you emotionally with a melodic performance.
Robert William Gary Moore was born April 4th, 1952 in Belfast, Ireland. His father gave him his first guitar when he was 10 years old. Interestingly, Gary was a lefty, but he learned to play the guitar right-handed. In 1968, he joined Skid Row– no, not the metal band with Sebastian Bach; this Skid Row was a bluesy rock band from Ireland, with Phil Lynott (later of Thin Lizzy) on vocals, although Lynott left the band after recording only one single. But this is where Lynott and Moore first worked together.
A few years later, when Eric Bell left Thin Lizzy, Gary joined them, but it only lasted a few months. He did end up recording three tracks with them, though, in 1973. Gary recorded his first solo album, and he continued making solo records all through the 70s, and some of them are really good.
At the same time, he joined the prog rock group Coliseum II, and he would rejoin Thin Lizzy two more times– once as a fill-in guitarist for a tour in 1977, and then as a full-fledged member in 1979. Thin Lizzy’s “Black Rose” album is the only album of theirs where Gary plays on every track, but to many Lizzy fans, they consider that their best album. But it didn’t last long… Gary quit Thin Lizzy for the last time just a few months later.
Gary’s solo albums continued to get better. “Run for Cover”, released in 1985, is a great record– it’s probably my favorite Gary Moore album. Then in 1987, he released the album “Wild Frontier”. Phil Lynott had died the year before, and the album is dedicated to him. Maybe in tribute to Phil, maybe because Gary was just feeling connected to his Irish roots, but some of the tracks on this album have a real Celtic feel to them. It’s an interesting blend of hard rock and traditional elements.
Case in point is this song; but before we get into “Over The Hills and Far Away”, let’s talk about the lyrics.
This song tells the story of a man jailed for a crime he didn’t commit, but he can’t reveal his alibi… because on the night of the crime, he was sleeping with the wife of his best friend. Rather than reveal that secret, he keeps quiet and ends up serving a 10-year sentence for robbery. Now, this is a classic type of folktale, in fact, it’s very reminiscent, maybe even inspired by an old Lefty Frizzell song from 1959 called “Long Black Veil” that song tells a similar story of a man who’s hanged for murder because he wouldn’t admit that he was with his best friend’s wife at the time of the crime. “Long Black Veil” has been covered many times: Johnny Cash recorded it on his classic album “Live at Folsom Prison”. Here’s a bit of his version:
[Music]
My favorite version of “Long Black Veil” is by The Band; it’s on their legendary album “Music From Big Pink”:
[Music]
Here on “Over The Hills and Far Away”, Gary Moore puts his own spin on the story.
“Over The Hills and Far Away” was written by Gary Moore and produced by Peter Collins, who produced albums for Billy Squire, Bon Jovi, Queensryche, Alice Cooper and Rush. Gary plays all the guitars and does all the vocals. Neil Carter handles keyboards and Bob Daisley is on bass. For the drums… well, there’s actually nobody credited with playing drums on the album, and that’s because nobody did play drums on the album. All the drum sounds are programmed; it’s a drum machine. No actual recorded drums on the record at all. It’s a bit unusual for a hard rock record. There are no credits on the album for drum programming either, but it was probably done by Roland Carriage. When Gary went on tour for the album, he brought along Eric Singer on drums.
The song begins with some tribal drumming, and remember, these are all electronic drums:
[Music]
You can hear some of those traditional sounds building under the vocal
[Music]
Then as soon as that vocal line finishes, the song explodes with a Celtic melody.
[Music]
Though there aren’t any specific instruments credited on this track, I believe there are some traditional acoustic instruments in there, along with the keyboards and the guitar. Let’s hear them all together:
[Music]
And that leads us right into the second verse, where Gary’s heavy guitar chords come in:
[Music]
Gary throws in a little bit of classic 80s whammy bar there. Let’s go back and pick up right before that part:
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Some keyboards are added here.
[Music]
So here’s the first chorus; harmony vocals are added on the first and third lines– that’s a typical technique we hear all the time– and the drums are playing an interesting pattern:
[Music]
And the guitar sound has gotten really big. It’s a pretty simple part actually, the guitar is just playing one chord every two beats, but I’m guessing there are multiple guitar tracks layered on top of each other here to really thicken up the part.
[Music]
I like that little bass part there.
Now, on the second verse, there’s a new keyboard part. Let’s hear that, and listen for the little guitar part that’s added on one phrase, duplicating the keyboard:
[Music]
There’s some really nice guitar work under this part of the verse. I love the way it plays against the keyboard part. Notice the background vocals, too:
[Music]
We’re coming to the bridge, and there’s a definite change in mood. It’s almost wistful… you can picture the prisoner looking out of his cell window, longing for freedom…
[Music]
Those Celtic instruments return, and we’re about to hit a break where those instruments are right in your face in the mix. It’s really powerful.
[Music]
This brings us to the guitar solo.
[Music]
And here’s a classic a capella chorus; you just gotta do it on a song like this.
[Music]
There’s some flanging on the percussion here.
And there’s a key change there; it jumps up a whole step from E to F sharp. Key changes are a classic way to inject some new energy into a song.
[Music]
Let’s check out some of Gary’s vocals here at the end.
[Music]
Gary Cuts loose on guitar a little bit more at the end here for the long fade
[Music]
“Over The Hills and Far Away” – Gary Moore
After this album, he’d record one more record and then walk away from the sound of hard rock and heavy metal. He shifted to playing the blues. In fact, his first all-blues album in 1990 was the best-selling record he ever had, and with a few exceptions, he would focus on the blues for the rest of his career.
In February 2011, Gary died in his sleep from a heart attack; he was only 58. But he left behind over 20 Studio albums, plus all the work he did with other bands and artists. It’s quite the legacy.
I hope you enjoyed this episode of the “I’m In Love With That Song” podcast. There’s another one coming right up! Let us know about your favorite Gary Moore and Thin Lizzy songs. Share with us on Facebook or on places like Podchaser; you can rate us, write a review, and share the show with your friends. And don’t forget to follow the show, so that you never miss an episode.
We’re part of the Pantheon Media Network of podcasts, and there’s a ton of other great shows waiting for you on Pantheon– check them out!
Always remember to support the music and the artists that you love by buying their music. And thanks for listening to this episode on Gary Moore and “Over The Hills and Far Away”.
"Dancing In The Moonlight" (Philip Parris Lynott) Copyright 1977 Pippin-The-Friendly-Ranger Music Co Ltd. All rights Controlled and Administered by Universal - Polygram International Publishing, Inc.
Thin Lizzy is known for their hard rockin’ songs and their trailblazing twin guitar sound, but vocalist/bassist/songwriter Phil Lynott had an ear for melody, a way with words, and could write a damn fine pop song when he wanted. “Dancing In The Moonlight” has everything you want in a great Thin Lizzy song: fantastic guitar playing, wonderful lyrics, and Lynott’s one-of-a-kind voice—he could sound tough as nails, but sensitive & vulnerable, too. Let’s give this one a spin.
“Dancing In The Moonlight” (Philip Parris Lynott) Copyright 1977 Pippin-The-Friendly-Ranger Music Co Ltd. All rights Controlled and Administered by Universal – Polygram International Publishing, Inc.
— This show is one of many great music-related podcasts on the Pantheon network. You should check them out! And remember to follow this show, so you never miss an episode.
TRANSCRIPT: Welcome, all you erstwhile geologists and petrologists, this is the show dedicated to the study of a different kind of rock– the Rock that also Rolls.
This is the “I’m In Love With That Song” podcast, and I’m your host, Brad Page. Thanks for joining us on the Pantheon Podcast Network for another edition of the show where we do some intensive listening to a favorite song to see what it takes to make a song great.
This episode, we’re revisiting one of my favorite bands from the 1970’s, Thin Lizzy and a fantastic, fun song called “Dancing In The Moonlight”.
[Music]
There have been quite a few successful bands to come out of Ireland, but with the exception of US, Thin Lizzy may be the biggest band with the longest lasting impact. The fact that they were a hard rock and band led by a black man, born from a single white mother in a very Catholic country, makes their success even less likely.
In the wake of World War II, Philomena Lynott left Dublin Ireland to find work in Birmingham England. She was still a teenager when she met Cecil Paris from British Guiana. They weren’t together long– just long enough for her to get pregnant. She gave birth to her son. Philip Paris Lynott, on August 20, 1949. When he was four years old, he was sent back to Dublin to live with his grandparents while his mom stayed in England to work. Phil was a teenager when he met a fellow student, a drummer named Brian Downey. The two of them played in bands together and separately, eventually connecting with a guitar player named Eric Bell, and the first version of Thin Lizzy was born in December 1969. The band as a three-piece released three albums, and other than some success with the single “Whiskey In The Jar”, none of the records really sold that well. It was a tough time, and eventually Eric Bell quit the band.
After a few trial runs with other guitarists filling in, including fellow Irishman Gary Moore, the band eventually settled on a four-piece lineup with two lead guitarists. Essentially, they reinvented the whole band. The new lineup included a Scottish teenager named Brian Robertson, and a transplanted Californian named Scott Gorham. And they became a twin guitar powerhouse, both with different but very complementary styles. And their fiery melodic solos and harmony guitar parts would become, along with Phil Lynott’s vocals, the trademark sound of Thin Lizzy.
A couple of albums followed, and though they didn’t stir up much attention, they steadily got better. As the band jelled and the songwriting improved, by the time they released “Jailbreak” in 1976, the band was firing on all cylinders and reached their biggest success yet. That album includes a handful of classic tracks, including the song Thin Lizzy’s best known for– “The Boys Are Back in Town”.
[Music]
But there was trouble brewing.. more drinking, more drugs, and heroin entered the picture. On the eve of a US tour, Phil Lynott was hospitalized with hepatitis, the result of sharing a needle, and the tour had to be canceled. When Lynott was healthy enough, they recorded their next album, called “Johnny The Fox”, and the band lined up another U.S tour. But the self-inflicted damage continued– this time, it was Brian Robertson’s turn to do something stupid. He got involved in a bar fight and ended up on the wrong end of a broken bottle. The jagged glass caused serious lacerations to his hand, and Robertson ended up with nerve and artery damage. The tour had to be canceled again– the second time in two years.
Lynott was angry. He and Robertson always got on each other’s nerves anyway, so Lynott fired Robertson. The band did end up doing a short US tour, opening for Queen, with a temporary guitarist– a familiar name, Gary Moore, filling in. Then the band went back into the studio, this time as a three-piece with all the guitar parts left to Scott Gorham.
Gorham, however, intentionally left some guitar parts unrecorded, so that when Robertson’s hand healed enough for him to play, Gorham convinced Lyontt to bring Roberson back. Lynott agreed, but under one condition: that Robertson would not be a full-time member of the band; instead, he would be a hired gun. And so the album was completed.
Called “Bad Reputation”, the album’s a bit of an odd duck; Robertson is credited on the album, but his picture is not on the cover. However, on the back of the album, there’s a picture of the band with Robertson. Musically, the album is all over the place… it includes some of their heaviest tunes and most complex arrangements, but it also has some of their best softer numbers, and some really catchy tunes. Despite the awkward way that the album came together– or maybe because of it– this is probably my favorite Thin Lizzy studio album.
“Dancing In The Moonlight” is the first song on side two of the original vinyl album. It was written by Phil Lynott; he came up with a bass riff and showed it to Scott Gorham and drummer Brian Downey, and they worked up the arrangement together. The track, and the whole album, was produced by Tony Visconti, who produced a bunch of legendary albums by David Bowie and T-Rex, to name a few. The song begins with Phil Lynott’s bass guitar right up front:
[Music]
The bass has a phasing effect on it, which gives it that swirling sound. It’s not often that you hear any effects on the bass, particularly a phaser, so that makes this unique. Phil is also playing the bass with a pick, and you can hear the sound of each pluck on this part.
Drummer Brian Downey is playing a nice loose swinging beat and they’ve also overdubbed some snapping fingers, just to add to that swingin’ feel.
Let’s listen to it from the beginning again:
[Music]
There’s a nice little break here before the verse:
[Music]
It’s played on a snare drum, the bass, and there’s a guitar chucking away with probably a wah-wah pedal on it. Let’s hear how that leads into the first verse:
[Music]
Scott Gorham plays all of the guitar parts on this track. He’s laid down a couple of guitar tracks here in stereo, a really tasteful part that leaves room for the bass and the vocals to shine through.
[Music]
Let’s talk about the lyrics for a minute.
Phil Lynott was as much of a writer or a poet as he was a hard rocker. He wasn’t above writing a typical rock song, but many of his lyrics are a notch or two above other bands. Here, he’s writing in the character of a teenager; those awkward experiences of teenage romance, and that overwhelming feeling of young love.
Look at the picture that he’s painted here; he meets a girl and they go to the dance, they start dating, he takes her to the movies and tries to look cool, but he’s still a clumsy teenager… that line about getting chocolate stains on his pants, it’s so specific– it’s maybe even a little weird at first– but it is such an image of teenage dorkiness, you can totally picture that kid. I love this whole verse.
[Music]
Here is the chorus, and there’s a new instrument added– a saxophone. Guest-starring on this track is John Helliwell, from the band Supertramp, who adds a great sax part to this song. It really contributes to the jazzy feel of the track.
[Music]
Here comes the second verse, and if you listen closely, you can hear Phil take a deep breath in, before launching into the vocal.
[Music]
Now here’s the bridge section. Our teenage protagonist stayed out too late, he missed the last bus, so he’s stuck walking all the way back home.
[Music]
Our boy knows he’s in trouble when he gets home, so he’s kind of dreading it. And you can feel that in the music– let’s focus on that saxophone part:
[Music]
Listen to the little drum part that Brian Downey plays on the snare rim
[Music]
I love that transition. You can feel the kid shedding his mopiness, saying “the hell with it, it was worth it” and the whole song bursts back with a joyous guitar solo.
[Music]
That is Scott Gorham on lead guitar, and in my opinion, it’s maybe his finest moment on record. I think it’s one of the greatest guitar solos, period. Gorham played it on a Gibson Les Paul; it was either a Les Paul Deluxe or a Les Paul Standard. He initially played a Deluxe, but switched to a Standard around 1978, so I think this was when he was still playing the old Les Paul Deluxe. But this solo is just brilliant. It flows from one part to the next, it builds, and like all my favorite guitar solos, it’s highly melodic, not just a bunch of licks. It’s perfect.
[Music]
Phil starts to cut loose a little bit on the bass here
[Music]
“Dancing In The Moonlight” by Thin Lizzy.
