The Allman Brothers Band

1969: Legendary Jacksonville blues-rock jam-band The Allman Brothers Band release their stellar debut album, “The Allman Brothers Band.” Though the album did not succeed commercially, it is nonetheless one of the great works in the Rock and Roll oeuvre.

In a retrospective review, Bruce Eder of Allmusic wrote that the album, “…might be the best debut album ever delivered by an American blues band, a bold, powerful, hard-edged, soulful essay in electric blues with a native Southern ambience.” It was rated 4-Stars in each of The Rolling Stone Album Guide and the Encyclopedia of Popular Music, but it’s an unequivocal 5-Star LP.

The record of course features the song, “Whipping Post,” written by Gregg Allman, which would go on to be a blues-rock standard, make all major publications lists of “best songs of all time,” and be a centrepiece number at ABB concerts throughout the rest of their career. It would often run from 20 to 30 minutes in length due to the inclusion of extended ad-libbed solos.

The other six songs on the album are also fantastic, including the covers, “Don’t Want You No More,” originally by Spencer Davis, and “Trouble No More,” an old Muddy Waters song covered by many, but none as well as The Allman Brothers Band. Rounding out the LP are three of Gregg Allman’s best compositions: “Dreams,” “Black Hearted Woman,” and “Every Hungry Woman.”

This is among my favourite albums!

Got Live If You Want It

1966: The Rolling Stones release their first contemporary live album, “Got Live If You Want It.” The LP is not entirely live, with two tunes, “I’ve Been Loving You Too Long” and the great “Fortune Teller,” recorded at Decca in London and RCA in Hollywood. Additionally, there is extensive overdubbing on the live tracks.

The song list features many Stones’ hits of the era, including “Get Off My Cloud,” “Under My Thumb,” “Lady Jane,” “19th Nervous Breakdown,” and naturally, “(I Can’t Get No) Satisfaction.” The popular covers “Not Fade Away,” originally by Buddy Holly, and “Time Is on My Side,” a Norman Meade classic that the Stones made their own, are also on the LP.

It’s a good live LP, issued only in the U.S., with a six-track EP version appearing in the U.K. It reached No. 6 on the Billboard 200, and went up to No. 2 in Canada, on the RPM 100.

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The Man Who Sold the World

1970: “The Man Who Sold the World,” the third studio album from legendary British singer-songwriter David Bowie, is released to high praise from critics. Initially not a commercial success, it was re-released in November of 1972 following the huge success of his fifth LP, “The Rise and Fall of Ziggy Stardust and The Spiders from Mars,” and charted for nearly 30 consecutive weeks.

The title track, “The Man Who Sold the World,” would become one of Bowie’s most-famous songs and eventually be a Top-10 hit for Nirvana, peaking at No. 5 on the Billboard Alternative chart in 1995, following the band’s performance on MTV Unplugged.

Produced by long-time collaborator Tony Visconti, who also played bass guitar on the record, it earned strong critical reviews in the U.K. at the time. Retrospectively, all modern rock publications have awarded it with high accolades. It ranks 8/10 in New Musical Express, 8.5/10 at Pitchfork, and 4-Stars out of five at Spin.

Mob Rules

1981: The tenth studio album from Heavy Metal pioneers Black Sabbath is released to mixed reviews. Titled “Mob Rules,” the record is rated 10/10 by hard-rock reviewer, writer, and historian Martin Popoff, but only 1-Star out of five by Rolling Stone magazine.

Fans however, who count the most, embraced the album, sending it to No. 20 on the Billboard 200 and No. 12 on the U.K. Official Albums chart, great achievements for a Heavy Metal work. It would be certified Gold in Canada, the U.S., and the United Kingdom.

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Hearts and Bones

1983: Paul Simon releases his sixth studio album, “Hearts and Bones,” to mostly average critical reviews and mid-level performance in the charts. Rated 4-Stars out of five by Rolling Stone and graded a “B+” in The Village Voice, the LP peaked at No. 35 on the Billboard 200.

Though the album under-performed commercially, it’s certainly not a poor-quality release. Retrospectively, it is lost between the popularity of its predecessor, “One Trick Pony,” and the juggernaut of its follow-up, “Graceland,” one of the best albums in Rock and Pop history.

0 + 2 = 1

1991: The fifth full-length LP by Canadian prog-punk and hardcore rockers Nomeansno, titled “0 + 2 = 1,” is released. It would be the last record to include guitarist Andy Kerr, who had served in the group for a decade.

The album was a hit with critics and audiences alike. Joachim Hiller of the punk-zine Ox-Fanzine wrote that the record had, “…godlike status…complex rhythms, harrowing chants, and unorthodox guitar work.”

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Rocket to Russia

1977: American pop-punk rockers Ramones release their third studio album, “Rocket to Russia.” Praised with the highest ratings by critics, and including the hits “Rockaway Beach,” “Sheena is a Punk Rocker,” and “Teenage Lobotomy,” the album reached No. 49 on the Billboard 200.

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The Daily Elvis

1966: Elvis is in Hollywood filming the movie Easy Come, Easy Go. It’s the last feature film he will make for producer Hal Willis and Paramount Pictures.

The Allman Brothers Band in 1969, from left to right: Duane Allman (g), Dickey Betts (g; v), Gregg Allman (v; or; p), John Lee Johnson aka Jaimoe (d), Berry Oakley (bg), and Butch Trucks (d).

The Inner Mounting Flame

1971: American jazz-fusion band Mahavishnu Orchestra release their debut studio album, “The Inner Mounting Flame.” Produced by band composer, guitarist, and Miles Davis alumnus, the legendary John McLoughlin, the LP stunned critics and audiences alike.

Rated 4-Stars out of four by The Penguin Guide to Jazz, and 5-Stars out of five by The Rolling Stone Jazz Record Guide, the record reached No. 11 on the Billboard Top Jazz Albums chart. “One is struck by the grandiose reach of the quintet that dared to call itself an orchestra,” wrote Bill Milkowski in Jazz Times magazine.

In addition to McLaughlin, the group featured the monumentally talented lineup of Rick Laird (bg), Prague-born Jan Hammer (key), who went on to be famous for his TV and movie scores, Jerry Goodman (vc), and drummer-extraordinaire, the legendary Billy Cobham.

All eight tracks are spectacular, with highlights “Meeting of the Spirits,” “The Noonward Race,” and “Vital Transformation” capturing rock and prog audiences in addition to jazz aficionados. Both “Awakening” and “You Know You Know” are also popular amongst all listeners.

Frank Zappa’s 1973 band was the opening act for a series of concerts by Mahavishnu Orchestra. According to percussionist Ruth Underwood, Frank was visibly and deeply impressed by McLaughlin and the rest of the players. The experience motivated Zappa to push his own boundaries, composing even-more complex, longer, and instrumental pieces in that era. Impressing FZ was difficult, but McLaughlin did it.

“The Inner Mounting Flame” was a watershed moment in jazz-fusion, and is a legacy recording of the genre. It continues to be popular to this day.

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All Mod Cons

1978: “All Mod Cons,” the third album from English new-wave and mod revival band The Jam, is released. The title was based on an old British advertising phrase referencing “all modern conveniences.” An excellent record, it earned a 5-Star rating from several music publications, such as the Encyclopedia of Popular Music.

The LP’s singles included a cool cover of The Kink’s song, “David Watts,” which reached No. 25 on the U.K. Official Singles chart, and “Down in the Tube Station at Midnight,” going to No. 15 on that same list. The album itself was highly successful, peaking at No. 6 on the U.K. Official Albums chart, and earning Gold certification.

Good As I Been to You

1992: Bob Dylan releases his 28th studio album, “Good As I Been to You.” The first Dylan album to be entirely acoustic and performed only by him on guitar and harmonica since “Another Side of Bob Dylan,” it is a collection of traditional folk and blues songs.

Though it received middling reviews, it reflects a good performance by Dylan on songs that influenced his own compositions. Dylan invited blues legends to arrange half the songs. Some of the featured tunes include “Sittin’ on Top of the World,” arranged by Walter Vincent, “Frankie & Albert,” arranged by Mississippi John Hurt, and the Blind Blake-arranged, “You’re Gonna Quit Me.”

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The Time Has Come

1967: American psychedelic soul band The Chambers Brothers release their debut studio album, “The Time has Come.” Though the album didn’t chart, the radio-edit single of the closing track, “Time Has Come Today,” reached No. 11 on the Record World 100 Top Pops chart, and also went to No. 11 on the Cash Box Top 100.

However, the three-minute 45-RPM cut doesn’t do “Time Has Come Today” justice. One has to listen to the majesty that is the 11-minute album version of the Lester and Willie Chambers composition to understand the style and process of the group.

The 10-track LP wasn’t restricted to that one legendary song. All ten numbers are fantastic, including the cover of Curtis Mayfield’s “People Get Ready,” and a cover of the Wilson Pickett-Steve Cropper classic R&B hit, “In the Midnight Hour.” Additional highlights are the originals, “I Can't Stand It,” by Lester Chambers, “Please Don’t Leave Me,” credited to the entire band, and the excellent, bluesy “Romeo and Juliet,” also written by Lester.

I love this album and look forward to playing it today!

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The Daily Elvis

1956: The double-A Side Elvis single, “Don’t Be Cruel” / “Hound Dog,” loses its spot at No. 1 on the Billboard Hot 100. What song could possibly have replaced it? Well, it was none other than “Love Me Tender,” by The King himself!

The Jam in 1978, from left to right: Paul Weller (g; v; h; p), Bruce Foxton (bg; v), and Rick Buckler (d; perc).

Disraeli Gears

1967: British supergroup Cream release their second studio album, “Disraeli Gears.” Including Cream classics, “Strange Brew,” “Sunshine of Your Love,” and “Tales of Brave Ulysses,” the album was given top marks by critics. Commercially successful as well, it reached No. 4 on the Billboard 200 and was certified Platinum.

Ringo

1973: Legendary ex-Beatle Ringo Starr releases his third studio album, “Ringo.” Well-liked by critics and fans, and including the hits, “Photograph,” “I’m the Greatest,” and “You’re Sixteen,” it reached No. 2 on the Billboard 200 and was certified Platinum in the US, and Gold in the UK.

Death of a Ladies’ Man

1977: Legendary Canadian singer-songwriter and musician Leonard Cohen releases his fifth studio album, “Death of a Ladies’ Man.” Co-written and co-produced with Phil Spector, the lyrics sing of relationship loss, romantic themes, and aging. Musically, it features Spector’s trademark wall of sound. Though it’s an excellent LP that is far better than its reviews, Spector’s behaviour was so egregiously unacceptable and criminal, at one point threatening Leonard with a gun, that Cohen swore off the record. He quickly ceased to perform its songs live or promote it, in order to deny royalties to Spector.

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Re·ac·tor

1981: Neil Young releases his 12th studio album, and fourth with American band Crazy Horse, “Re·ac·tor.” An album of hard rock, often called proto-grunge, it received middling reviews, but sold well, going to No. 27 on the Billboard 200. It produced no hits, but includes good songs, such as “Southern Pacific,” “Opera Star,” and “Surfer Joe and Moe the Sleaze,” written by Crazy Horse guitarist, Frank Sampedro.

Long After Dark

1982: The fifth studio album by Tom Petty and The Heartbreakers, “Long After Dark,” is released to mixed reviews but good performance in the charts. It reached No. 9 on the Billboard 200, and No. 17 on the RPM 100 in Canada. It features the classic hit, “You Got Lucky,” and was certified Gold in the United States.

Cloud Nine

1987: Another legendary ex-Beatle, George Harrison, releases his eleventh studio album, “Cloud Nine.” Adored by critics and fans alike, it spawned two huge hit singles: “When We Were Fab,” co-written by Harrison and Jeff Lynne, and “Got My Mind Set On You,” written by Rudy Clark. The album climbed to No. 8 on the Billboard 200 and was certified Platinum.

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Harvest Moon

1992: The 19th studio album from legendary Canadian singer-songwriter and guitarist, Neil Young, is released. Titled “Harvest Moon,” it was described as a follow-up to his breakout 1972 work, “Harvest.” The songs reflect a similar acoustic style and many of the same musicians appear on both albums. The hit tracks, “Unknown Legend” and “Harvest Moon,” helped send the excellent record to No. 16 on the Billboard 200, and No. 4 in Canada, where it was certified 5x Platinum.

Jericho

1993: “Jericho,” the eighth studio album by ex- Dylan and Ronnie Hawkins backing ensemble The Band, is released. With Robbie Robertson no longer in the group, they had to put together an album of songs by other composers. Receiving mid-level reviews, the LP includes great covers of Bruce Springsteen’s “Atlantic City,” and Bob Dylan’s “Blind Willie McTell,” about the legendary bluesman. The latter track was written and recorded by Dylan in 1983 as part of his “Infidels” sessions, but left off the record.

Northern Lights – Southern Cross

1975: Canadian-American roots rock group The Band release their sixth studio album, “Northern Lights - Southern Cross.” Well-rated by critics, and reaching No. 26 on the Billboard 200, it includes the classic Band tracks, “Ophelia,” “Acadian Driftwood,” and “It Makes No Difference.” All written by Robbie Robertson, and including the emotional vocal by Rick Danko on Difference.

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The Yellow Shark

1993: Legendary American composer, guitarist, and bandleader Frank Zappa releases his 62nd official album, and the last of his lifetime, “The Yellow Shark.” It’s a stunning live performance of Zappa compositions by the Frankfurt-founded international small orchestra, Ensemble Modern.

Zappa conducts four of the numbers, including the finale, “G-Spot Tornado,” for which he received a 20-minute ovation. Some of his classic compositions featured were “Dog Breath Variations,” “Be-bop Tango,” “Pound for a Brown,” and as noted, the wild “G-Spot Tornado,” originally produced on the Synclavier for his 1986 album, “Jazz from Hell.” Actual musicians perfectly playing an “impossible” digital recording was astounding! FZ died of cancer only a month later.

No Security

1998: The Rolling Stones release their seventh contemporary live album, “No Security.” A near-70 minute CD, the group chose to include songs that were not part of previous live albums. Some of the classic tracks performed live on record for the first time include, “You Got Me Rocking” (Voodoo Lounge), “Memory Motel” (Black and Blue), “Saint of Me” (Bridges to Babylon), and “Respectable” (Some Girls). The record peaked at No. 34 on the Billboard 200.