Following the release of the “Bad Reputation” album, the band would hit the road again with Brian Robertson and release a live album called “Live And Dangerous”, which is one of the best live records you’re ever gonna hear.
That would be it for Brian Robertson, though. He left the band for good. His replacement was– you guessed it– Gary Moore. Gary would join the band full-time and contribute significantly to the next album, but then Gary would be gone, too. The band would release a few more albums which are pretty good… I like them, but they don’t capture the full magic of when Brian Robertson or Gary Moore were in the band.
Thin Lizzy called it quits in 1983, and in 1986, Phil Lynott died at the age of 36 from multiple organ failure, as a result of years of drug and alcohol abuse. I remember the day that he died; Gary Moore had released an album a few months before, and Phil sang a couple of tracks on it. That album was on steady rotation on my turntable. I was hoping for so much more from Gary and Phil, but it was not to be. Shame, but we will be talking about Gary Moore on this show very soon…
Thanks for listening and for being part of the show. We’ll be back in two weeks with another new episode. Until then, stop by and visit us on Facebook or on Podchaser, where you can leave a review, a comment, or some feedback. And of course, if you enjoy the podcast, follow the show so that you never miss an episode.
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Now find a date and put on a movie– watch out for those chocolate stains, though– and go “Dancing In The Moonlight” with Thin Lizzy.
If you’re looking for a prime example of a hard-working, dues-paying, doggedly dedicated rock band, you won’t find better one than Nazareth. Launching in 1968 and continuing through today, Nazareth rode the wave of success up and down over 50 years, peaking with their classic album Hair Of The Dog in 1975. The last time they hit the charts was with the song “Holiday” in 1980. On this episode, we tap into this classic track. And, with the help of author Robert Lawson, we take a quick tour of the history of Nazareth.
Ladies and gentlemen of the jury, I present the latest edition of the “I’m In Love With That Song” podcast. This is the Pantheon Podcast Network, and I’m your host, Brad Page. This is the show where I pick one of my favorite songs and we explore it together to get a better understanding of what makes it a great song.
Now, before we get into this episode, I want to make note of one thing. The first episode of this show aired back in April 2018. Well, here we are in April 2023. So that makes this the fifth anniversary of the “I’m In Love With That Song” podcast. So I just wanted to take a minute to say thank you to all of you listening. Some of you have been here since the very beginning. Some of you are new listeners, but you all make this show possible. And we couldn’t have gotten this far without you. So thanks for being a part of the show.
On this episode, we’re visiting with a band that made their mark in the helped define the sound of hard rock, and they continued to produce solid records well into the 2000s. This is Nazareth with a song called “Holiday”.
Now, usually at this point in the show, I give you a short history of the band and work our way up to the song. But author and friend of the show, Robert Lawson, has written a number of books, including “Razama-Snaz! the Listener’s Guide to Nazareth”. So I thought rather than give you the information secondhand, I’d invite Robert onto the show so you can hear it from the expert. So let’s bring Robert into the conversation.
BRAD: So, Robert Lawson, thanks for joining me here on the “I’m In Love With That Song” podcast to talk a little bit about Nazareth. You’re the guy that wrote the book– you’re the expert. So, tell us a little bit about the history of the band, how Nazareth came to be in the first place.
ROBERT: Well, you’ve got the original four guys from Dunfermline, Scotland, which is a small city in Scotland. And, they’re like a 70’s phenomena, really. So, the first album came out in ‘71 and maybe took them an album or two to get their sound together. By the mid 70’s, they’re just huge. I think it was in ‘77 or ‘78, they did a coast-to-coast Canadian headlining arena tour, which is a big deal back then. So they’re right on that level of Aerosmith and a lot of those kind of arena bands, right? And those are still great, great albums that when people talk about Nazareth, they tend to go back to records like “Hair of the Dog” and “Expect No Mercy”. Those are the classics. But really, during the 70’s, they were really on top of the game. You’ve got, like, five, six, maybe seven albums in a row that are all great, all really strong. I’m in Canada, where they were really big up here– so much so, there’s people up here who think Nazareth were Canadian. And some of those albums were recorded in Canada, so they were a big part of a lot of our lifestyles and lot of radio play in Canada in the ‘70’s.
BRAD: You think that’s maybe the Scottish connection?
ROBERT: That’s part of it for sure. There’s definitely a lot of Scottish history in Canada, a lot of Scottish people live here. I have a Scottish background. But part of it also is, and I don’t think I got to touch on this in the book actually, but there’s something up here called CanCon. And what that means, for anyone who doesn’t know, is there’s a percentage of Canadian content that must be played on the radio. So, of course that doesn’t mean we don’t play music from the UK and the States and everywhere else, but there’s a certain percentage that has to be Canadian. And that can just be written by Canadian, produced by Canadian. The band doesn’t necessarily have to be Canadian. It could be recorded in Canada. There’s like four different aspects and I think you have to tick off two of them to be considered “Canadian content”. So, Nazareth covered the Joni Mitchell song “This Flight Tonight”, and that was considered Canadian content in a way. So a lot of radio stations would play it, not only because it’s a great song, but it would check off the box for Canadian content for them.
[Music]
ROBERT: They recorded bunch of albums up here and they were just touring here a lot. So Canada really took to them. The guys seemed to really like Canada, they still tour here a lot, . the current lineup. Canada just always kind of had a relationship with Nazareth and that’s probably how I got into them as a kid in the 70’s.
BRAD: So let’s talk a bit about the 4 guys individually that made up the original lineup of Nazareth. All from relatively the same area of Scotland, right? In fact, didn’t a couple of them grow up together?
ROBERT: The original four are all from Dunfermline, yes.
BRAD: And so, let’s talk a little bit about the guys. You have, of course, Dan McCafferty on lead vocals– I think one of the most distinctive vocalists in rock history, right?
ROBERT: Absolutely.
BRAD: He kind of was doing Brian Johnson before there was Brian Johnson, if you ask me.
ROBERT: Yeah, absolutely. I used to say for years, when I was younger, that if you listen to, like “Hair of the Dog”, that that actually sounds like Brian Johnson, way before Brian Johnson was known internationally, for sure.
BRAD: So then you have Manny Charlton on guitar…
ROBERT: I think one of the great underrated guitar players, frankly.
BRAD: Yeah.
BRAD: from that era.
ROBERT: His stuff’s really neat, because when you really start digging into the albums, and really listening, a lot of the songs are a lot more complex from a guitar standpoint than I kind of thought of when I was younger, because he’ll have a couple of rhythm guitars, electric rhythm guitars; he’ll be playing a lead; then he might have a couple of acoustics in the background. And on some of them, he even adds, like, mandolin, and the mandolin and the lead guitar are playing in sync. It’s really just a lot more interesting than I thought. When you’re a kid, you just go “Loud guitars, yeah!”
BRAD: Right.
ROBERT: And then you realize, wow, Manny’s doing like five or six different things on different stringed instruments on some of these songs. It’s great stuff.
BRAD: Yeah. And then the rhythm section.
ROBERT: Pete Agnew on bass, and he does a lot of the backing and harmony vocals, including on the song that we’re going to talk about. So he’s a real big part. And he’s the one, him and Dan, who met when they were, like, five years old in kindergarten or something like that. They go way, way back.
BRAD: Right.
ROBERT: And then, of course, Darryl Sweet on drums.
BRAD: So tell me if I’m incorrect here, but I believe they formed, or at least the first early versions of the lineup, came together in around 1961 as The Shadettes.
ROBERT: Shadettes, that’s right, yeah. I don’t think all four were in The Shadettes, but, yeah, that sort of evolves into Nazareth by the mid to late 60’s.
BRAD: Manny joins later, I think, in the late 60s, and they kind of cut their teeth doing cover songs, which many bands do. But their ability to take a cover song and make it their own is pretty unique and is a big part of their catalog.
ROBERT: Yes.
BRAD: They landed on the name “Nazareth” from the classic song by The Band. “The Weight”, right?
ROBERT: That’s.– I’ll be a little controversial here: That’s the story that has always been told for years and years. And when I was researching my book, I found another story that was a lot darker, behind how they got that name. And I posted it on Facebook, just saying, “Hey, has anyone ever heard this?” And a whole bunch of people jumped on me saying, “What are you talking about?” and “It’s from The Band” and “Robbie Robertson wrote the song”, and all this, they always say that it’s that story. Well, you know, if you do a lot of music research, you know that just because a band always says a story, that doesn’t necessarily mean it’s true, it just means they might come to believe it.
BRAD: Right; you tell the story enough times and it becomes the truth.
ROBERT: Yeah. So, for all intents and purposes, yes… The name came from the song by The Band.
[Music]
BRAD: And their first album, self-titled album, comes out in ‘71.
ROBERT: That’s right.
BRAD: And that record, that was kind of different from what we think of when we think of Nazareth today. I mean, the sound of that record is a little bit different, isn’t it?
ROBERT: Yeah. They’re still kind of finding their way, which for a lot of bands that’s not that uncommon these days, I guess. For a long time now, you have to have three hits immediately or else you lose your record deal. Back then, bands were signed to development deals where you could actually put out a few singles, and even a couple of albums, while you’re still figuring out who you are. And Nazareth are definitely an example of that. The first album, it’s got some heavy parts, but there’s a little bit of some acoustic stuff and they’re kind of all over the place a bit.
BRAD: Roy Thomas Baker worked on that first record, right?
ROBERT: Yeah.
BRAD: That must be fairly early in his career. He went on to be a legendary producer. I think he was an engineer or something on that record.
ROBERT: Yeah, that’s right.
BRAD: And then they put out a second record called “Exercises” in ‘72 and then “Razamanaz” in ‘73. And that’s kind of the first record that sounds like the Nazareth we all came to know and love.
ROBERT: Yeah, absolutely. And I like those first two records a lot, but some fans think that the career really takes off with “Razamanaz” in ‘73.
BRAD: Yeah, I love that. I love that record.
ROBERT: Oh, sure.
BRAD: And that’s followed up by a couple more records: “Loud and Proud” in ‘73, “Rampant” in ‘74 and then the big one, “Hair of the Dog”, their 6th album, in 1975. And that’s the one that really breaks them worldwide.
[Music]
ROBERT: Yeah, so this is the first one that Manny Charlton produces after, Roger Glover from Deep Purple had done the last few records. And you’re right, ‘75’s “Hair of the Dog”, they really knock it out of the park. Not that the records before that weren’t great– they are, I’m pretty partial to “Loud and Proud” and “Rampant”, but “Hair of the Dog” definitely kicks it up to another level.
BRAD: Yeah, it’s the one that seemed to just catch public attention. That’s followed in ‘76 by “Close Enough for Rock and Roll” and then “Playing The Game”, ‘76, “Expect No Mercy” in ’77…One of the great album covers of all time, I think, right?
ROBERT: Yeah. That’s a ‘70’s album cover right there, right?
BRAD: Yeah. That’s the side of a van.
ROBERT: I was just going to say that, Brad. I think there was a van that had that on it, driving around when I was like ten or eleven years old or something.
[Music]
BRAD: And then, in ‘79, they release a record called “No Mean City”. And that’s kind of a, I don’t know, a shift? But it’s a change in the band, right. Because they have a new member who joins. That’s their 10th album, and they bring in another second guitarist. Let’s talk about that character.
ROBERT: Right. And “character” is right. So they get Zal Clemenson, who, for people who maybe aren’t familiar, he was a guitar player in a really great Scottish band called the Sensational Alex Harvey Band. Real unique group of characters. And Zal, in that band, he was known for performing in complete white makeup and he had these bright green and yellow shiny outfits and platform heels, and he was kind of like an offshoot Kiss guy. But instead of all black and silver, it would be green, and real visual character.
So he dropped all that stuff when he joined Nazareth. But a great, great player. And I think that the addition of Zal to Nazareth is just really important. And I always talk about the fact that there’s some live stuff, which is actually the “Malice” tour, so maybe we should get to that… But if you ever hear any of the live stuff when Zal was in the band, it’s absolute killer. Manny welcomed having a second guitarist; there’s no competition between them at all. Manny, since he’s songwriting and he’s concentrating on producing, he, wanted a little help with the guitar playing, which is very generous. And Zal gets to play a lot. I like the “No Mean City” album a lot. I think it’s a little darker. I mean, the song “May The Sunshine” is one of the ones I was kind of referring to before, that it’s got this mandolin part that’s just really bright, and it’s just a great record.
[Music]
ROBERT: A very kind of iconic album cover with a character that they still use on their merch to this day.
BRAD: And what do you think it was specifically that Zal brought to the band? Besides just being a great player? I mean, do you think there’s a certain element or two that he brought?
ROBERT: I think it was just kind of like a shot in the arm that they needed. Like you said, they had done ten albums or something with a lot of touring as well. When you look at these records, it’s like they’re putting out a record every single year from ‘71 to ‘77 and touring a lot in between. Like I said, they were doing arena tours in Canada. I know they played Cobo Hall, I believe, in ‘78. They were opening a lot of shows with Deep Purple, so a lot of touring, a lot of recording. Then you get TV appearances and radio shows and all kinds of stuff. So I think they just kind of needed a bit of an extra hand. And Zal is someone who was sort of in their orbit already, because there was a Dan McCafferty solo album that Manny produced and Zal plays on that. Sensational Alex Harvey band and Nazareth also shared managers, so they knew of Zal. And because I think Zal is kind of such a zany character, probably just fun to have a fun guy like that in the band, and give them a shot in the arm with his extra energy. Because he is a guy who would run around on stage a lot. He plays really fast, he doesn’t play the same thing twice a lot. So he’s kind of unpredictable. He’s a bit of an unpredictable character like that. I think it was probably just a mix of fun and the extra energy that Zal would bring from being such a character.
BRAD: Yeah. So “No Mean City”, the first record with Zal, comes out in ‘79 and then that’s followed by an album called “Malice in Wonderland” in 1980. And the song we’re going to delve into on the show today is from that album. That’s their 11th album. It’s pretty amazing when you think about eleven albums, and they would go on to cut a lot more after that. But they were like veterans at this point. I mean, eleven albums, that’s a whole catalog right there.
ROBERT: That’s right. And even when the first album came out in ‘71, they weren’t teenagers either. Some of the guys were already married with kids and stuff. So yeah, at this point they’re real veterans of the business, and life on the road, and life in recording studios and all that kind of stuff. They’re well-seasoned at this point.