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The Monday Miles

1969: Miles Davis makes his debut performance at the famous Ronnie Scott’s Jazz Club in London. With Davis on trumpet, he featured his “Lost Quintet” of Wayne Shorter (ss; ts), Chick Corea (elp), Dave Holland (bg), and Jack DeJohnette (d).

The ensemble focused on high-energy fusion, including the yet-to-be released, but fully recorded, “Bitches Brew,” which would appear on the 1970 album of the same name; “It’s About That Time,” from his most recent release, “In a Silent Way;” and “Sanctuary,” also to be included on the “Bitches Brew” LP.

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The Daily Elvis

1958: Stationed in West Germany while in the U.S. Army, Elvis holds a small party at his hotel room before going out on maneuvers. The King played guitar and sang for his girlfriend and other guests, while a large crowd gathered in the street to hear him from below.

Cream in 1967. From left to right: Jack Bruce (bg; v), Ginger Baker (d), and Eric Clapton (g; v).

Forever Changes

1967: Los Angeles psychedelic and baroque pop band Love release their third studio album, “Forever Changes,” to critical acclaim.

Receiving the highest ratings from the industry’s most-respected reviewers, the album and the band achieved only mild commercial success, but an everlasting cult following of dedicated fans.

More appreciated in Britain, it reached No. 24 on the U.K. Official Albums chart, but did not rise higher than No. 154 on the Billboard 200. Nonetheless, the record has left an impressive legacy, ranked No. 180 on Rolling Stone’s 2020 list of 500 Greatest Albums of All Time, voted No. 12 in Larkin’s year-2000 list of All Time Top 100 Albums, inducted into the Grammy Hall of Fame in 2008, and in 2011, it was added to the National Recording Registry at the Library of Congress. It is also considered one of the 1001 Albums You Must Hear Before You Die, by Robert Dimery.

I'll be hearing it again today!

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There’s a Riot Goin’ On

1971: “There’s a Riot Goin’ On,” the fifth studio album by Sly and the Family Stone is released to great commercial success. It went straight to No. 1 on the Billboard 200, and to No. 4 on the RPM 100 in Canada. Despite its chart success, it does not have any sales certifications.

A cool collection of psychedelic funk and soul songs, the lead single, “Family Affair,” went to No. 1 on both the Billboard Hot 100 and Billboard Hot R&B charts, along with No. 1 in Canada. Unlike the album, the single was certified Platinum.

Produced by Sly himself for Epic Records, critics were split on the merits of the LP at the time, but retrospective reviews reveal universal-acclaim. It carries 5-Stars in Rolling Stone, The Rolling Stone Album Guide, and the Encyclopedia of Popular Music. It was further graded “A+” by The Village Voice and “A” by Stylus magazine.

Lyrically, the record abandoned the group’s prior positive attitude to sing of apathy, cynicism, and disappointment, particularly with the counterculture of the 1960’s and the turbulent times of America circa 1971. It reflects a darker, more aggressive sound, which might have been the result of Stone’s heavy drug use that caused him to behave erratically.

Many famous musicians appear on the record, including Billy Preston (key), Bobby Womack (g), and long-time band and R&B funk session drummer, Greg Errico. It’s an LP everybody should listen to at least once, but preferably more!

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Goin’ to a Go-Go

1965: Smokey Robinson & The Miracles release their seventh studio album, “Goin’ to a Go-Go.” The LP went all the way to No. 1 on the Billboard R&B chart, and to No. 8 on the broader Billboard 200.

Featuring 12 fabulous tracks, three of the record’s singles broke into the Top-10 of the R&B Singles chart, including “Ooo Baby Baby,” “The Tracks of My Tears,” and “Goin’ to a Go-Go,” which The Rolling Stones would cover on their live album, “Still Life.” In Canada, the Stones’ version reached No. 1.

Released on Motown founder’s Berry Gordy Jr.’s original label, Tamla, the LP was a hit with critics, garnering 4.5-Stars in AllMusic, and 4-Stars out of five from Record Mirror.

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MTV Unplugged in New York

1994: Seattle grunge-rock pioneers Nirvana release their first and only contemporary live album, “MTV Unplugged in New York.”

With a mix of original tunes such as “About a Girl” and “All Apologies,” and some great covers, including David Bowie’s “The Man Who Sold The World,” Nirvana delivered the standout performance in the MTV Unplugged series of concerts.

The record reached No. 1 on the Billboard 200 and was No. 1 in the U.K., Canada, and Australia. Certified multi-Platinum in several regions, it became the band’s second-highest selling album after “Nevermind,” at nearly 15 million units.

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The Daily Elvis

1956: Memphis Harley-Davidson is all abuzz when Elvis shows up and purchases a brand new FLH touring bike. The motorcycle was large capacity (F), had Hydra-Glide front forks (L), and was tuned for heavy-duty highway performance (H). The King’s first use of the ride was to take actress Natalie Wood on a three-hour tour through Memphis. (They did not get stranded on a desert island.)

Nirvana performing on MTV Unplugged, November 18, 1993. Clockwise from the top: Dave Grohl (d; v), Pat Smear (g), Curt Cobain (g; v), and Krist Novoselic (bg; g). Guest musicians were Lori Goldston (vc) and Curt Kirkwood (g; bg; v).

Happy Halloween!

As is tradition here at This Day in Music, the entire staff of Me, Count Fitz, and Floyd Gomez (he he he… ha ha ha HA! ahem; excuse me) …have created a listicle. These are our favourite, not our claim of best, Halloween-ish songs in a Halloween context.

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Top 13 Favourite Halloween-ish Songs

20. The Monster Mash - Bobby “Boris” Pickett and the Crypt-Kickers

19. Dear Jeepers and Letter from Jeepers - Frank Zappa featuring Bob Guy

18. Halloween and Halloween II - Misfits

17. Goblin Girl - Frank Zappa

16. Cemetery - Headstones

15. Frankenstein - The Edgar Winter Group (instrumental)

14. Welcome to My Nightmare - Alice Cooper

13. Transylvania Boogie - Frank Zappa (instrumental)

12. The Torture Never Stops - Frank Zappa

11. Hells Bells - AC/DC

10. Bad Moon Rising - Creedence Clearwater Revival

9. Psycho Killer - Talking Heads

8. Zomby Woof - Zappa / Mothers

7. I Put a Spell on You - Creedence Clearwater Revival (by Screamin’ Jay Hawkins)

6. Werewolves of London - Warren Zevon

5. Season of the Witch - Donovan Leitch

4. Superstition - Stevie Wonder

3. Highway to Hell - AC/DC

2. The Time Warp - Richard O’Brien w/ Patricia Quinn and Little Nell

1. Science Fiction / Double Feature - Richard O’Brien

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Okay, 20 songs. Six Zappa selections! Halloween was his favourite holiday and its themes inspired more than a few of his songs, and good ones at that. We had several more on our rough draft! And two instrumentals? Sure, why not! The titles are Halloween-ish. And of course, the top two are from The Rocky Horror Picture Show!😈

What are some of your favourite or traditional Halloween songs?

Kudos to anyone who gets the Fleetwood Apartments reference in the byline.😎

The cast of Monster Chiller Horror Theatre, from left to right: 3D horror movie star, Dr. Tongue; host of the show, Count Floyd; and legendary thespian Woody Tobias Jr. as the grunting hunchback Bruno, assistant to Dr. Tongue.