BRAD: And the “Malice” album is interesting on a number of fronts. And I think the impression, I guess, is it’s somewhat controversial among fans, but it’s the first album that’s produced by a real outsider, an American, somebody that fans of the show will know– Jeff “Skunk” Baxter, from Steely Dan and the Doobie Brothers, actually produced this record. And it was not recorded in either Canada or Scotland, right?
ROBERT: Compass Point Studios in Barbados. So that’s where everyone goes, you got the beach right outside the studio.
BRAD: You’ve got a very different environment, and you’ve got a very different producer. And I think fan reaction is fairly mixed to this record, right?
ROBERT: Yeah. And I think that’s justified because Skunk Baxter, for all of his credits in the past, he does kind of tame the sound. Manny had done five albums, and those albums, like I said, are like the Roger Glover produced albums. The Manny Charlton produced albums are all great. They’re all a lot of fun, great songs, great production, great vocals, guitar, everything. And then Baxter comes in and he kind of mellows them out a bit. And I kind of consider it the band’s first misstep. Not that it’s a mistake, but I would have liked to have seen Manny Charlton produce this album or even maybe bring Roger Glover back, because I think having a guy as exciting as Zal Clementson on board, and then you kind of neuter him, is counterproductive.
BRAD: It’s definitely a different sound than any ofthe records before. In fact, I think it’s the biggest shift in sound since maybe the first two albums.
ROBERT: Yes, absolutely.
BRAD: But it does contain one, I think, all-time classic Nazareth song, the song “Holiday”, which opens the record. And that’s the one we’re going to dive into today. So, before I get into the track, Robert, tell me your thoughts about the song.
ROBERT: Oh, I love it. It’s probably one of the ones that I really caught onto when I was really young. It’s very, catchy, very upbeat for a band that was doing heavy stuff like “Expect No Mercy” and “Hair the Dog”. It’s kind of poppy, melody wise, anyway. And then you’ve got this great lyric, and Dan’s vocals are terrific, although it’s almost redundant to say that because he’s known as being such a great vocalist. But there’s a line that kind of gets repeated a couple of times, and I’m sure you’re going to talk about this, where at the end of a couple of the choruses he says, “Mama, mama, please, no more husbands”. And I think the second or the third time he says it, he really digs in with a growl and says, “I don’t know who my daddy is”. And that line kills me to this day. It’s such a good line. And the way he delivers it is great.
BRAD: Absolutely. So, let’s get into the track. “Holiday” opens the “Malice in Wonderland” album– Side One, Track One. It was performed by Dan McCafferty on lead vocal, Manny Charlton and Zal Clementson on guitars, Pete Agnew on bass and backing vocals, and Daryl Sweet on drums. And as we mentioned before, it was produced by Jeff “Skunk” Baxter. All five band members share writing credit on this song; McCafferty, Clementson, Charlton, Agnew and Sweet.
The song begins with a classic bluesy guitar boogie riff. There’s also an organ in the background, I’m guessing that was played by Skunk Baxter. When the band comes in, they add some vintage Chuck Berry style guitar licks.
[Music]
BRAD: This is a fairly restrained vocal from McCafferty. He’s not belting it out or doing a lot of emoting yet.
[Music]
BRAD: Nice work on the backing vocals here. Let’s listen to that.
[Music]
BRAD: That brings us into the chorus, which has a completely different feel than the verses. And this is where the lyrics get really interesting, too. I’ve always pictured this song as being about a spoiled rich kid drinking and partying with his friends. But he’s got some real issues, especially with his mother, as we’ll hear in the choruses. “Mama, mama, please, no more jaguars, I don’t want to be a pop star” …sounds like she’s trying to buy his love, or maybe just keep him out of her way by buying him fancy cars. Let’s hear the first chorus.
[Music]
BRAD: That may be my favorite line in the song: “Mama, mama, please no more facelifts, I just don’t know which one you is.”
[Music]
BRAD: Then this chorus ends with “Mama, please no more husbands”. And then it goes right into the next verse.
[Music]
BRAD: “Wasting my time, hiding out in my rented dream”. Let’s hear more of the vocals on this verse.
[Music]
BRAD: Darryl Sweet plays a nice tom-tom driven beat during this part, so let’s listen to a little of that. There’s also a nice little lyric here. “Ask the chauffeur who he knows; numbers, he’s got lots of those”. I especially like that pause that McCafferty puts in there.
[Music]
BRAD: There’s some nice guitar work behind the vocals there. I like to think of these kinds of parts as guitar orchestration. It’s the kind of things that you could do with strings or horns, but doing them with electric guitars instead. So let’s listen to that.
[Music]
BRAD: There are multiple layered guitar parts during the chorus spread across the stereo field. Let’s hear some of the chorus without the vocals.
[Music]
BRAD: Also a nice little drum fill that takes us out of that chorus.
[Music]
BRAD: That takes us into a tasty little guitar solo by Zal Clemenson.
[Music]
BRAD: “Holiday” by Nazareth. Let’s bring Robert Lawson back in to wrap things up for this episode.
So after the release of Malice in Wonderland again in 1980 and this incredible track, where does Nazareth kind of go from there, Robert?
ROBERT: Well, they did tour the album and there’s a great live recording from the Hammersmith on the “Malice” tour that I always have to give a shout out to. You can listen to the whole thing on YouTube. Some of the tracks were used as B-sides and it’s a great, great live album. I always wish that they would have released it as an official live album, because you really hear the Manny Charlton/Zal Clementson guitar work. It’s a great, great live recording.
But, after that, Zal, leaves the band, so that kind of hurts them in some ways. There’s a couple of lineup changes, they put out a couple of more albums. There’s a live album called “Snaz”, mostly recorded in Vancouver, Canada, which is a really great live album. When I was growing up, it was right up there with Cheap Trick’s “Budokan” and Kiss “Alive” and all the rest of them. Then they put out a few more albums. I think Manny produces a few more, but as you get into the ‘80’s, like a lot of hard rock bands, they have a little bit of a hard time figuring out how they fit in the hair metal and the glam kind of rock scene. And at that point, they just kind of become a club band, and that’s where they’ve been ever since. They’ve still put out some great records. There’s a bunch of later-era albums, when Dan was still in the group, that I think are really strong, but nobody heard them outside of the hardcore fans and that’s really a shame, because they are good albums and they didn’t get as much airplay. And ever since, they either became kind of an opening band for other groups or, like I say, playing much smaller venues.
BRAD: And we’ve lost most of the original members at this point.
ROBERT: Yes.
BRAD: Darryl Sweet, the drummer, was he the first to pass away?
ROBERT: Yes, that’s right.
BRAD: And then, really fairly close together, we lost both, Dan McCafferty and Manny Charlton, within the last year or so.
ROBERT: Yeah, I think both actually in 2022. Manny was like maybe in the spring or earlier in the year, and that was pretty sudden. We weren’t really expecting that. Dan had not been in the greatest health for a few years, which is what prompted him to leave the band.
BRAD: Right.
ROBERT: He just couldn’t tour anymore. He couldn’t really perform more than a couple of songs at a time. So he had to step… you know, he was still out there, and even put out a solo album, but his condition eventually got worse. So his passing wasn’t as shocking, but still pretty sad. I mean, I spent some time with Dan in Dunfermline, Scotland, and just a really great guy and I really enjoyed talking with him about his career and about the book and about everything. So, losing him was pretty painful for me.
BRAD: Yeah… Pete Agnew, the bass player, he’s still alive and kicking and still working today, I think, right?
ROBERT: Yeah. He’s the main guy in Nazareth now. The guitarists that they have and the drummer have both been there for like over 25 or 30 years. So they’re not really the new guys anymore.
BRAD: Right!
ROBERT: And they have Carl Sentance on vocals, who has sung with Don Airey a lot, and he sang with Geezer Butler, and he’s been around. He’s kind of a road dog. He knows what touring is all about, and they’ve done two albums with him now. And they’re not bad albums by any means, but it’s hard not to miss Dan.
BRAD: Sure.
ROBERT: Dan and Pete still lived in Dunfermline their whole lives; Pete still lives there. So even though he’s gone from having gold and platinum albums and touring all over the world, he still lives in the same small city. I think it’s a population of like 60,000 people or something.
And Dan, up until his passing recently, also still lived in Dunfermline. So I think that kept him pretty grounded.
BRAD: Yeah. Well, Robert, thanks for coming on and talking about Nazareth. The name of your book is Razama-Snaz.
ROBERT: That’s right.
BRAD: It is kind of an album-by-album history of the entire career of Nazareth. If you’re a fan or if you just kind of want to explore Nazareth, It’s a great place to begin.
Robert’s also the author of “Still Competition”, which is kind of the same album-by-album look at the legendary Cheap Trick, another band that’s a big favorite here on the podcast. So both of those I recommend. What are you working on next, Robert? What’s coming out?
ROBERT: Well, my third book that came out, I guess a year and a half ago, is about a Canadian group called The Guess Who. And that’s “Wheatfield Empire”. The Guess Who were like Canada’s Beatles up here. Huge group for us. And I’ve been working now for about two years on a book about one of my heroes, Little Steven Van Zandt.
BRAD: Nice.
ROBERT: So he’s got solo stuff, and then of course, you got Bruce Springsteen and E Street Band stuff, and you got Sopranos stuff, and he’s got a radio show, so he’s kind of all over the place. So that’s what I’ve been working on during kind of pandemic and lockdowns and stuff like that. So, I keep plugging away at that, and letting people know about the previous books.
BRAD: Great, well, looking forward to that and thanks again for coming on and talking about Nazareth and this great track. Thanks, Robert.
ROBERT: Anytime, Brad, thank you.
BRAD: And thanks for joining Robert and I for this episode. If you’re interested in Robert’s books on Cheap Trick, the Guess Who or Nazareth, you can find them at the FriesenPress website, that’s FriesenPress.com/store. And then search for Robert Lawson, and you’ll find those books. I really do recommend them.
I will be back in two weeks with another new episode. Until then, you can get caught up on all of our previous episodes on our website, lovethatsongpodcast.com. You can also find us on all of the podcast apps and services– Amazon, Google, Apple, Spotify, iHeartRadio… This podcast is available on all of them.
On behalf of the Pantheon Network, I thank you again for being here for the past five years of the “I’m In Love With That Song” podcast and I hope you stick around for more. If you’d like the show to keep going, the best thing you can do is to tell people about the show and share it with your friends.
Thanks for the last five years, and thanks for listening to this episode on “Holiday” by Nazareth.
We celebrate the 50th anniversary of one of the greatest live albums of all time, Deep Purple’s Made In Japan. This is a truly live album– no doctored-up, overdubbed fixes here, just a killer band at the top of their game, tearing through a live set with little thought to the recording process. They thought this album would only be released to a limited audience in Japan… turned out to be a huge hit and the ultimate Deep Purple album. This episode, we explore the power of Deep Purple in all their glory with the definitive version of “Highway Star”.
If you enjoyed this episode, check out these 2 other episodes featuring Deep Purple: https://lovethatsongpodcast.com/the-albums-that-made-us-with-special-guest-greg-renoff/ https://lovethatsongpodcast.com/deep-purple-burn/
And remember to follow this show, so you never miss an episode.
TRANSCRIPT:
Hey, it’s Brad Page, back once again with another edition of the “I’m In Love With That Song” podcast on the Pantheon Podcast network. Each episode of this show, I pick one of my favorite songs and we dive into it together, looking for all of those magical moments that make it a great song.
You probably all know by now that Deep Purple is one of my favorite bands. Today we’re talking about the album that made me a Deep Purple fan. In April 1973– 50 years ago this month– Deep Purple released their “Made in Japan” live album, and it became a true classic. So let’s celebrate the 50th anniversary of this great record with a look at one of the standout tracks on the album: “Highway Star”.
We’ve talked about Deep Purple on this show a few times before, and we’ll talk about them again, I’m sure. So I’m not going to go into deep detail on their whole history right here, but here’s a quick overview, just to catch us up to where this album entered the picture in the Deep Purple universe:
Deep Purple was founded around 1968, with the core members being Richie Blackmore on guitar, John Lord on organ and Ian Pace on drums. After recording their first three albums, they fired their original singer and bass player and brought in two new members: In Gillan on vocals and Roger Glover on bass. This became known as the “Mark II” lineup of the band.
By 1972, this Mark II lineup had recorded four albums together, including the “Machine Head” album. That’s their record that includes “Smoke on the Water”, as well as the original version of “Highway Star”.
“Machine Head” came out in March 1972, and the band hit the road to promote it. And by August of ‘72, they headed to Japan to play three shows.
Now, in my opinion, at this point, 1972, Deep Purple were one of the greatest live bands in history. The band was simply on fire, and they were unbeatable on stage. They had retooled their live set to feature more songs from that recently released “Machine Head” album, which were all songs that just came to life when performed live.
The Warner Brothers office in Japan decided that they wanted to record those three Japanese concerts for a live album that would only be released in Japan. The band kind of reluctantly agreed, but they insisted that their favorite recording engineer and producer, Martin Birch, would come to Japan with them to handle the recording.
The band performed the three shows, and though they knew the gigs were being recorded, they didn’t really think much about it. They were just concentrating on putting on a few really good shows for their Japanese fans. Honestly, they didn’t consider the album to be that important either. They figured it was only going to be released in Japan and not that many people would end up hearing it. In fact, most of the band didn’t even show up to hear the final mix.
But somebody at Warner Bros. must have been smart enough to know what they had, because they ended up releasing the album in the U. K. as well, in December of 1972… and it was a hit. So a few months later, “Made in Japan” was released in the US in April 1973. It reached number six on the Billboard chart, and to this day, it’s almost universally considered one of the greatest live albums of all time. Unlike a lot of live albums, there are no overdubs and no fixes done to this record. It is a true live album, representing the band exactly as they were on stage.
Of the three shows that were recorded, most of the album was taken from the August 16 show in Osaka, Japan. “Highway Star” is one of the tracks taken from that show.
“Highway Star” was the song that they chose to open the show, and it’s the first song on the album. It features Ian Pace on drums, Roger Glover on bass, John Lord on keyboards, Richie Blackmore on guitar, and Ian Gillan on vocals. All five band members share writing credit on the song.
The track begins with the band pretty casually taking the stage and getting their instruments warmed up. John Lord leads us into the song with the organ. Ian Pace begins a build up on his snare drum; Ian Gillan introduces the song. Roger Glover is in on bass, and Richie Blackmore’s guitar is revving the engine. This song is about to take off.