The show aired on Canadian network SCTV from 1977 to 1983, and on American network NBC, from 1981 to 1983. SCTV itself broadcasted from 1976 until going off-air on July 17, 1984.

Trailer for Monster Chiller Horror Theatre’s presentation of Dr. Tongue’s Evil House of Pancakes. SCTV, 1982.

Laid Back

1973: Legendary American singer-songwriter, organist, and guitarist Gregg Allman releases his debut solo studio album, “Laid Back.” He made the album as a creative outlet during a period of difficulty within The Allman Brothers Band.

With eight tracks, the record features songs by Allman himself, including his acoustic version of “Midnight Rider,” which was originally recorded by the Allman Brothers on their second studio release, “Idlewild South.” The LP also consists of cover songs like Jackson Browne’s “These Days,” and the traditional folk song, “Will the Circle Be Unbroken.” That chant would become the closing number at Allman solo and ABB concerts for years to come.

It all added up to a fine record that earned warm praise from critics, and acceptance from fans. It reached No. 13 on the Billboard 200 and No. 19 on the RPM 100 in Canada. It is certified Gold in the United States.

Other highlights from the LP include the Gregg Allman originals, “Queen of Hearts” and “Please Call Home,” which is also featured on the ABB record, “Idlewild South,” and a fine cover of Scott Boyer’s “All My Friends.”

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The Gregg Allman Tour

1974: Gregg Allman releases his second solo LP, the double-live album, “The Gregg Allman Tour.” Arriving a year after his debut solo album, it follows a similar format, mixing Gregg Allman original compositions with numbers from other writers.

Two of the songs previously appeared on albums by The Allman Brothers, “Stand Back,” from “Eat a Peach,” and “Dreams,” from the group’s debut. The LP also includes Allman’s first solo hit, “Queen of Hearts.”

Recorded at Carnegie Hall in New York on April 10th and 11th, of 1974, and at the Capitol Theater in Passaic, NJ on the 14th, Allman was supported by a large band that included a brass section and a trio of female backing vocalists.

The group included John Lee Johnson aka Jaimoe as second drummer and percussionist, the same role he played in The Allman Bothers Band, Chuck Leavell on piano and electric piano, also reprising his participation in the ABB, and Tommy Talton on lead and slide guitars, from the band Cowboy. In fact, all of the band Cowboy was in the lineup, and two of their songs were performed. All told, 15 musicians made up the ensemble.

As had become Allman’s tradition, the concert closes with the traditional folk song, “Will the Circle Be Unbroken.” The LP peaked at No. 50 on the Billboard 200, but did not earn any sales certifications.

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QE2

1980: “QE2,” the sixth studio album by legendary British composer Mike Oldfield, is released. Co-produced with English engineer David Hentschel, it was issued on Virgin Records. The LP is named in honour of the Cunard Line transatlantic passenger ship, Queen Elizabeth 2.

A collection of nine shorter tracks, the record runs 40 minutes long, and also includes two covers. The longest songs are “Taurus I,” taking just over 10 minutes, and “QE2” at nearly eight minutes. This came in stark contrast to MO’s usual process of including at least one album-side rock concerto, or as in the case of “Tubular Bells,” “Ommadawn,” and “Incantations,” one long piece, separated into parts across two or more album sides.

The first cover song was “Arrival,” written by Benny Andersson and Björn Ulvaeus, and originally recorded by ABBA for their album of the same name. Oldfield released it as the lead single to “QE2,” and even designed a 45-RPM sleeve that used an image of a helicopter, mimicking ABBA’s album cover, in which the band is seen arriving in a helicopter.

Oldfield also covered “Wonderful Land,” a 1962 hit originally by The Shadows. It was the B-Side to the second single from the record, “Sheba.”

“QE2” reached No. 27 on the U.K. Official Albums chart, and went to No. 8 in Australia, on the Kent Music Report. It is certified Gold in the U.K., Germany, and Spain.

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The Daily Elvis

1957: At a Halloween party in Hollywood, held at Lucy’s New Orleans Restaurant, Elvis hob-nobs with actors and producers, along with his date, Joan Bradshaw. The King wore a red sweater with a gold Mardi Gras mask.

Gregg Allman on his solo tour in 1974.

Tumbleweed Connection

1970: Legendary British singer-songwriter Elton John releases his third studio album, “Tumbleweed Connection.” The LP earned high praise from critics and audiences.

Including the classic songs, “Country Comfort” and “Burn Down the Mission,” one of my favourites by EJ, the album reached No. 5 on the Billboard 200, No. 2 on the U.K. Official Albums chart, going Gold in Britain, and is also certified Platinum in the United States.

Not quite a concept album, it is a thematic piece of Americana.

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Different Class

1995: Pulp, the Brit-pop and art-rock band from Sheffield, release their fifth studio album, the excellent “Different Class.” Led by the hit single, “Common People,” it was a critical and commercial success, reaching No. 1 on the U.K. Official Albums chart, and going 4x Platinum.

Highly-rated by critics, earning a grade of “A-” from The Village Voice, it features three other singles that also did well on the alternative charts, “Mis-Shapes,” “Disco 2000,” and “Something Changed.”

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Shiny Beast (Bat Chain Puller)

1978: “Shiny Beast (Bat Chain Puller),” the tenth studio album by eclectic recording artist Captain Beefheart and The Magic Band, is released.

Following Beefheart’s album with Zappa, “Bongo Fury,” he began recording a new studio record for FZ’s label, DiscReet Records, with the intended title, “Bat Chain Puller.” Co-owner of the label and Zappa’s business manager, Herb Cohen, financed the sessions using Zappa’s royalty income from prior releases, unknown to Frank. FZ then ended his business relationship with Cohen and sued him.

Both Zappa and Cohen demanded advances from distributor Warner Bros. for the Beefheart LP, resulting in FZ withholding the master tapes during the dispute. Beefheart then set about to record a new album, ultimately with the title “Shiny Beast (Bat Chain Puller).” As part of the 12-song collection, four of the “Bat Chain Puller” songs were re-recorded, prompting the parenthesis in the title. The LP was made directly for Warner Bros. in the U.S., and Virgin in the U.K.

It’s a typically excellent Beefheart album, though nobody knows about it. It earned 5-Stars in DownBeat and an “A” from The Village Voice. In The Globe & Mail, it was lauded as, “…distinguished by the surprising poetic strength of [Van Vliet’s] lyrics.”

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The Friday Frank

1977: At The Palladium in New York, Frank Zappa performs for his traditional Halloween residency. He held the concerts every Halloween for several consecutive years.

Forming his 1977 septet was FZ himself on guitar and vocals, Adrian Belew (g; v), Tommy Mars (key; v), Peter Wolf (key), Patrick O’Hearn (bg), Terry Bozzio (d), and Ed Mann (perc).

The talented ensemble performed several legendary Zappa tracks, including “Peaches en Regalia,” “The Torture Never Stops,” “Pound for a Brown,” “Punky’s Whips,” “Muffin Man,” “San Ber’dino,” and the 25-minute epic, “Wild Love.” All part of his 30-song, three-hour performance!

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The Daily Elvis

1955: Elvis is at Sun Studio in Memphis to make his final recordings for Sun Records. The King laid down “When the Swanee River Runs Red” for the legendary label that day, shortly after his contract was sold to RCA Victor.