[Music]
Ian Gillan was never happy with his vocals on this album. Apparently, he was just getting over a bout with Bronchitis and he just wasn’t satisfied with his performance. But I always thought he sounds amazing on this album. Let’s see if we can bring up the vocal tracks a little bit in the mix and listen.
[Music]
I’ve always loved the interplay between Ritchie’s guitar and John Lord’s keyboards. The way they create this massive sound that’s just greater than the sum of their parts. Let’s hear their parts here. Simple but effective. Richie’s guitar is panned to the left, john is on the right.
[Music]
Love Richie’s guitar at the end there, he’s just wrenching the whammy bar on his Fender Stratocaster.
[Music]
Let’s bring up the vocals again.
[Music]
That is a vintage Ian Gillen vocal right there. And there’s a great drum fill by Ian Pace that leads us out of that chorus.
And that leads us into an organ solo by the great John Lord. There’s a fantastic little instrumental riff here that leads us into the next verse.
[Music]
And let’s focus a little bit on what the bass and the drums are doing.
[Music]
Now it’s time for Richie Blackmore’s guitar solo. And remember, this is recorded live; there’s no overdubs, no punch ins, no fixes. Not every note here is perfect. If you want to hear perfection, go listen to the studio version of this song, which is iconic. But here, you get a performance that is a go-for-broke, knock the audience right out of their seat performance. Richie is on fire here.
[Music]
Once again, Richie is just yanking the hell out of his Annie bar.
[Music]
Here’s the last verse.
[Music]
Listen to Richie, his guitar on the left, and to Roger Glover’s bass, too.
Deep Purple – “Highway Star” from “Made In Japan”, released in the US. 50 years ago this month.
I think for every music fan, there are specific albums you remember hearing for the first time, like watershed moments. This was the album that showed me the power of a live performance, how intense music can be when performed by five musicians at the top of their game.
John Lord passed away in July 2012. One of the most important keyboard players in the history of rock and pop music. I don’t think he often gets the credit that he’s due.
Richie Blackmore, one of the most important guitar players of all time, pretty much walked away from rock and roll around 1997 and formed Blackmore’s Night with vocalist Candace Knight, playing sort of a contemporary version of medieval in Renaissance music.
But Ian Gillan, Ian Pace and Roger Glover still play in a version of Deep Purple today.
Thanks for joining me for this tribute to one of my all-time favorite albums. If you enjoyed this show, there’s plenty more like it. You can find all of our previous shows on our website, lovethatsongpodcast.com, or just search for the “I’m In Love With That Song” podcast on Amazon, Google, Apple Podcasts. Spotify… anywhere that you can find podcasts.
This show is part of the Pantheon Network of podcasts, home to many other great music related shows, so be sure to check them out.
If you’d like to comment or leave a review of this show, Podchaser is the best place to do it. And of course, you can keep in touch with us on our Facebook page. If you’d like to support the show, the best way to do it is to just tell people about it and share it with your friends.
I’ll be back in about two weeks with another new episode. Until then, go get a copy of “Made in Japan” and crank up “Highway Star” by Deep Purple.
"The Camera Eye" (Words by Peart, Music by Lee and Lifeson) Copyright 1981 Core Music Publishing
In 1981, Rush had planned to release a live album, but riding a wave of good vibes & inspiration, they changed their minds and decided to record an album of new material instead. It turned out to be their best-selling album, and years later the band would still look back on it fondly. Most of their biggest hits are on this album titled Moving Pictures, but this episode we’re turning our ears on a lesser-known (but fan favorite) track, “The Camera Eye“.
“The Camera Eye” (Words by Peart, Music by Lee and Lifeson) Copyright 1981 Core Music Publishing
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TRANSCRIPT:
Invisible airways crackle with life, bright antenna bristle with the energy, bringing you the “I’m In Love With That Song” podcast on the Pantheon Podcast Network. I’m your host, Brad Page. Some songs inspire me, some songs are fascinating to me, some really get to me emotionally, and some songs are really intriguing. Some just capture my imagination. Whatever the case, I always wonder why that is. What is it that makes a song so great? Well, that’s the idea behind this podcast– discovering what goes into making a great song.
This time on the podcast, we’re sticking our toe back into progressive rock. These songs are always tricky because the music can get complicated, and we try not to get bogged down with a lot of technical stuff on this show. And the songs are long and don’t always fit the format here. But I’ve been wanting to explore this track for a while now, so let’s do it. This is Rush with “The Camera Eye”.
[Music]
In the 1970’s, Rush evolved into one of the leading purveyors of progressive rock, or Prog Rock, as both fans and detractors like to call it. Releasing their “2112” album in 1976 established them as fan favorites in the genre. And in 1978, they recorded their most proggy album ever, “Hemispheres”. So after something like that, where do you go from there?
Well, that instigated one of the major shifts in the band over their 45-year career. They started working on shorter songs. Not any less creative musically, but tighter, more focused. Guitarist Alex Lifeson would graciously step back a bit and leave more room for bassist Geddy Lee to also add more keyboards to their sound. And besides playing bass and keyboards at the same time, Geddy was also their singer, and he changed his vocal approach around this time, singing in a little lower register.
And then drummer Neil Peart, who wrote all of their lyrics, changed the things he was writing about. Gone were the Sci-Fi epics and the tales of fantasy. Now Neil wrote more about the things that affected him in his daily life and about the world around him. Across the board, this was a big change for the band. It was a risk, but it paid off as the 1970’s came to a close. Rush began the new decade by releasing the “Permanent Waves” album in January 1980, and it was a big hit. It would become one of their bestselling albums and remains a favorite amongst their fans.
The band embarked on a successful tour. In fact, I think this was the first tour that they actually made any money on. And during the sound checks and rehearsals, they started coming up with new material. The original plan was for them to release a live album after “Permanent Waves”. But the band was feeling pretty enthusiastic, and the vibes were good. So, when one of their friends at their record label, Mercury Records, suggested that they try recording a new studio album, they said, “let’s do it” and changed their plans.
The result was “Moving Pictures”, which would become their best selling and most popular album.
Recorded at Les Studio in Quebec, and produced by their longtime producer, Terry Brown, the album would spawn their biggest hits and concert favorites like “Tom Sawyer”, “Limelight”, “Red Barchetta”, “YYZ”– all from this album. In fact, they’re all packed on Side One of this album.
But Side Two of “Moving Pictures: opens with a song called “The Camera Eye”. The song clocks in at 10 minutes and 58 seconds, almost eleven minutes long. It’s the longest song on the album, and this would be the last time Rush would record a song this long. They would never record another song over ten minutes.
The song was produced by Terry Brown, the music was written by Geddy Lee and Alex Lifeson, and the lyrics written by Neil Peart. “The Camera Eye” was the first song written for the album, at least as far as the lyrics. While on tour, Neil Peart would sometimes walk the different cities, and he came up with the lyrics to “The Camera Eye” based on his impressions of the different feel and different rhythms of two cities in particular, New York and London.
Neil Peart was often seen with a book in his hand. He was one of the most well-read men in rock, certainly the most well-read drummer in rock history. Neil had read the work of John Dos Pasos, in particular his “USA Trilogy”. And in those books, Dos Pasos uses a literary device he calls “the camera eye”. That’s where Neil got the title from. One of the books in the USA trilogy is called “The Big Money”. Neil would later write a song based on that, too.
“The Camera Eye” opens with the sound of a city. It’s a city street scene. According to Geddy Lee, when they were putting together that pastiche of sound effects, one of the clips they used was a bit of audio from “Superman”, the 1978 movie with Christopher Reeve. Here’s the street scene from the movie:
Now, let’s go back and listen to the song. And if you listen closely, you can hear that guy saying “fresh fruit”. At that point, Geddy Lee’s keyboards come in. He was using a mix of Oberheim synthesizers, Taurus bass pedals, probably some Korg keyboards as well. Let’s pick it up from there.
[Music]
The synthesizer is making a burbling sound underneath. That’s created using a process called “sample and hold”.
[Music]
Now we’ll hear the first musical motif that will occur throughout the song.
[Music]
Neil is doing some subtle snare drum work here. Also, Alex Lifeson is adding some guitar bits, playing harmonics or just making some interesting guitar sounds. Alex is chucking his guitar strings in sync with Neil’s snare drum. Let’s play that back.
Neil comes in there with a pretty straightforward drum beat for Neil. And that takes us into the next section of the song. And Neil was doing some nice cymbal work underneath that keyboard part. Let’s hear that.
More of that sample and hold synthesizer brings us into the next section of the song.
I think this is one of the all-time great Rush riffs. Let’s hear Alex’s guitar playing that riff.
[Music]
Now, up until this point, Geddy has only been playing his keyboards, but this is where his bass guitar comes in.
We’ve reached the verse and it wouldn’t be Rush without some interesting time signature stuff going on. Leading into the verse here, they’re alternating between measures with four beats and measures of six. Let’s try to count that out. 1-2-3-4, 1-2-3-4-5-6, 1-2-3-4, 1-2-3-4-5-6 .
Now, once the vocals start, they change it up again. Most of the verse is in 6/4 time: six beats per measure, except the second measure of each line has only five beats. So let’s try counting that. 1-2-3-4-5-6, 1-2-3-4-5, 1-2-3-4-5-6, 1-2-3-4-5-6, 1-2-3-4-5-6, 1-2-3-4-5, 1-2-3-4-5-6, 1-2-3-4-5-6.
So let’s go back and listen to all of this again. But I don’t want you to try to count it, just listen to how it flows. To me, part of the magic of Rush is not how they’re able to play the technical stuff, it’s how they’re able to make it sound so natural.
[Music]
We talked about how this song is the tale of two cities. This first verse is about New York, and as you would expect from the pen of Neil Peart, the lyrics are vivid and insightful.
“Grim faced and forbidding, their faces close tight. An angular mass of New Yorkers pacing and rhythm race the oncoming night they chase through the streets of Manhattan.”
And let’s listen to Geddy’s bass part here. Then they go back into the main riff, and this introduces us to a new part of the song– maybe my favorite part of the song. Beautifully orchestrated, the way they put this together.
[Music]
We’re still in New York in this vignette, but he references a rain “like an English rain”; he’s connecting these two cities together, and we’ll wind up in London soon.
[Music]
Geddy plays a nice little bass lick before the next line. Let’s hear all of that together again.
[Music]
And more great drumming by Neil during this part. Let’s go back and hear some of those drums. As this section continues, Geddy brings some of those keyboards back in.
[Music]
As the lyrics speak of the buildings and their limitless rise, the keyboards subtly climb up in the background. They’re going to stay on the same basic chord changes here, but Neil is going to change up his drum pattern which starts to build up the drama. And listen to Geddy’s bass here. Neil ramps up the drums even more.
[Music]
That kind of dramatic buildup and release. I don’t think any band did that kind of thing better than Rush. Let’s go back and just listen to Neil’s drums during this whole section. That basically brings us back to the beginning of the song as we start again in a new city.
[Music]
I just love Neil’s drum part there. Let’s pick it back up there. Great guitar work by Alex here, too.
We’re cycling our way back through the different parts of the song again. Let’s hear Alex playing that riff again. Sounds to me like one guitar panned left and one panned right. And we’ve got to listen to Geddy’s bass part there, it’s really something.
And that gets us to the second verse. And let’s listen to what Alex is doing on guitar. I think there are three guitar parts here. An electric in the middle with two acoustic guitars panned left and right. Those guitars are really jangly. My guess is he’s either playing with a capo or in a special tuning.
[Music]
Let’s hear more of Geddy’s bass. Let’s check out that drum fill.
The last time around, we didn’t pay much attention to Alex’s guitar part in this section. So let’s go back and listen to that.
[Music]
OK, it’s time for a little mythbusting. You can hear a voice in the background there; I’ve seen speculation online of all kinds of things, even that that was Geddy burping and then saying, “Oh God”. But if we listen to the vocal track, it’s simply an old English greeting. Remember, the setting is London.
[Music]
Let’s pick it back up at that spot. There’s another great line.
“Pavements may teem with intense energy, but the city is calm in this violent sea.”
Then we get a great guitar solo from Alex Lifeson. The sound is stripped down to just bass, drums and the guitar solo. And his guitar tone is super distorted. He must have been using a fuzz pedal for this solo.
[Music]
After the guitar solo, we head into the big finale. They repeat this section from earlier, and I love these lines.
“I feel the sense of possibilities, I feel the wrench of hard realities.”
You know, people go to the big city to make their mark, make their dreams come true, right where it all seems possible… but you’re often confronted with the harsh realities. The competition is intense, you get taken advantage of, dreams get crushed. That’s the risk. I think Neil really captures all of that in these two lines.
I just want to rewind and listen to Neil’s drum climax at the end there. It’s really good, but you’d expect nothing less. There’s a long fade-out on that final chord. There’s some cymbal and snare work from Neil, and a few extra notes in the keyboards, but mostly they’re letting that last chord ring out as long as possible.
And the last thing we’ll hear is the sound of church bells in the city.
“The Camera Eye” By Rush
“Moving Pictures” was their 8th album, their best-selling album in the US. And probably their most popular worldwide. They would go on to release eleven more albums, 19 studio albums in total, and there is not a bad one in the bunch. Of course, you’ll like some more than others, but they all have merit.
Neil retired from touring in 2015, and in 2018 the band officially called it quits. And on January 7, 2020, Neil Peart died as a result of brain cancer.
Geddy and Alex are still with us. They’ve stayed out of the limelight for the most part these last few years. There’s talk of them doing some new music together. It won’t be Rush– that’s over, but it would be nice to hear them make music together again. Still, 19 great albums. If that’s all we get, I can live with that.
Thanks for listening to this edition of the “I’m In Love With That Song” podcast. We’ll be back in two weeks with another new episode. Until then, get caught up on all of our previous shows on our website, lovethatsongpodcast.com, and of course, you can find us on all of the podcast apps and services too.
Don’t forget to follow the show so that you never miss an episode. And if you’d like this show to continue, the best thing you can do is to tell a friend about it, because your recommendation really means a lot.
So, from my remote little corner here on the Pantheon Podcast network, I thank you again for listening and remind you to support the artists you love by buying their music. Now, go dig out your copy of “Moving Pictures” and crank up “The Camera Eye” by Rush.
Back on Episode 25, we listened to 5 of my favorite guitar solos; here on Episode 125, we revisit that idea and listen to some more great guitar moments. As before, I’m not saying these are the greatest solos of all time– a great solo doesn’t have to be flashy or technically brilliant, but it does have to be memorable, it has to fit the song, and it should take the song to another level. So, let’s hear 5 more favorite guitar solos.
TRANSCRIPT:
Welcome back, my friends, to the extended solo that never ends. This is Brad Page, host of the “I’m In Love With That Song” podcast, coming direct to your eardrums via the Pantheon Podcast network.
Way back in episode number 25 of this show, I took a break from the usual format to play five of my favorite guitar solos. Well, here we are at episode number 125. So I thought, 100 shows later, let’s revisit that topic and feature five more guitar solos.
Johnny Winter came out of Beaumont, Texas, made his first recording at age 15, and in 1968 signed a deal with Columbia Records for an advance of $600,000– at the time, the largest advance in history. He released some very successful records, but unfortunately, he became addicted to heroin, which derailed his career for a while. He sought treatment and eventually cleaned himself up, though, personally, I don’t think he ever fully recovered. But he released a comeback album in 1973 called “Still Alive And Well”. And that is my favorite Johnny Winter album. That album opens with his version of “Rock Me Baby”, a B.B. King song we discussed a while back on our B.B. King episode. Here, Johnny revs it up, tearing through every lick in his library and then some. It’s a tour de force moment. All the evidence you need to prove that Johnny was one of the greatest blues rock guitarists in history. Johnny’s throwing lick after lick at you through the whole song. I could just play the whole song for you, but here’s just a short excerpt.
[Music]
Ronnie Montrose started his career in San Francisco at the end of the 60’s. By the early 70’s, he was doing session work and playing on records by Van Morrison. In 1972, Ronnie joined the Edgar Winter Group– Johnny Winter’s brother– and played on Edgar’s biggest hits, “Free Ride” and “Frankenstein”, which we featured on this show before. In 1973, Ronnie formed his own band, simply called Montrose, which launched the career of Sammy Hagar. In 1978, Ronnie released his first solo album, an all-instrumental album called “Open Fire”, which was produced by Edgar Winter.
Now, I could find plenty of examples throughout his career where Ronnie just tears it up with a flashy guitar solo. But one of my favorite Ronnie Montrose performances is his killer version of the old Gene Pitney song “Town Without Pity”. Ronnie doesn’t do any real shredding on this track, it’s just a fantastic showcase for his impeccable phrasing, his incredible guitar tone, and his tastiest playing. He doesn’t stray far from the original melody of the song– he doesn’t have to. He still makes it his own.
[Music]
The Cars basically invented the sound of American New Wave at the end of the 1970s, and we took a deep dive into one of their best tracks, “Just What I Needed”, b ack in episode 43. Their guitarist, Elliot Easton, could basically play anything, from rockabilly to Beatlesque pop, from punk to funk. Elliot’s got to be one of the most versatile players out there.
For example, in 1985, they released a single called “Tonight She Comes” that shows Elliot Easton could shred as well as any hair metal band guitarist. Check this out.
[Music]
But that’s not actually the solo that I wanted to feature. I wanted to go all the way back to their first album, to play a solo that combines rockabilly licks with power pop sensibilities in a new wave setting. I’m talking about his solo in “My Best Friend’s Girl”.
[Music]
Hard to believe that’s the same guy who played that solo and “Tonight She Comes” that we heard a minute ago. Let’s listen to just the guitar track.
[Music]
By the time the Eagles made their “Hotel California” album, they had two amazing guitar players in the band– Don Felder and Joe Walsh. Everybody knows the part on “Hotel California” where Don and Joe trade off licks, one of the greatest guitar duels on record.
But one of my favorite guitar moments from the Eagles wasn’t played by Don Felder or Joe Walsh. It was played by Glenn Fry on the song “Try And Love Again”. You can say what you want about Glenn Fry or the Eagles, but this solo is, I think, a melodic masterpiece.
[Music]
Thin Lizzy has been featured on this show a few times. That’s no surprise– I’m a big Thin Lizzy fan. The band had a number of brilliant guitarists come through their ranks, so there’s plenty of guitar highlights in their catalog. But this one, this one’s tough to beat.
When Thin Lizzy first recorded “Still In Love With You” in April 1974, Gary Moore was the guitar player in the band, though that was really only a temporary thing. Only a couple of songs were recorded with Gary during this period, but this song ended up on their album “Nightlife”, and it became a fan favorite– so much so that it became a feature of their live shows.
After Gary left, the band reinvented itself with a twin guitar lineup, and this song became a showcase for both guitarists, Scott Gorham and Brian Robertson. But, push comes to shove, it’s Brian’s solo right in the middle of the song that’s my favorite part of the song. Seriously, this one should give you goosebumps. Here’s Brian Robertson from Thin Lizzy on “Stilj In Love With You”:
[Music]
You can hear the crowd cheering that solo. When it’s over, they know they just witnessed something special.
Well, I’ll admit that I am biased, but I believe that next to the human voice, the electric guitar is the most expressive instrument on planet Earth– nothing can evoke joy or sadness, anger or passion the way a well-played electric guitar can. And you don’t have to be a virtuoso. If a player can just tap into that connection, they can produce something on the guitar that’ll really move you.
Thanks for listening to this edition of the “I’m In Love With That Song” podcast. If you’d like to leave feedback or a review of the show, podchaser.com is the best place to do it.
You can keep up to date with the show on our Facebook page, and you can find all of our previous episodes on our website, lovethatsongpodcast.com. Or just search for us on Google Podcasts, Amazon, Spotify, Apple Podcasts, and pretty much anywhere podcasts can be found.
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We are part of the Pantheon Network of podcasts, where you can find a plethora of music related shows, so give some of those shows a shot.
New episodes of this show are released on the 1st and the 15th of every month, so I’ll see you back here in about two weeks. Until then, plug in your axe and crank up your amp.
Etta James - "Love's Been Rough On Me" (Gretchen Peters) Copyright Sony/ATV Tunes LLC dba Cross Keys Publishing/Purple Crayon Music (ASCAP)
Etta James lived quite a life; some incredible highs and heartbreaking lows throughout her 73 years. From hit songs to heroin addiction, from critical acclaim to violence and bad behavior & jail time, Etta experienced it all. And you could hear every bit of that experience in her voice. I’ve wanted to feature Etta on this podcast for a while; the easy choice would be to pick one of her early classic songs… but instead, let’s listen to an overlooked track from late in her career, when she might have been “past her prime” but more than capable of delivering a heart-wrenching performance.
“Love’s Been Rough On Me” (Gretchen Peters) Copyright Sony/ATV Tunes LLC dba Cross Keys Publishing/Purple Crayon Music (ASCAP)
— Remember to follow this show, so you never miss an episode.
TRANSCRIPT:
Welcome back to the “I’m In Love With That Song” podcast. Thanks for joining me here on the Pantheon Podcast network. I’m your host, Brad Page, and each episode of this show I pick one of my favorite songs and we explore it together, discovering what makes it a great song.
This episode happens to come out just in time for Valentine’s Day. And as I mentioned on this show before, I am not a fan of these holidays that are really just an excuse to sell greeting cards and merchandise, but it’s also an excuse for me to play a song. So I thought this time we’d listen to, I don’t know, maybe this is an anti-Valentine’s Day song. This one’s by Etta James. It’s a song called “Love’s Been Rough On Me”.
[Music]
Etta James is a legend. She was born James Etta Hawkins in Los Angeles on January 25, 1938. She was 16 years old when Johnny Otis heard her singing in San Francisco. He asked her if she was 18. She lied. He brought her back to LA, renamed her Etta James, and she cut her first record with him, “The Wallflower”, in 1955.
[Music]
She released a few more singles, but the hits dried up for a while and so did the good paying gigs. To find a new opportunity, she borrowed a few bucks from Jackie Wilson and bought a bus ticket to Chicago to meet with Chess Records. Leonard Chess liked her a lot and signed her up. One of her earliest singles for chess was “All I Could Do Is Cry” in 1960, written by Billy Davis and Barry Gordy Jr. in the days before he started Motown, she recorded this vocal in one take.
[Music]
Chess Records was home to Muddy Waters, Howlin’Wolf and Chuck Berry. There wasn’t much call for strings, but once they started working with Etta, they pictured her as a balladeer as well as a house rocker, and issued quite a few lushly orchestrated ballads, culminating in the universal classic “At Last”.
[Music]
If Etta James had never cut another song, her legacy would be cemented by that track alone. But of course, she cut a lot more records than that. In 1963, she released one of my favorite records of hers, a live album recorded in Nashville called “Etta James Rocks The House”.
[Music]
Hard to believe that’s the same woman who sang “At Last”.
Life was not easy for Etta. She was a heroin addict and would struggle with addiction for the rest of her life. Over the course of her career, she would be arrested more than once. In and out of rehab, she spent 17 months in a psychiatric hospital. Somehow, in the midst of all that, she managed to record some great music, like the classic “Tell Mama” in 1967, recorded in Muscle Shoals Alabama.
[Music]
And the B side of that single was a song just as iconic: “I’d Rather Go Blind”.
[Music]
Though she was no longer hitting the charts by the mid 70’s, and therefore off the general public’s radar, she continued to make records for three more decades. In 1997, she released an album called “Love’s Been Rough On Me”, and this is the title song from that album. The song was written by Gretchen Peters, who’s released a bunch of her own records. But I think this recording by Etta James was the first time the song had been released. I don’t know if Gretchen wrote it specifically for Etta, but she might as well have. Etta delivers it like it was made for her.
This is a song about the real cost of love. Love can give you something amazing, but it can also exact a terrible price. I love this song because it doesn’t sugarcoat the subject. It’s not overly poetic, it’s not trying to be clever with its lyrics. It’s just laying it all out there, honestly.
There are two guitars, very cleanly recorded. One panned more to the left, the other panned hard right, and they’re playing off of each other. There’s a piano and a little bit of what sounds like a pedal steel guitar. It’s all very nicely setting the stage for Etta’s vocal.
[Music]
“They say life goes on… well, I can’t prove it, but I know they’re wrong”. I love that line.
[Music]
That brings us to the first chorus.
[Music]
“I can’t eat, I can’t sleep, I don’t seem to be able to get back on my feet.” And with a pretty subtle delivery, Etta makes you believe it.
[Music]
Speaker B: That’s just a nice little guitar fill there.
[Music]
I will admit that I’m not into that distorted guitar part there. I’m all for distorted guitars– big fan. But I don’t think it’s needed here. I think that’s just a reflection of the time. This was recorded in the late 90’s. I think if they were making this record today, they would have gone with a different sound.
At any rate, here’s the next verse… and there’s only two verses in this song. Two verses and two choruses, and that’s it. Three minutes, no fat. But honestly, I could have listened to Etta sing this all day.
[Music]
Let’s bring up her vocal and listen to that verse again.
[Music]
“Love’s Been Rough On Me” – Etta James
Life was rough on Etta James. Along with fighting addiction, she was diagnosed with Alzheimer’s in 2008, suffered a MRSA infection in 2010, and in 2011 was diagnosed with leukemia, which would eventually take her life on January 20, 2012, just before her 74th birthday. If anybody understood this song, it was Edda James.
So this song is my Valentine’s gift to you. It’s easy for people to say cliches like “it’s better to have loved and lost than never have loved it all”, but this is a song for everyone who’s ever loved and lost and never quite recovered. Have mercy, because love’s been rough on us all.
Thanks, as always, for being part of the “I’m In Love With That Song” podcast. You can post a review or comments on our Facebook page, or on Podchaser, or wherever you listen to the show.
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We’ll be back in two weeks with a new edition of the “I’m In Love With That Song” podcast. Thanks for listening to this show on Etta James and “Love’s Been Rough On Me”.
The Beatles had many peaks in their career, but their August 15, 1965 concert at Shea Stadium may be the high point. It was certainly their ultimate live performance and the pinnacle of Beatlemania. On this episode, I’m joined by author Laurie Jacobson; her new book, “Top Of The Mountain“, tells the story of that record-breaking concert. It’s a behind-the-scenes look at the events leading up to the performance, including the tale of the man who made it all happen, Sid Bernstein.
TRANSCRIPT: Welcome, welcome. Glad to have you here. This is the “I’m In Love With That Song” podcast on the Pantheon Podcast network, and I’m your host, Brad Page.
Back in February 1964– 59 years ago– the Beatles made their first appearance on the Ed Sullivan Show and literally changed everything about rock music overnight. That’s when the Beatles conquered America, where it all started here. But if you want to look at where Beatlemania peaked, at least in terms of their first phase, it would have to be 18 months later, on August 15, 1965, when the Beatles played before a sellout crowd at Shea Stadium in New York at the time. The largest concert in history, and still one of the most important chapters in the story of rock.
Laurie Jacobson is an author, and her new book tells the behind-the-scenes story of The Beatles at Shea Stadium. The book is called “Top of the Mountain”. And it’s not only a detailed look at the concert itself, it’s the incredible story of how the concert came to be in the first place, as well as the story of the people who put the show together and the fans who were there. And it’s also full of some terrific photographs taken at the show; many of them have never been seen before.
You guys know that I’m a big Beatles fan, so I asked Laurie to come on the podcast and talk about the night the Beatles took over Shea Stadium and her new book, “Top of the Mountain”.
BRAD: Laurie Jacobson, welcome to the “I’m In Love With That Song” podcast. Usually on this show, we focus on one song, but today we’re going to do something a little different. Because I read your book, and it is such a great story, I really wanted to talk to you about it.0
So your book is called “Top of the Mountain”, and it tells the story of the Beatles legendary concert at Shea Stadium in August 1965. So, first, let’s get some facts and figures out of the way. This was the Beatles second US tour. It was actually the opening night of the show, the first show of that tour on August 15 at Shea Stadium in New York. And they played in front of 55,000 people. Is that right?
LAURIE: 56,000
BRAD: 56,000 — which was not only the Beatles biggest concert, but it was the biggest concert audience ever at that time. It was a record they held until 1973, when Led Zeppelin broke the record with a 56 plus thousand attendance at a show in Tampa, FL. But this is a really significant event. I believe no band had ever played at a stadium before this show, is that true?
LAURIE: Not a stadium of this size. And even The Beatles had played couple of smaller stadiums, but not a huge baseball stadium like this.
BRAD: Right. Nothing approaching 56,000 seats. No one had ever done that before.
LAURIE: No one. Not Elvis. Not Sinatra. Nobody had ever played in front of this many people. Nobody had ever received the paycheck The Beatles received for that night. And 56,000 rock and roll fans had never laid eyes on one another before in such large numbers.
BRAD: Yeah. So let’s introduce the cast of characters. Of course, we all know who the four Beatles are, but there was also Brian Epstein, the Beatles manager, right? Talk about Brian Epstein.