Elton John in 1970.

Willie and the Poor Boys

1969: Classic American roots-rock band Creedence Clearwater Revival release their fourth studio album, “Willie and the Poor Boys.” Typical for CCR at the time, it received well-deserved glowing reviews from critics, with most giving it their highest rating, as exemplified by a grade of “A+” in The Village Voice.

Featuring some of Creedence’s most famous recordings, including “Down on the Corner,” “Fortunate Son,” and “The Midnight Special,” the LP achieved great commercial success, reaching No. 3 on the Billboard 200 and going 2x Platinum.

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Zoot Allures

1976: “Zoot Allures,” the 22nd album by legendary American composer Frank Zappa, is released. It’s FZ’s version of a straight-ahead Rock and Roll record. Produced by Zappa himself, the title is an Anglicization of the French curse, zut alors, which is effectively, damnit.

With nine fantastic tracks that include “Wind Up Working in a Gas Station,” “The Torture Never Stops,” “Black Napkins,” “Find Her Finer,” and “Wonderful Wino,” one would expect it to have at least made the Top-10. Sadly, no, it peaked at No. 61 on the Billboard 200.

Only Zappa, who added synthesizer to his usual guitar and vocals, and drummer-vocalist Terry Bozzio, play on all songs, with a long list of FZ regulars appearing on several tracks in different combinations. This was the result of the basic tracks stretching as far back as 1972. Featured players include Ian Underwood (ts), Ruth Underwood (perc), Roy Estrada (bg; v), and Captain Beefheart (h).

Though Patrick O’Hearn and Eddie Jobson are pictured on the LP’s cover, they did not play on the record. They happened to be part of the touring band at the time the packaging photography was done.

Influenced by heavy metal, a number of the songs are much harder rock than Zappa normally played. I like it!

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Exit… Stage Left

1981: Rush release their second contemporary live album, the 2-LP “Exit… Stage Left.” Recorded in Glasgow and Montreal on two successive tours for “Permanent Waves” and “Moving Pictures,” the record suffers from inconsistent sound.

With a great track list that reaches as far back as 1977’s “A Farewell to Kings” album, and fine performances, including Neil Peart’s epic drum solo as part of the song, “YYZ,” it broke into the Top-10 in Canada and the U.S., earning Platinum certification in both countries. The live cut of “Closer to the Heart” was on the radio all the time back then.

Critics weren’t as impressed as audiences, penalizing the band for the sound quality, earning it only 2-Stars from Rolling Stone and 3-Stars in the Encyclopedia of Popular Music.

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Welcome to the Pleasuredome

1984: Brit-pop ensemble Frankie Goes to Hollywood release their debut studio record, “Welcome to the Pleasuredome.”

The LP’s lead single, “Relax,” released only five days earlier, had already reached No. 1 in the U.K. and nine other countries. Advanced sales of the album subsequently hit one million, and it debuted at No. 1 on the U.K. Official Albums chart.

The double-album featured three more smash hits from its 16-song track list, “Two Tribes,” “The Power of Love,” and the legendary 14-minute epic, “Welcome to the Pleasuredome.”

Produced by Trevor Horn, formerly of The Buggles, Art of Noise, and Yes, it earned 3x Platinum status in the U.K., Platinum in Canada, and Gold in the United States.

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Mind Games

1973: Legendary English singer-songwriter and ex-Beatle John Lennon releases his fourth studio LP, “Mind Games.”

Written during a period in which John and Yoko were separated due to marital problems, and John choosing to eschew the social and political commentary of his previous work, the album generated only one hit single, the title track, “Mind Games.”

Around this same time, Lennon was having difficulty with U.S. Immigration and was under constant surveillance by the FBI due to the malicious paranoia of its then-director, Clyde Tolson, and predecessor, J. Edgar Hoover.

A commercial success, it went to No. 9 on the Billboard 200 and No. 11 on the U.K. Official Albums chart, and was certified Gold. I really like this album!

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The Daily Elvis

1976: Using the RCA mobile satellite truck at Graceland, Elvis begins what would be the final studio recording sessions of his life. The truck parked at the rear of the main house, and cables were strewn into the den, known as the Jungle Room. It was a difficult session for The King, who was run-down and had to take frequent breaks.

Rush, from left to right: Aleksandar Živojinović aka Alex Lifeson (g), Gary Lee Weinrib aka Geddy Lee (bg; v; key), and Neil Peart aka Neil Peart (d; perc). Based on the combination of Neil’s handlebar moustache and Slingerland drumset in black chrome, it’s from 1977.

Face to Face

1966: Legendary British rockers The Kinks release their fourth studio album, “Face to Face.” Though the LP was widely critically-acclaimed, it did not sell in numbers, and did well only on the English specialty charts. It reached No. 8 on the NME albums list, but No. 135 on the Billboard 200.

All of the 14 tracks on the record are excellent. Described as baroque pop and rock, the highlight songs include the most popular cut, “Sunny Afternoon,” “Dandy,” “Party Line,” and “Rosy Won’t You Please Come Home.”

Though not an outright concept album, it is thematic, a style of record-making that Ray Davies would choose throughout the rest of the decade. Its lyrics are witty and satirical, touching upon issues like culture, society, and the music business.

I really enjoy this album!

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Never Mind the Bollocks, Here’s the Sex Pistols

1977: “Never Mind the Bollocks, Here’s the Sex Pistols,” the first and only studio album by notorious English punk band Sex Pistols, is released. It was praised by critics, and holds 5-Star ratings from The Rolling Stone Album Guide and the Encyclopedia of Popular Music, along with a grade of “A” from The Village Voice.

Legendary in its influence on future generations, it was among the first recognized punk-rock albums, and is often credited with launching the genre. However, the Ramones’ eponymous debut preceded the Sex Pistols’ by 18 months, in April of 1976, and The Damned’s, “Damned Damned Damned,” was released eight months earlier, in February of 1977. That said, the Pistol’s first single was in November of 1976, placing them second.

One could further argue that The Stooges were the first-ever punk band, with their debut release arriving in 1969. A case could even be made that The Who (1965) were the first punk band. They had punk attitude and grit. Ultimately though, punk as a genre entered the lexicon and consciousness of society with the release of Bollocks.

The songs are raw and catchy, with lyrics reflecting the anger of mid-70’s disaffected youth in England, and in London particularly. With the band taking its name from the S&M shop owned by their manager, Malcolm McLaren, and employing the British slang for testicles as the album title, accusations of indecency would follow, with censorship and threats of prosecution.

The record would reach No. 1 on the U.K. Albums chart, but only No. 106 on the Billboard 200, eventually being certified 2x Platinum in the U.K., and Platinum in the U.S. The second single from the LP, “God Save the Queen,” went all the way to No. 1 on the New Musical Express album chart.

The rest of the songs are all just as good, with highlights including the lead single, issued nearly a year before the LP, “Anarchy in the U.K.,” “New York,” “Holidays in the Sun,” and “E.M.I.,” the “ode” to their first record label who dropped them following the controversy of “Anarchy in the U.K.”

The music survived, but the band was too volatile to work, and would disintegrate during their first-ever U.S. tour. They would release only one more album, the soundtrack to the movie The Great Rock and Roll Swindle, sans Johnny Rotten, and edited by McLaren from existing recordings. It tells the fictionalized tale of the band’s formation and breakup from McLaren’s point-of-view.