LAURIE: Brian Epstein was, you know, a very cultured, refined young man. His parents were in the furniture business in… my dad was in the furniture business also, and they, of course, had a stereo department, and they began selling records. And Brian did the exact same thing. It’s just a natural for your stereo department. And one day, somebody came in and asked for a record by The Beatles, and Brian had never heard of them before, but he decided to check them out because they were playing just down the street at The Cavern. So he was really… and here is Brian, in his suit & tie and very buttoned up. And The Cavern is this basement former fruit cellar with no windows, and hot, sweaty kids on lunch break coming to hear The Beatles. And he was really impressed. And he had the foresight to recognize that these guys could go places with a little help from him.
BRAD: Yeah.
LAURIE: And then he hoped and prayed that America would call. He tried and tried, with no success, little to no success, about getting them on the air in America. And suddenly one day, his prayers were answered when another cast member, Sid Bernstein, called Brian.
BRAD: Yeah. And probably the single most important person in this story is Sid Bernstein. So tell us, who was Sid Bernstein?
LAURIE: Sid Bernstein was a New York concert promoter. He booked pretty concerts with people like Judy Garland and Tony Bennett, people like that. And he believed in keeping himself sharp. So, he was taking a class, and the class assignment was to read newspapers from other countries. Well, Sid could only read English, so that limited him to the British newspapers. And of course, he goes right to the entertainment section, since that’s his field. And he keeps seeing these little blurbs about a group called The Beatles playing small cities in and around the UK. And the word “pandemonium” is always associated with their concerts. So of course, this immediately catches his eye. And then he follows them weekly. And this word “pandemonium”, who are these guys? He starts making some calls, he finds out that Brian represents them, and he, Sid, is like, “I got to have these guys here, I got to book them”. And he found Brian’s phone number and basically got Brian’s mom on the phone and said, can Brian come out to play? Brian was so thrilled that America was finally calling, and Sid had this great idea to book The Beatles at Carnegie Hall, where no rock and roll group had ever been booked. And I think the only reason Carnegie Hall said yes was because they didn’t know they were a rock and roll group, right?
So Sid set the concert several months out, and he said, “Believe me, by the time the concert rolls around, they’ll be on the air here, I can promise you that.”
So in the interim, Ed Sullivan is passing through Heathrow Airport with his wife, and comes in contact with thousands of girls screaming for the arrival of The Beatles. And of course, he says, “What’s going on?” Finds out, discovers that Sid has already booked them at Carnegie Hall and calls Sid Bernstein, who he knew very well, and asked if he could ride Sid’s coattails. Basically, “Can I have them on my show three or four days before they appear at Carnegie Hall?” Well, Sid thought this was great. That guarantees his show to be a sellout.
BRAD: And I think this is really important, because the familiar narrative is, like you said, Ed Sullivan just happens to see all of the pandemonium, like you said, around The Beatles, and books them for his show. But Sid was there first. Sid had booked them for Carnegie Hall long before they were ever booked on The Ed Sullivan Show, long before they ever got any radio play in the States. I mean, he was really the first guy in the States to really see the potential at the time when Capitol Records in the States couldn’t care less about The Beatles, they were actively ignoring The Beatles. But here’s Sid, who’s really the first guy to step up and to have the vision of what their success could be in the States, before Ed, before Capitol, before Murray the K, before any of that.
LAURIE: Absolutely.
BRAD: So he books them at Carnegie Hall for February 12, 1964. He books it 11 months before the show again, before the Beatles were making any waves anywhere in the States, but the show ends up selling out in 40 minutes. Because, of course, by the time we get towards The Ed Sullivan Show, they’ve had a few hits in the States and of course they are massive on The Ed Sullivan Show. But then through the rest of 1964, Sid kind of has a rough time, right?
LAURIE: Well, yes and no. On the one hand, because of this success, he becomes the conduit for the British Invasion. He’s the number everyone has now. The Stones, the Animals. Jerry and the Pacemakers, The Dave Clark Five, Herman’s Hermits. Everybody is calling Sid to come to America, and he actually starts booking the television show “Hullabaloo”, and he is bringing all these groups over to America, and he’s doing really great, but he made a big mistake: He booked The Animals for a five-night run in New York, thinking they would be as popular as The Beatles. And, hey, nobody was as popular as The Beatles. So the first two nights were a big success, and the last three nights of that five-night run, he lost his shirt and now he’s in some financial hot water.
BRAD: He needs a big score.
LAURIE: Yeah, he’s just had a baby. His wife is kind of upset with this turn of events, and, yeah, he needs the big score. So he thinks to himself, “who’s the most popular group in the world? The Beatles. And hey, I have a great relationship with Brian Epstein, so what’s the biggest venue I could possibly book them in?”
He thinks Madison Square Garden… No, not big enough. And he settles on Shea Stadium, which was only a year… Brian was really fussy, and Shea was brand spanking new, still had the sparkle on it, and he thought, yes, he’ll approve of this. So he calls Brian with the idea, and Brian immediately says, No. 56,000 seats. Are you crazy? We will never be able to sell that.
BRAD: No one ever had, no band, no pop artist ever had.
LAURIE: Right, correct. And at this point, there were still a lot of naysayers about The Beatles. It’s a fad, it will never last. It’ll be over by the end of the year.
BRAD: Right.
LAURIE: So he didn’t want to lay The Beatles open to a stadium that was only half filled, where all these people could say, you see, just as we said.
BRAD: And I think wisely, he was just trying to protect his boys. Right. He didn’t want to book them into a half full arena for the embarrassment and the bad press. It’s not an irrational thing for Brian to be hesitant to do it. But then Sid offers them an incredible deal.
LAURIE: Yeah. And Brian’s formula had been to play smaller places and have a line outside the door.
BRAD: Right.
LAURIE: That’s the look he was going for. So, yes, when tickets ranged from like $4.50 to $6.50, Sid says to Brian, I will pay you $10 for every empty seat in the stadium.
BRAD: Right? He not only guarantees them $100,000, which is a huge paycheck at the time, but he also says, for every empty seat, I’ll give you $10. I can’t think of another deal like that at the time, Sid was really taking a big risk there.
LAURIE: Yes, but Sid believed, and he was the only one who believed. Not even Brian believed that this could happen.
[Music]
LAURIE: So Brian says, that’s a deal I can’t turn down, but here’s my stipulation: I want 50% of the $100,000 in three months. And until I get that, you cannot advertise the concert.
BRAD: Right? No advertising, no publicity. But somehow, I want you to sell half the tickets to this show.
LAURIE: Sid is like, uh, how can I possibly raise $50 grand without advertising, right? And Brian says, well, I didn’t say you couldn’t talk about it.
BRADE: So this is really a fascinating part of the story, of how Sid begins to sell these tickets. Walk us through that, because it’s just so great.
LAURIE: And, Brad, this is actually my favorite part of the story.
BRAD: I believe it. It’s so good.
LAURIE: I just love this. So… Sid’s really depressed, right? He’s like…
BRAD: And his wife is none too happy.
LAURIE: She’s ready to go home to mom. “Are you crazy? What have you done Sid?” And Sid, by the way, he was a very large man, very heavy, and he knew the best entertainment and the best restaurants in New York. So I just see him walking down the street, eating a slice of pizza here, a hot pretzel there, thinking, “Woe is me. What’s going to happen?” And he takes his son in his stroller to Washington Square Park. And, you know, Sid was known by this time amongst all the kids for bringing all the great British groups over. He was pretty much the Pied Piper of Rock And Roll. So, wherever he went and kids saw him, they ran up to him to find out the latest news. And when they asked, “What’s going on, Mr. Bernstein?” He said, “Well, I’m bringing the Beatles to Shea Stadium in August.” Well, I mean, the girls begin screaming. One of them faints. They’re throwing money at him. And he realizes, “Okay, maybe this could be something.” He runs to the post office, he rents a PO Box, he runs back to the park. He tells the girls how much the tickets are and the PO Box address. And every day, he goes to the park, and he tells teenagers this story and gives them the address. And after three weeks, he finally works up enough courage to go to the PO Box. He forgets his key! He’s so nervous, because this is it, if there’s nothing in that PO Box, he’s a dead man.
BRAD: Right.
LAURIE: They open the box for him and when the post office workers find out who’s there, they all come running out of the back to see who is the man behind this box. And he’s like, “What’s going on?” They drag out bags and bags of mail. He had to get his car to bring it all home.
And inside those envelopes, he had rubles, he had yen, he had money from behind the Iron Curtain. So, at a time when there was only long-distance phone calls and letter writing, these kids in Washington Square Park spread the news about the concert around the world.
BRAD: It’s amazing. It’s like a scene from a movie, that you probably wouldn’t believe it if it was in a movie, but you can picture Sid and his wife at their kitchen table just opening these, letter after letter, pulling out money for tickets.
LAURIE: I mean, coins fell.
BRAD: Yeah. And then they came up with a way to go through all these bags and bags of mail. He actually hires some local neighborhood girls or something to help him process all of these letters, right?
LAURIE: Yes. They had a babysitter who was in nursing school, and he asked her if she had six or seven friends who might want to work for them every night until they went through all of these envelopes. And over a three-week period of time, they managed to go through more than 50,000 envelopes.
BRAD: I think you said in the book that it takes them three months to process it, and they end up with over 3000 envelopes that they don’t even open, because by that time, they’ve sold all the tickets, the show sells out and he ends up with $304,000. Is that right?
LAURIE: Yes. So when he meets Brian in January of ‘65, Brian is expecting $50,000 and he is able to give him the full $100,000.
BRAD: Right? Yeah. Brian’s looking, probably questioning whether he’s even going to get his $50,000. And Sid ends up handing him the complete $100,000 check. What a great story.
LAURIE: Really. It’s a wonderful story, and it’s so wonderfully innocent and so speaks to the time. So, now Sid has the hottest show in town that nobody knows, right?
BRAD: Yeah. Because he still can’t talk about. So he’s they start to prep for the show and then his expenses start to rack up for the staging and all of that kind of stuff. And then I believe the mayor of New York tells him he has to cancel the show. What was that all about?
LAURIE: You know, he had to jump through a lot of hoops with the city, I bet, to make this happen. He had rented the stadium on his name alone. That’s how well known he was in New York. He picked the date and the stadium said, we’ll hold it for you until the money comes in. But the mayor wasn’t so sure. They were very fearful, first of all, of security. What were they going to do if 10,000 fans decided to rush the stage?
BRAD: Right.
LAURIE: How were we going to get the Beatles in and out of the stadium without them being injured? What’s going to happen to traffic that day in New York? I mean, they had a million questions.
BRAD: And again, nothing like this had ever been done before, a rock show on this scale. But New York was pretty well aware of what Beatlemania looked like, because, of course, they had already been through the chaos around the Ed Sullivan performance. So they had a taste of it. They could see what could potentially happen. So you can understand the concern.
LAURIE: Oh, sure. And they had seen the thousands of kids around the Plaza in ‘64 when The Beatles stayed there and had done their ‘64 tour. So they knew that it could be absolute chaos out there.
BRAD: So in the days before the show, just kind of, as we lead up to the events of the show, The Beatles fly from Heathrow Airport to New York City; they stay at the Warwick Hotel. That must have been another chaotic scene.
LAURIE: Oh, yes. I mean, thousands, I can’t even imagine, but thousands of kids on the street, mostly girls. The hotel was full of girls that somehow sneaked in or had their parents rent a room there, or they disguised themselves as maids. And there were kids on top of the elevator, where they could have been crushed.
BRAD: The day before the show, the Beatles played on Ed Sullivan. They played, I think, like a six-song set. And then the day of the show, it’s a hot and humid day, right, like an 87-degree humid day in New York?
LAURIE: Yes. Sweltering summer day. And The Beatles had been partying pretty good, too. Bob Dylan was in town, and some of their other friends, The Ronettes, were coming by to see them, and there was a lot of smoking pot and playing records, and they couldn’t go out unless it was in secret.
BRAD: Right. So they were making the best of their quarantine.
LAURIE: And this was their life then, on the road. I mean, literally wasn’t safe for them to leave the room. Not much of an, you know, at a time when people’s security now is massive. They basically had three guys and Brian watching out for them. So the day of the concert comes around, and they’ve already decided that they are going to have to fly The Beatles in a helicopter over to Shea Stadium. And George was really not fond of flying.
BRAD: Yeah. George was a notorious bad flyer.
LAURIE: Yes. And the helicopter made him virtually weep with fear. The pilot of the helicopter said, “Well, you guys have been trapped in your room, you haven’t even been able to see any of New York. Let me show you the Empire State Building. Let me show you the Chrysler Building.” And he’s zooming through, up above, and George is literally white knuckling, crying, “get me down out of here, please.” All of this was filmed for the documentary. They had, um, a cameraman on the helicopter with them. So all of this was caught on film.
And of course, they could not land in the stadium, because they were afraid that kids would rush the helicopter and there could be terrible damage there. So they landed across the street, really across the way, where the New York World’s Fair was held. As well thought out as this was, they suddenly realized, if we drive The Beatles over in a limo, that limo is going to be mobbed. Kids will jump on it and God knows what will happen. So now, how are we going to get them into the stadium? And one security guy is looking around, and he sees a Wells Fargo armored truck; no windows, sitting unused, and won’t be needed for the next couple of hours. So he talks to the driver and commandeers this armored truck, finds four Wells Fargo badges in the front seat. He gives one to each of The Beetles, and he loads them up in the back of the truck. Poor George also is claustrophobic. George, now, who is green from the helicopter, is now being forced into the back of this truck, and they are safely driven into Shea Stadium.
BRAD: Now, before we talk about the show, I think one of the interesting side stories is that Sid was also, I believe, he was managing the Rascals, right? The band The Rascals. The Rascals didn’t play at the show, but he had a bunch of promotion for them going on, right? He was really trying to get their name in front of the audience.
LAURIE: Oh, Sid was really the ultimate old school promoter, actually. The Beatles did a press conference in a ballroom at the Warwick, and Sid had plants in the audience asking The Beatles, “Have you heard the Rascals yet? What do you think of them?” They never heard of them. But Sid just was getting that name out there. So, when kids coming into the stadium were looking into the dugout where they knew The Beatles would make their entrance, they saw some guys with long hair and they mistook them for The Beatles, and went running down there. Well, it was The Rascals. And yes, Sid had buttons and photos and all kinds of stuff that they were signing and handing out. And he also took the opportunity to flash “The Rascals are coming, The Rascals are coming” on a small welcoming screen in the stadium.
BRAD: Which I think Brian wasn’t too crazy about.
LAURIE: Yes. Brian quashed that immediately. I interviewed Felix Cavallari of The Rascals on his experience there that day. And he said Brian just very quietly said, “If that is not removed in the next 10 seconds, Sid, we shall be leaving.” And so Sid immediately had that taken down. “No one rides on the coattails of The Beatles” is what Brian said. He was always watching out for his boys.
BRAD: Right. That’s just a great story, though. And, typical for the shows of the day, this was kind of like a review show, where The Beatles weren’t the only ones that performed. There was a handful of opening acts. Why don’t you talk a little bit about some of the folks who opened the show for The Beatles? And could you imagine– 56,000 people are there, and not one of them is wanting to see you.
LAURIE: That’s exactly right. The first group was the fantastic sax player King Curtis. And um, he played behind a group called Discotheque Dancers, who demonstrated the hot dances of the day. And actually, one of the ladies, I found three of the five ladies from that group.
BRAD: Yeah. You actually interview them in your book.
LAURIE: Oh, yeah. And one of them said, “Well, my dad went with me that night, and he took 80 color slides that evening and we looked at them once and they’ve been in a drawer ever since. Would you like to have them?” Um, yeah!
BRAD: So you’ve got some great photographs in the book, and I imagine a lot of this stuff has never been really publicly seen before. You have those photographs. You also spoke to a number of, at the time, young folks who attended the show, and you’ve got some photographs from some of those people. Tell us a little bit about some of the other people in the book who contributed some of these great photographs.
LAURIE: You know, it sounds like I’m making it up to say at this late date, I have hundreds of photos that people have never seen, but I actually do. One guy, Mark Weinstein, was 17 years old, and he was bound and determined to get on the field. He sneaked into the bowels of Shea Stadium. He began trying every door he came to; they were all locked. And finally, one doorknob turns in his hands, he opens it, and the room is full of cops. And he thought “Oy vey”. He said to me, “I thought, Oy vey, if I run, I’m done.” So, he just thought really fast, walked in, faked a British accent, told them he was a friend of George Harrison’s and he was supposed to take photos that night, but had gotten separated from the group, and they led him right out onto the field. He took 60 photos from the edge of the stage, all of which are in the book, and one of which is the cover of the book.
BRAD: And that is a great shot of George and John.
LAURIE: I love that shot too. It was the last shot of the night, and there was another gentleman, who had to be coerced to even go to the concert, and he didn’t even know who The Beatles were. He decided he was also going to try and get into the stadium. And the door that was unlocked and opened to him led right into their dressing room. I mean, he opened the door, and there they were.
BRAD: It’s incredible.
LAURIE: With just like ten other people. So he walked in and just started taking photos. And he also got onto the field and took more photos. So, I have several photos that George Orsino took and, let’s see… Carly Simon’s brother Peter was there, and he was, I believe, 18. And he took some wonderful photos of the fans. So yeah, just, they covered it. Like, Marvin Gaye was there. He was introduced to the audience. He didn’t perform, but my friend dawn from the Discotheque Dancers, she had danced, backing up Marvin Gaye. So when her father saw Marvin Gaye, he took his picture. That’s the only picture that exists of Marvin Gaye at Shea Stadium.
BRAD: It’s great.
LAURIE: And he’s holding his own little movie. Oh, I wonder what happened to that.
BRAD: The photographs in the book are just, I mean, they’re great. Between the photographs of the crowd and the band, it really does a great job of just capturing the energy and the excitement of that night.
LAURIE: Oh, the girls running across the field, and The Beatles pointing to the runners and encouraging them, and the police running after them. Just kids, scaling the walls to get in, and what kills me is the security that Sid had to arrange, and that Brian insisted on. And here are these people literally just walking in, walking into their dressing room, walking out onto the know again today. It could have been a terrible situation.
BRAD: Right.
LAURIE: But there was nothing but love and joy out there.
BRAD: Yeah. Sid does get Ed Sullivan to agree to introduce them at the show. And Sullivan makes kind of a side agreement with Brian Epstein to film the show, and Sid gets cut out of that whole thing, which is a shame.
LAURIE: Yes. And you know, Sid could have chosen to introduce The Beatles. Sid could have taken that moment for himself, but that’s not who Sid was. And he realized that the country’s association with Ed and The Beatles was where it was at, and so he graciously invited Sullivan to introduce them. Sullivan couldn’t say yes fast enough.
BRAD: So, after all the buildup, The Beatles play a short 30-minute set, which was standard for the day. They play twelve songs:
Twist and Shout She’s A Woman I Feel Fine Dizzy Miss Lizzy Ticket To Ride Everybody’s Trying To Be My Baby – which is Georgia’s showcase Can’t Buy Me Love Baby’s In Black, which I think is a really interesting choice Act Naturally – that’s Ringo’s moment A Hard Day’s Night Help! I’m Down
But, I mean, that’s a tight little set there. This was before the two-hour concerts, the marathon Bruce Springsteen concerts that we get these days. You got 30 minutes of The Beatles, and they were out of there. I believe that’s the same set they played all on the rest of the tour.
What are some of your favorite moments of that set? I’m sure you’re pretty familiar with the film by now, having written the book and everything. What jumps out to you when you think about that set?
LAURIE: Well, I love “Twist and Shout”, and that’s a great opener, especially after the crowd had been waiting so long. There were several other opening acts I didn’t mention and lots of radio personalities in between. I mean, it just was, you know, the crowds got there at six, I think the stadium opened at six, and the show started at seven, and The Beatles didn’t go on ‘till nine. So “Twist And Shout” is a great opener.
BRAD: “Help!” had just opened a few weeks before. They had filmed in the interim between when Sid books the show and they actually perform the show, they film the movie “Help!” and, of course, record that track & the album during that time. So that was pretty current material for them.
LAURIE: And, you know, they reprised “Hard Day’s Night”, of course, because that was still so uppermost in fan’s minds.
BRAD: No “She Loves You”, No “I Want To Hold Your Hand”…
LAURIE: Yeah, they were moving away from that, trying to play their more current stuff, and as a matter of fact, “I’m Down”, this was the first time they had played that.
BRAD: That was just a B side.
LAURIE: It’s the only song John’s on the organ, which was, um, almost uncomfortable for him. He said, I didn’t know what to do without my guitar. There I am, standing behind this organ, which was something so new for him.
BRAD: Yeah. But probably every Beatles fan is fairly familiar with that footage, probably seen it. But it’s not only the final moment of the show– it really is, to me, that’s the greatest moment of the show. And John is just having a blast pounding away at that electric piano or whatever and it’s one of McCartney’s great vocals on that song. He really gets his best Little Richard voice out for that. But it’s such a great moment. The footage of them playing “I’m Down” at Shea Stadium is just so great.
LAURIE: You know, they were a little bit afraid to go out there. Mick Jagger and Keith Richards were also there, and they were in the dressing room with the Beatles. And Mick had gotten a little beat up on his way into the dressing room, some tough guys from Brooklyn were like, “You think you’re so great,” bam, bam, and they’re hitting him. And The Beatles were like, uh oh, what’s exactly going to happen out there? And Cousin Brucey assured them that they were going to be met with nothing but love. And from the moment they step out there– that’s my favorite moment of the documentary, they start looking around, they just can’t even believe what they’re seeing, right? It’s stunning, this number of people. And by the time they’re through with their set and they’re into “I’m Down”, and they know nobody can hear them, John has started to introduce songs, just speaking gobbledygook.
He knows nobody can hear them and it doesn’t matter what they say. And now he’s on this electric piano, and he knows nobody can hear that either. And you’re right, he’s pounding it, he’s playing it with his elbow. Ringo looks over and thinks, well, he’s just lost it. And George is trying desperately to stay serious and finally, he just can’t. He just can’t stay serious anymore, John has completely cracked him up, and he makes his way over to John. And that is the shot that Mark Weinstein caught.
BRAD: The cover of the book, and the photo is in the book as well. It’s just a great shot of John and George grinning ear to ear. You know, it’s the last song of the set. They know they’ve pulled it off, what a release that must have been. But I can imagine the terror stepping on the stage the beginning of that set. And then everything they went through to get to that emotional moment at the end of it.
Speaker C: Truly, if The Beatles remember only one concert, this is the concert they remember. You know, there was just nothing like it ever. And yes, that release must have been just, I mean, they did it. They really did. That’s where the title of the book comes from. Several years later, John was out one evening with Sid Bernstein and they were reminiscing about that night, and he said to Sid, “I saw the top of the mountain on that glorious night.”
BRAD: That’s great. So, when all is said and done, concert’s over, everybody goes home. When Sid tallies it all up, he ends up making a total of $3,000 for the show.
LAURIE: Incredible. I know. I don’t know where it all went. And Felix Cavalieri said Sid was a wonderful, honest, kind, generous, savvy man, but not all managers have both the business sense and the financial sense. Sid knew what he was doing promotion-wise. He recognized great talent when he heard it, but he wasn’t that great with the money end of it.
BRAD: But as you said, this assured him a place in history. I remember in the 80’s, going to my first Beatle conventions, Sid was a frequent speaker at those. And this was 20 years after the show. And people still loved to come and hear him tell his story as of the show. And I imagine he did that right up until the day he passed.
LAURIE: Yes, he lived to be 95 years old and was so proud, so proud of this great achievement, as well he should be, because frankly, this concert changed the world.
BRAD: Yeah, well, let’s talk a little bit about how this show changed history– where it fits and the impact it had.
LAURIE: Well, clearly, this was the future. And technology woke up the next morning and said, we flunked. Nobody could see them. Nobody could hear them. And this is all we’re going to see from this day forward, so we better get on board. And four years later, there was Woodstock. So they got on board in a big strapping hurry.
BRAD: Yeah. People forget that at this time, what they were using for a PA system was basically the same setup that they used for the announcers of the ball games, which were nowhere near adequate in terms of just pure volume and sound quality. That stuff sounds atrocious. There wasn’t all the big PA systems and monitors and all that stuff you have now, none of that stuff existed back.
LAURIE: Right. And no diamond screen to see them. You know, we didn’t even mention also at this concert were teenagers like Meryl Streep and Joe Walsh and Steve Van Zant, and Whoopi Goldberg was nine, she was there. Two future Beatle wives. And Meryl Streep was way up in the nosebleed seats with her little “I Love Paul” sign. And she said, “I had a better view of New Jersey than I did of The Beatles”. Everybody was just so happy to share the space with these guys they loved so much. But clearly, later on, people want to see them.
BRAD: Sure.
LAURIE: Technology got the big wake-up call. Madison Avenue saw 56,000 young people together and realized, we’re only selling these kids acne medicine. There is potential here for a lot more money. So, boom. The boomers immediately get on the map. So everything raced to catch up with this new young generation that was changing the world.
BRAD: Just an amazing time for music. And music was driving the culture in a way that it never had before.
LAURIE: Yes. People literally went from maybe ten friends gathered around your parents’ hi-fi to crowds of this size. Many of the opening act people, as well as the fans in the audience that I interviewed, said how empowering it was to be in the presence of 56,000 people who felt the same way that you felt. That was a life changing event for many of the people there. It was really amazing to talk to them and the fans I spoke to that were there, and literally, from Meryl Streep on down to just your basic fan, they still had the amazing enthusiasm that they had that night. They never lost it. It was still the most incredible event that any of them had ever attended.
BRAD: That’s great. Well, the book is called “Top of the Mountain”. It’s Sid Bernstein’s story, which is a fascinating story; t’s the story of dozens of people who attended the show and played their little part in the show by taking photographs or just being witnesses to the event; and, of course, it’s The Beatles story of what was, at the time, the biggest concert in rock history, and still stands as, I think, one of the most significant concerts ever.
Laurie, I really love the book. It was just a great, fun read. Thank you for coming on and talking about it, because it’s been a blast talking to you about the book and the concert.
LAURIE: Thanks, Brad. I so appreciate that, I really do.
BRAD: Sure. What do you got coming up next? Anything on the agenda for you?
LAURIE: This was my 6th book, and I primarily am a Hollywood historian, and I have written lots and lots about the history of Hollywood scandals and mysteries and all kinds of aspects of Hollywood history. And I think that my next book is something I’ve been preparing for for a very long time, which is a history of the Sunset Strip.
BRAD: That should be great.
LAURIE: So there will be lots of music there.
BRAD: Yeah, a lot of stories to tell there, that’s for sure. Well, Laurie Jacobson, thank you so much for doing the show with me. I really appreciate it. Good luck with the book and the books in the future. And thanks for the conversation.
LAURIE: I had a ball. Thanks, Brad.
BRAD: Thank you, Laurie.
And as always, thanks to all of you for listening. Go pick up a copy of Laurie’s book. You’ll love it. I’ll be back in a couple weeks with a new episode. Until then, you can listen to all of our previous shows, including more episodes on the Beatles, on our website– Lovethatsongpodcast.com is the place you’ll find them.
I always appreciate your reviews and your feedback. And if you want to support the show, the best thing you can do is to tell a friend about it, because your word-of-mouth recommendations, they’re the best advertising we could get.
Thanks again for listening to this show and all of the other shows on the Pantheon Podcast Network. I’ll see you next time right here on the “I’m In Love With That Song” podcast.
"You Make Loving Fun" (Christine McVie) Copyright 1976 Fleetwood Mac Music, USA - BMG Music Publishing Limited
When Christine McVie passed away on Nov. 30, 2022, the tributes poured in from around the world. Deservedly so. We pay our respects to the legendary Christine Perfect the way we do best– by taking an in-depth look at one of her biggest hits from the classic “Rumours” album, along with an overview of Fleetwood Mac’s tortured history.
Also in this episode, I recommend the “Fakewood Mac” episode of the Rock And/Or Roll Podcast— my favorite podcast. I highly recommend you check out this episode: https://rockandorrollpodcast.blogspot.com/2020/04/raor-308-fakewood-mac.html
“You Make Loving Fun” (Christine McVie) Copyright 1976 Fleetwood Mac Music, USA – BMG Music Publishing Limited
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TRANSCRIPT:
Welcome to the “I’m In Love With That Song” podcast. I’m Brad Page, your host here on the Pantheon Network, where each episode, I pick one of my favorite songs and we listen to it together, listening for all the little moments, those special touches that make it a great song. No musical skill or knowledge is required. All you need is a love of music and you’ll fit right in here.