The album is a classic! I’ll be playing it today.

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News of the World

1977: Queen, the beloved British hard-rockers, release their sixth studio album, “News of the World.” Reviews were mixed, but it was a big commercial success.

Led by the multi-million selling double-A side single, “We Will Rock You” / “We Are the Champions,” the album itself would also succeed in the charts, reaching No. 4 on the U.K. Official Albums chart, No. 3 on the Billboard 200, and No. 2 on the RPM 100 in Canada.

It would be certified 4x Platinum in the U.S. and go on to sell over 5 million copies worldwide. Also included on the LP is the track, “Sheer Heart Attack,” which was the title of their third LP in 1974.

The band enjoys immense popularity to this day, despite retiring, with the exception of a reunion in the early 2000’s, following the tragic death of charismatic frontman Freddie Mercury in 1991. The tabloid newspaper from which the album takes its name ceased publishing in 2011.

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Out of the Blue

1977: English progressive pop band Electric Light Orchestra release their sixth studio LP, the double-album “Out of the Blue.” A critical and commercial hit, it enjoys legacy appreciation and was influential on a generation of songwriters to come.

Featuring three hit singles that still captivate audiences today, “Turn to Stone,” “Sweet Talking Woman,” and of course, “Mr. Blue Sky,” the album made the Top-5 all across the U.K., Europe, North America, and Australasia.

Though it never reached No. 1, it sold well and is certified Platinum in the U.S., the U.K., and in Canada.

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Miles Davis at Fillmore

1970: Legendary American jazz trumpeter, composer, and bandleader Miles Davis releases his 62nd album, the double-live LP “Miles Davis at Fillmore.” It was recorded at New York’s Fillmore East on the nights of June 17th to 20th in 1970.

Drawing heavily from his two most recent studio albums at the time, “In a Silent Way” and “Bitches Brew,” songs included “Bitches Brew,” “It’s About That Time,” and “Sanctuary.” In addition, the ensemble performed the jazz standard, “I Fall in Love Too Easily,” and the Joe Zawinul composition, “Directions.” Zawinul was not part of the band for these shows, however.

A free-form performance of jazz-fusion, producer Teo Macero heavily edited the songs without indexing each track, and then named the music after the day of the week on which it was played during the Fillmore residency. Subsequently, each side of the album is just one track, running anywhere from 24 to 28 minutes long, and mashing up all the songs into one extended piece: “Wednesday Miles” on Side-A, “Thursday Miles” on Side-B, “Friday Miles” on Side-C, and, you guessed it, “Saturday Miles” on Side-D. The 1997 CD re-issue named the tracks independently.

Joining the septet with Miles, who played muted trumpet, were Steve Grossman (ts; ss), Chick Corea (elp), Keith Jarrett (or), Dave Holland (b; bg), Jack DeJohnette (d), and Airto Moreira (perc).

Though it’s a spectacular album by normal people standards, it’s only average by Miles Davis standards. Had the performances been allowed to breathe, with each song appearing only once, i.e. the best performance of that song from the four nights, it would be a much better record. It was rated 4-Stars out of five in DownBeat and 3.5-Stars out of four in The Penguin Guide to Jazz.

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The Daily Elvis

1956: Elvis appears on The Ed Sullivan Show for the second time, accompanied by The Blue Moon Boys and The Jordanaires. In the event he didn’t follow Sullivan’s dancing instructions and repeat the controversy of his first appearance, cameras only showed him from the waist up. The King performed “Don’t Be Cruel,” “Love Me Tender,” “Love Me,” and “Hound Dog” to the delight of the studio and TV audiences.

Sex Pistols in 1977, from left to right: John Lydon aka Johnny Rotten (v), Paul Cook (d), John Ritchie aka Sid Vicious (bg [sort of]), and Steve Jones (g; bg).

Talking Book

1972: Legendary American singer-songwriter and multi-instrumentalist Stevie Wonder releases his 15th studio album, “Talking Book.” It earned widespread critical acclaim, exemplified by its 5-Star rating in the Encyclopedia of Popular Music, and was a big hit with audiences, going to No. 1 on the Billboard R&B Albums chart.

Considered the start of Wonder’s classic period, the album features a sound heavy on synthesizers, particularly the Hohner Clavinet, and many of his now-standard songs. Highlights include, “You Are the Sunshine of My Life,” “I Believe (When I Fall in Love it Will be Forever),” and of course the monster hit, and all-around fantastic song, “Superstition.” That single went all the way to No. 1 on the Billboard Hot 100 and the Billboard R&B Singles chart.

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Infidels

1983: Bob Dylan releases “Infidels,” the 22nd studio album by the legendary American singer-songwriter.

It was a return to secular music following a period of three gospel records after converting to Christianity, making it a comeback release of sorts. The album was described by Rolling Stone as his most poetic and musical since 1975’s “Blood on the Tracks.”

With great songs that include “Jokerman,” “Neighbourhood Bully,” “Sweetheart Like You,” and “Don't Fall Apart on Me Tonight,” the record reached No. 20 on the Billboard 200 and was certified Gold in both the U.S. and Canada.

The album features the legendary Jamaican rhythm section of Sly Dunbar on drums, and Robbie Shakespeare on bass guitar. As Sly and Robbie, they performed on dozens and dozens of records.

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Skylarking

1986: “Skylarking,” the eighth studio album by still-underrated English progressive-pop band XTC, is released to universal critical acclaim. It carries the highest-possible rating from all major music publications, including 5-Stars in both The Rolling Stone Album Guide and the Encyclopedia of Popular Music.

Produced by Todd Rundgren, it is a favoured album among XTC fans. Not quite a concept album, it reflects a theme cycles, be it a day or a lifetime. Much like their prior LP, “25 O’Clock,” by the band’s alter-ego, The Dukes of Stratosphere, “Skylarking” is also influenced by the psychedelic sounds of the Sixties, including Pink Floyd’s “The Piper at the Gates of Dawn.” The record can be described by a long list of sub-genres (art-rock, new-wave, psyche-pop, chamber pop), but the best description is simply that it’s XTC.

All 14 tracks on the album are excellent, but the most popular song of those sessions was not on the record, it was the B-Side to the first single, “Grass,” and is titled “Dear God.” The lack of that song on the album hampered initial sales. There was also the usual controversy that occurs whenever a song references God.

The single and the video for “Dear God” received strong airplay, leaving audiences disappointed that the most-recently released LP did not include it. Subsequent pressings added it to the track list. XTC previously ran into this problem in 1979 when “Life Begins at the Hop” was not part of the original “Drums and Wires” pressing.

Typical for an XTC release, it did not get the attention it deserved, reflected by its chart positions and lack of certification. It peaked at only No. 90 in the U.K. and No. 70 in U.S.

The record label, Virgin, distributed by Geffen in the U.S., was uncooperative and threatened to drop the band. They found that XTC’s refusal to tour reduced sales. They would also not allow for the self-production of the record, despite Andy Partridge already being a successful producer for other acts. Though they had a solid talent in Todd Rundgren overseeing the production of “Skylarking,” it was still a difficult session, as his ideas often clashed with the band’s.

I’m one of the people who considers “Skylarking” among XTC’s best, and will certainly be enjoying it today. I’m a big fan of this album, and of XTC overall.