At the time of this recording, it’s been a little over a month since the passing of Christine McVie from Fleetwood Mac. There have been plenty of tributes to Christine; she deserves every one of them. And we’re going to pay tribute in the way that we do best– by doing some serious listening to one of her classic songs. This is “You Make Loving Fun” by Fleetwood Mac.
[Music]
The history of Fleetwood Mac is about as convoluted as a band history can get, and we don’t have time to go over every detail, but the history is important. So, some kind of overview is warranted, centering around Christine.
So, let’s start in 1968, where one of the hot new guitarists on the scene, Peter Green, left John Myall’s Bluesbreakers and started a new band, eventually taking the Bluesbreakers drummer and bass player, Mick Fleetwood and John McVie with him. He named this new band Fleetwood Mac, after the drummer and bassist, and soon they were joined by a second guitarist, Jeremy Spencer. Together, they recorded some of the seminal works of the British blues bands.
[Music]
In 1968, they recorded their second album called “Mr. Wonderful”. There were a few guest musicians on this album, including a young keyboard player named Christine Perfect.
[Music]
Christine Perfect was born in Birmingham, England in 1943. Her father, Cyril Perfect, was a violinist in the Birmingham Symphony Orchestra. Her mother, Beatrice, was a psychic. Christine started making music young, playing along to Everly Brothers records. And after graduating from art college, she joined the band Chicken Shack. Chicken Shack was signed to the same record label as Fleetwood Mac, Blue Horizon. Christine recorded two albums with Chicken Shack, and they had one hit in the UK with “I’d Rather Go Blind” featuring Christine on lead vocal.
[Music]
Christine left Chicken Shack in 1969 and released her first solo album in 1970. Here’s a track from the Christine Perfect album.
[Music]
Christine and Fleetwood Mac’s bass player John McVie had been seeing each other, and by this time, had gotten married. They spent the first year or so of their marriage away from each other, as each of them were on the road with different bands.
Back in the Fleetwood Mac camp, a third guitar player had joined Fleetwood Mac. His name was Danny Kirwan. The interplay between Kirwan and Peter Green was really something special, but it didn’t last. By 1970, Peter Green had left Fleetwood Mac; mental illness had taken its toll, and Peter Green would never really recover.
If you’d like to learn more about Peter Green and explore this era of Fleetwood Mac further, go back and listen to episode 67 of this podcast, where we dig into the legendary track “The Green Manalishi”.
So, Peter Green had left and Fleetwood Mac was without their star player, but Mick Fleetwood held the band together. They retreated to Southern England and recorded their fourth album, “Kiln House”. Christine once again made a guest appearance on this album, though she’s uncredited. She even drew the cover art for this album. But after the release of the album, she officially joined Fleetwood Mac as a full time member. Here’s a song from “Kiln House”, It’s a Danny Kirwan song called “Station Man”, with Christine on electric piano.
[Music]
The chaos continued, though, when Jeremy Spencer quit the band. He left and joined a religious cult and never came back. Once again, the band was forced to reinvent itself.
They recruited a new guitarist-vocalist-songwriter named Bob Welsh. They recorded and released their next album, “Future Games”, in 1971. “Future Games” was the first album to feature both Bob Welch and Christine as a full-time credited band member. Christine wrote two of the songs on “Future Games”. Here’s one of them, this one’s called “Morning Rain”.
[Music]
“Bare Trees” was released in 1972. This one featured the song “Sentimental Lady”, which Bob Welch would later rerecord and release as a solo hit. It also includes the song “Spare Me a Little of Your Love”, which features a great vocal by Christine.
[Music]
Things still wouldn’t settle down for Fleetwood Mac. Christine and John McVie’s marriage was on the rocks, and now Danny Kirwan was showing signs of self-destructive behavior. One night, Kirwan refused to go on stage and instead heckled the band from the audience. Mick Fleetwood had no choice but to fire him. Another key member of the band gone.
Kirwan would spend the remainder of his life wrestling with addiction, homelessness, and mental illness.
Two new members were brought into the band: vocalist Dave Walker from Savoy Brown, and guitarist Bob Weston. This lineup released the album “Penguin” in 1973. But this lineup didn’t last long, either. Dave Walker was out after only one album. Here’s one of Christine’s songs from the “Penguin” album. This one’s called “Remember Me”.
[Music]
Now back down to a five piece, they released their next album, “Mystery To Me”, in October 1973. This album includes the song “Hypnotized”.
[Music]
Things seem to be going OK for the band when they set out on a US. tour, but when Mick Fleetwood found out that Bob Weston was having an affair with his wife, Mick had enough. He fired Bob Weston, and told the rest of the band he needed to take a break and just couldn’t finish the tour. And thus began one of the most bizarre events in rock history.
While the band was on a break and scattered around the world, Fleetwood Mac’s manager put together his own version of the band– with no actual Fleetwood Mac members, just a bunch of nobodies, and sent them out on the road as Fleetwood Mac. It’s really a story you’ve got to hear. My podcasting friend Brian Cramp did an excellent episode on his podcast about this whole fiasco. You should really listen to that show; it’s episode number 308 of the “Rock And/Or Roll” podcast. That episode’s called “Fakewood Mac”. Check it out. I’ll put a link in the show notes.
So, by the beginning of 1974, things were as bad as they would ever get for Fleetwood Mac. Their record company was about to give up on them, they were being sued by their manager, and that whole “Fakewood Mac” tour just ruined their reputation. The band relocated to Los Angeles and went back into the studio as a four piece. Bob Welsh, Christine McVie, John McVie and Mick Fleetwood. And they recorded the album “Heroes Are Hard To Find”, their 9th album, released in September 1974. Christine wrote four songs on “Heroes Are Hard To Find”, including the title cut and this one, called “Prove Your Love”.
[Music]
By the end of 1974, Bob Welsh had left the band. Fleetwood Mac had lost five guitar players and one singer in the last four years.
Meanwhile, Lindsay Buckingham and Stevie Nicks were kicking around Los Angeles after leaving the San Francisco band Fritz and embarking on a career as a duo. They were working with producer Keith Olsen at Sound City Studio in Van Nuys. Olsen got them a record deal and they released their first album, “Buckingham Nicks”, in 1974. But the album received little promotion. It didn’t sell, and Buckingham Nicks were unceremoniously dropped by their record label.
Mick Fleetwood was still keeping Fleetwood Mac alive and was looking for a studio to start their next record. A friend suggested Sound City, so Mick went to check it out. He met with Keith Olson at the studio, and Keith, as an example of the studio’s capabilities, he played the Buckingham Nicks album for Fleetwood. And Mick Fleetwood was impressed with what he heard.
Eventually, Buckingham and Nicks were asked to join Fleetwood Mac, and after some soul searching, they decided to give it a shot. And that is the short story of how the version of Fleetwood Mac we all know and love got together. The longer story– and there is a longer story– well, that you can read all about that yourself.
So, in January 1975, the new lineup of Fleetwood Mac went into Sound City studios to record their first album together, which they simply named “Fleetwood Mac”. It took a while, but the album eventually made it to number one by September 1976, after 58 weeks of climbing the charts.
[Music]
You would think that things ought to be great for the band, but things were rough on a personal level. John and Christine had already split up; Lindsay and Stevie were calling it quits, and Mick was getting a divorce. By the time they headed back into the studio to make their next record, it was an emotional minefield. And all of that turmoil is famously reflected in the songs.
The album that would become “Rumours” took over six months to complete. It was recorded at a number of studios, including the Sausalito Record Plant, Wally Heider in LA, and Sound City in Van Nuys; the album was mixed at Sound City and at the LA Record Plant.
Much has been said about Lindsay Buckingham’s obsessions with getting everything perfect, but Christine McVie was just as dedicated. Recording engineer Chris Morris said Christine spent every minute of every day there, she was one of the hardest working women he’d ever worked with.
“Rumours” is chock-full of great songs and big hits. We’re going to take a deep dive into “You Make Loving Fun”. It’s easy to think of this song as a slight pop song, compared to some of the more adventurous tracks on the album, like “The Chain” or “Gold Dust Woman”. But “You Make Loving Fun” is an extremely well-crafted song. 3 minutes and 34 seconds of crafty songwriting, tight performances and recording perfection.
It was written by Christine McVie, produced by the band, along with Ken Caillat and Richard Dashutt, and with Lindsay Buckingham contributing a lot to the arrangement. So, let’s get into it.
Mick Fleetwood counts the song in with three hits on his hi-hat and then a drum hit on the four, and we’re off.
Christine McVie is playing two keyboard parts here. There’s a Fender Rhodes electric piano, it’s panned a little bit to the right, and a Honer clavinet, more or less in the middle. This clavinet is probably the most prominent element of the song. It’s what gives the song its groove. And that clavinet is fed through a wah-wah pedal, which was actually manipulated by Mick Fleetwood. He was laying on the floor, rocking it back and forth while Christine played the part. Listen to the way she weaves those two keyboard parts together.
[Music]
You can also hear some simple percussion parts there that are a little less obvious in the final mix. Let’s pick it back up at the top.
Lindsay Buckingham is playing some short little guitar licks that he’s going to continue to throw in throughout the song. There’s also another guitar part deeper in the mix. We’ll listen to that a little later. Let’s move on to the first verse.
[Music]
Fleetwood Mac fans know the story behind this song: Christine and John’s marriage was over. John had his girlfriends, and Christine was going out with Curry Grant– who just happened to be the band’s lighting director– and she wrote this song for him. Think about the emotions swirling around Christine and John and Curry while this song was being recorded. And that’s just one of the complex relationships around this band. This whole album is infused with that. Let’s listen to Christine’s vocal track.
[Music]
I’ve always liked this part right here. I mentioned Lindsay Buckingham’s other guitar part earlier. Here’s a little bit of what he’s doing in the background. It’s very simple, but it has to be because the keyboard parts are so full. There’s no room for a busy guitar part. The song just doesn’t need it. And part of Lindsay’s genius, like all great guitar players, is to know what to play and what not to play. And even when not to play at all. You barely notice this part is even there but it’s all part of the big picture.
So let’s listen to this verse again, this time without the vocal so we can hear just the instrumental track.
That brings us to the bridge, which I think is pretty magical. The verses have kind of a funky feel to them, especially with that clavinet. But the bridge drops in with this really dreamy feel, like a headrush. It’s that “head in the clouds” blissful feeling, which is a great match for the lyrics.
[Music]
Those layered backing vocals really make that dreamy feel. Let’s listen to the vocal tracks.
[Music]
Mick Fleetwood is playing kind of an interesting pattern on his tom drums here. Again, it’s another simple part, but it’s where he places the fills. That’s not exactly where I would expect them.
[Music]
And that leads us into a guitar solo by Lindsay Buckingham. Just one verse, one bridge and then a solo. There’s no second verse or chorus here. Just right into the solo. Not a typical arrangement, but this is a great guitar solo. Sounds like he’s doubled the guitar parts and panned one to each side. There’s some echo on the parts as well.
[Music]
The end of the solo takes us back to the bridge. Now notice that we’re what, halfway through the song, and we still haven’t heard the chorus yet.
[Music]
Now, we’ve already taken a look at the vocal parts and the drum track during the bridge. So this time, let’s hear Lindsay’s guitar parts. I really love what he’s doing here. See how he changes up the part for the second half of the bridge:
[Music]
One more thing that I want to listen to before we move on is John McVie’s bass part on the bridge. McVie is not a flashy or busy player. He’s just a rock solid in the groove player. But I like this part.
[Music]
For this last verse, let’s listen to how the bass and the drums are locked in together for a simple, driving rhythm that almost has a disco feel to it. This was 1977 after all.
[Music]
Lindsay plays some tasty little guitar parts during this verse. Let’s go back and just hear his guitar there. It’s after this last verse that we finally get to the chorus. The chorus doesn’t appear until the very end of the song. It’s very unusual for a pop song.
The chorus starts on the same chord as the bridge, but simplifies it, cycling through a simple I-V-IV chord progression. Those are chord changes you’ve heard in a million songs. But it’s what Fleetwood Mac adds to it, and layers on top, that makes this special.
[Music]
Let’s listen to Lindsay’s guitar again, because what he’s playing here is more like guitar orchestration rather than soloing.
[Music]
Now let’s go back and hear how that fits in with all the other parts in the final mix.
[Music]
Let’s check out those great layered vocal parts here, too.
[Music]
Let’s check out those last few guitar licks Lindsay gets in at the end.
[Music]
We’ll go back and wrap it up with that final fade out.
{Music]
“You Make Loving Fun” by Fleetwood Mac.
Christine McVie didn’t have the immediate eye-catching and marketable image the way that Stevie Nicks did. And she wasn’t perceived as the genius, a Brian Wilso- like visionary, as Lindsay Buckingham was. I think she was often overshadowed in the press, by the fans, and on stage by the other two. And her role in the band wasn’t always an easy one.
But she was an essential songwriter in the band. She wrote some of their biggest hits. “Don’t Stop”, “Songbird”, “Over My Head”, “Say You Love Me”, “Think About Me”, “Hold Me”. She wrote those songs. She was a critical part of the Fleetwood Mac magic. And as far as I’m concerned, the band was never as good when she wasn’t in it.
A lot of musicians have been lost over the last few years. One of the things I try to do on this show is to remind people of who they were, and just do my small part to keep their memory alive. Losing Christine was a big loss, but one thing I think we can all safely say is that Fleetwood Mac is in no danger of being forgotten anytime soon. Right now, they’re still hugely popular and they’ve been rediscovered by a whole new audience. That’s a testament to the lasting beauty and power of their music. And Christine is a big, big part of that. This songbird is gone, but the music lives on.
I used a number of resources to put this episode together. I wanted to mention a couple of them. The “Rumours” episode of the “Classic Albums” TV show, which is absolutely worth watching; and the book “Never Break the Chain” by Kath Carroll, which is a good history of Fleetwood Mac in general. And it really goes deep on the making of both the “Fleetwood Mac” and the “Rumours” albums. I really recommend both the show and that book. Check them out.
Thanks for listening to this edition of the “I’m In Love With That Song” podcast. New episodes are released on the 1st and the 15th of every month, so we’ll be back soon with another new show. Until then, you can catch up on all of our previous shows on our website, lovethatsongpodcast.com. You can also hear us on virtually every podcast service: Google, Apple, Amazon, Stitcher, Spotify you name it, we’re there.
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On behalf of everyone here on the Pantheon Podcast Network, I thank you for taking the time to listen to this episode on Fleetwood Mac and “You Make Loving Fun”.
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