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Robbie Robertson

1987: After a professional music career that had spanned 30 years with Ronnie Hawkins, Bob Dylan, and The Band, legendary Canadian singer-songwriter and guitarist Robbie Robertson releases his debut solo studio album, “Robbie Robertson.”

Featuring the great songs, “Showdown at Big Sky,” “Fallen Angel,” “Somewhere Down the Crazy River,” and “Broken Arrow” among its nine excellent tracks, the landmark album reached No. 12 on the RPM 100 chart in Canada. It went on to win the Juno Award for Album of the Year and for Producer of Year, which was shared by co-producer and fellow Canadian Daniel Lanois.

Lanois’s and Robertson’s connections in the industry led to a number of legendary artists appearing on the record: Peter Gabriel, along with his rhythm section, Tony Levin on bass guitar and Manu Katché on drums; every member of U2; Maria McKee; and former members of The Band Rick Danko and Garth Hudson.

Lanois had produced Gabriel’s “So” in 1986, and U2’s “The Joshua Tree,” in 1987. The song “Fallen Angel” was dedicated to Richard Manual of The Band, who died the year before at only 42 years old.

In the US, “Robbie Robertson” met with critical and commercial success. It reached No. 38 on the Billboard 200, and was chosen as No. 13 for the annual Pazz & Jop Critics Poll published by The Village Voice. It was certified Gold in the US and Double-Platinum in Canada.

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Playground Psychotics

1992: Frank Zappa releases his 60th album, “Playground Psychotics,” with all tracks performed live by The Mothers of Invention. It was recorded between September of 1970 and December of 1971, representing the “200 Motels” / “Chunga’s Revenge” era of the band and FZ.

Originally available only as a mail-order item from Zappa’s Barking Pumpkin (the name of his proprietary record label), it was re-released by Rykodisc in 1995, and has only ever been available on 2-CD or MP3 format.

The first eleven tracks of CD-1 are collectively sub-titled “A Typical Day on the Road, Part 1,” and are spoken-word dialogues of various members of the MOI on issues related to touring, such as motel lobbies, venue dressing rooms, soundcheck, and learning new compositions.

The remainder of the disc features stage performances of a number of short songs, some of which are melodic, some are avant-garde, a couple are skits, and some flirt with musique concrète. Excellent versions of some of Zappa’s greatest songs of the era are added to premier releases and include “Sharleena,” “Sleeping in a Jar,” and “Cruising for Burgers.”

It also includes an early live rendition of “Wonderful Wino,” which had only been officially available as a hard-rocking studio track from the 1976 LP, “Zoot Allures.”

The disc concludes with Zappa’s mix of four tracks performed with John Lennon and Yoko Ono, which the pair had credited to themselves, and re-titled, on their less-than-stellar release, “Some Time in New York City,” in 1972. In addition, they had mixed-down the voices of Flo & Eddie to the point of being inaudible, all to the great ire of FZ. The final song, “A Small Eternity with Yoko Ono,” clearly defines Zappa’s feelings toward Ono.

Ten more tracks leading off CD-2 are also sub-titled, this time “A Typical Day on the Road, Part 2,” again consisting of dialog-led tracks. The banter in this case reflects the weirdness of fellow musicians. Also included is “The Champagne Lecture.” It’s spoken-word, but part of a larger full-band song. It’s the middle section to the song, “Call Any Vegetable,” originally from “Absolutely Free,” the way it was performed by the 1971 band. Other versions appear on “Just Another Band from L.A.” and “Zappa-Mothers, Fillmore East June, 1971.” Zappa speaks over minimal musical accompaniment and “shoop-shoops” sung by Flo & Eddie.

The next ten tracks are mostly musical, with a couple of spoken-word numbers and skits thrown-in. They include classic tracks, “Status Back Baby,” from “Absolutely Free,” and “Concentration Moon,” originally on “We’re Only In It for the Money,” broken down into two parts. This middle section of the disc concludes with an epic 30-minute version of “Billy the Mountain,” first published as the entire Side-A of the live release, “Just Another Band from L.A.,” with an third version appearing on the expanded 3-LP re-issue of “Zappa-Mothers, Fillmore East June, 1971.”

The final third of the second disc returns to a compilation of 12 very short spoken-word tracks, mostly under a minute each, sub-titled “The True Story of 200 Motels,” once again capturing the crazy banter and other challenging events of being on the road in a Rock and Roll band. Based on the dialog, they appear to have been captured during the filming and performing of “200 Motels.” It includes Jeff Simmons quitting the band, and the story of how Ringo Starr’s driver, Martin Lickert, gets a role in the movie. Ringo played the roles of Larry the Dwarf and Frank Zappa. With excerpts that also appear in “200 Motels,” it adds more context to the occurrences in the film.

A spectacular and unique opus that captures the insanity of being on the road, and the skills of highly-talented musicians, it appeals mostly to Zappaphiles, and did not chart or earn sales certifications. I love this compilation, and will try to find 135 minutes to listen to it today!

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The Story of the Ghost

1998: “The Story of the Ghost,” the seventh studio album by Vermont jam-rockers Phish, is released. A collection of 14 cool tunes, the band kept the LP versions short, and left the jamming to live performance. The result is a concise 49 minutes of funky, jazzy, progressive rock.

The lead single from the album, “Birds of Feather,” was a hit on the Billboard Alternative Rock chart, going to No. 14, and was a popular song in concert. The album itself didn’t chart or earn any sales certifications, but that don’t make it junk, as Leonard Cohen sang, it’s a fantastic LP.

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The Daily Elvis

1957: While on his West Coast Tour, Elvis performs a sold-out show at the Oakland Auditorium. Capturing The King at the height of his Rock and Roll era shortly before getting his draft notice, the concert is considered legendary for the lively and raucous atmosphere.

Stevie Wonder performing at Madison Square Garden in 1972.

Quadrophenia

1973: Legendary English mod-rockers The Who release their sixth studio LP, a rock opera about a London Mod, the seminal double-album, “Quadrophenia.”

Mod, short for Modernist, was a British youth subculture that began in the late-1950’s. The movement focused on fashion, with young men frequently wearing tailor-made suits, music that was largely jazz, but included soul, R&B, ska, and eventually encompassing pop and rock, and transportation, with Mods decking out their Vespa and Lambretta motor-scooters. The Who were a big part of the mid-1960’s era of the movement, as were The Small Faces.

Jimmy is a young, working class man who tends towards romance, drugs, and fighting. He’s disaffected by his parents, a series of jobs that offer no future, and a disastrous visit to a psychiatrist. However, after attending a concert by The Who in Brighton, he becomes a huge fan.

He continues to struggle with his self-esteem, enjoying his Mod friends but feeling like he doesn’t measure up, and he loses his girlfriend to his best friend. In a fit, he destroys his prized scooter and even considers suicide. He heads back to Brighton by train, steals a boat, and sails it to a small islet in the North Sea, contemplating his future while stuck in the rain. The ending is left open.

Though all the tracks on the album are excellent, the highlights and most popular songs include the opener, “I am the Sea,” “The Real Me,” “5:15,” and the closer, “Love, Reign o’er Me.”

Much like their previous studio LP, “Who’s Next,” the music features brass sections, performed entirely by John Entwistle. He played trumpet, French horn, tenor horn, and euphonium. He might have played additional instruments, and the euphonium might have been a tuba, but those are all I can identify! Pete Townshend added some colour with banjo, cello, and various keyboards.

There were also two guest performers to round out the necessary personnel, John Curle, who is the voice of the news broadcaster on the song “Cut My Hair,” and Chris Stainton added piano on “The Dirty Jobs,” “5:15,” and “Drowned.”

Music writers raved about the record. It is rated 5-Stars by AllMusic, and graded 10/10 by Clash, and “A-” by Christgau’s Record Guide. Audiences were equally impressed, sending the LP to No. 2 on the Billboard 200, No. 2 on the U.K. Official Albums Chart, and No. 2 on the RPM 100 in Canada. It is certified Platinum in Canada and the U.S., and Gold in the U.K. and France.

The packaging of the album is equally as good as its content. The 2-LP set is delivered in a gatefold cover that includes a booklet of album-sized black and white photos by Ethan Russell that pictorially narrate the story. On the inside left panel, the libretto is printed.

Roger Daltry conceived the front cover, which pictures the Mod on his tricked-out scooter with his back to the camera. On his rain coat is the logo the The Who used in the mid-sixties (not the Mod roundel), apparently added by the Mod’s own hand.

Both the Mods and The Who often used the Royal Air Force’s red, white, and blue roundel logo as their won, referring to it as the Mod Target. Decades later, The Ministry of Defense tried to sue clothing manufacturers that used the logo in their fashion lines, but it was deemed public domain, as it should, and largely because of how ubiquitous it became due to the Mods themselves. It was quite a win for the movement.

Side Note: When The Who performed at the Super Bowl in 2010, drummer Zak Starkey used custom-made Zildjian cymbals that were factory painted in the tri-colour roundel target logo. They looked absolutely awesome!

The LP was adapted into a movie, also titled Quadrophenia, directed by Franc Roddam and released in 1979. Though it’s not a musical, there is of course a soundtrack. Also, unlike the film adaptation of “Tommy,” which features Roger Daltry in the lead role, and the band as themselves, The Who does not appear in Quadrophenia.

The soundtrack features ten songs from the original album that were not re-recorded by the band. Instead, John Entwistle, who worked as music director for the soundtrack, re-mixed the original master tapes especially for the movie. Three additional songs from the “Quadrophenia” sessions that didn’t make the album were included in the movie.

In addition, seven popular sixties songs by their most-famous artists are featured, including “Night Train” by James Brown, “Louie Louie” by The Kingsmen, “Green Onions” by Booker T. & the M.G.’s, and “Be My Baby” by The Ronettes. Finally, the song “Zoot Suit,” recorded by the original iteration of The Who, named The High Numbers, and written by their manager at that time, Peter Meaden, is on the soundtrack.

“Quadrophenia” might possibly be my favourite album by The Who. I can’t decide. It’s either that, “Tommy,” or “Who’s Next.” It’s one of those situations where the release I listen to most recently becomes my favourite, until I listen to one of the others! I’ll certainly be listening to “Quadrophenia” today.

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Head Hunters

1973: “Head Hunters,” the 12th studio album by legendary American pianist, composer, and bandleader Herbie Hancock, is released. The seminal LP crossed-over into the rock world, introducing a whole new audience to jazz-funk and funk-rock.

Following three avant-garde jazz-fusion albums with his previous Mwandishi Sextet, Hancock decided it was time to move past his, “…ethereal kind-of far-out spacey stuff,” and create music that was, “…more tethered; a connection to the earth.” The Mwandishi band each took on Swahili aliases. Mwandishi itself meant composer, and in addition to being the sextet’s name and the title of the first album, it was Hancock’s alias.

The down-to-earth approach was successful. “Head Hunters” became Hancock’s commercial breakthrough, reaching No. 13 on the Billboard 200, which is phenomenal success for a jazz-fusion record.

Forming the quintet of players was Hancock (elp; clavinet; synth), Bernie Maupin (ts; ss; bcl; af), who was the only member of Mwandishi to return, Paul Jackson (bg), Harvey Mason (d), and Bill Summers (perc).

The jazz press was bowled-over by the record, earning it the prestigious Crown^👑 accolade enhancement to its 4-Stars out of four rating in The Penguin Guide to Jazz. Of the thousands and thousands of albums rated by the publication, only about 200 have earned the Crown^👑. Jazz and blues magazine DownBeat assigned the LP 5-Stars out of five, as did JazzWise. In an effort to prove its editors knew nothing about jazz, The Rolling Stone Jazz Record Guide gave the album a 3-Star out of five review!

I’ll definitely be playing this one today, and I’m looking forward to it!

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Dear Heather

2004: Legendary Canadian singer-songwriter Leonard Cohen releases his eleventh studio album, “Dear Heather.” Once again collaborating with Sharon Robinson on vocals, arrangement, production, and songwriting, the collection of 13 new tracks was well-received by critics and fans alike.

Featuring the great tracks “Undertow,” “Morning Glory,” “Dear Heather,” “Nightingale,” and a live cover of “Tennessee Waltz,” the LP reached No. 5 in Canada, where it was certified Gold. I love this album!

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Freeze Frame

1981: J. Geils Band release their tenth studio album, “Freeze Frame.” It’s the last LP to feature founding frontman Peter Wolf, and continued the group’s move into a more pop-rock sound that still kept it’s R&B roots, which had begun with 1980’s “Love Stinks.”

The record was both a critical and commercial hit for the band, going to No. 1 on the Billboard 200 and earning a 5-Star review in Rolling Stone magazine. With the No. 1 hit, “Centerfold,” and the Top-10 title track, “Freeze Frame,” the LP sold well, garnering Platinum certification in the United States.

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Metropolis Pt. 2: Scenes from a Memory

1999: Long Island prog and metal rockers Dream Theatre release the double-concept album, “Metropolis Pt. 2: Scenes from a Memory,” their fifth studio recording.

A must-have in the Dream Theatre canon, and inspired by many classic concept albums including Radiohead’s “OK Computer,” Marillion’s “Misplaced Childhood,” and The Who’s “Tommy,” the album performed well in the charts and became one of Dream Theatre’s best productions.

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Hydra

1979: American rock band Toto release their second studio album, “Hydra.” Though not as successful as their debut LP, it features the hit song, “99,” and was certified Gold in the U.S.

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The Monday Miles

1956: At the legendary Rudy Van Gelder Studio, still in Hackensack in those days, Miles Davis is joined by the other members of his First Great Quintet for the second of two marathon recording sessions that year, the fist being May 11th.

Forming the quintet, in addition to Miles on trumpet, were John Coltrane (ts), Red Garland (p), Paul Chambers (b), and Philly Joe Jones (d).

The ensemble recorded several tracks that would be issued across several classic Miles Davis albums on the Prestige Records label in the years to follow, including “Steamin’ with the Miles Davis Quintet” (1961), “Relaxin’ with the Miles Davis Quintet” (1958), and “Cookin’ with the Miles Davis Quintet” (1957). Miles made a total five verbin’ albums in his career, the three named above, plus Walkin’ in 1957, and Workin’ in 1959.

Some of the legendary tracks laid down that day include “My Funny Valentine” and “Blues By Five,” which appear on Cookin’, “If I Were a Bell” and “You’re My Everything,” both from Relaxin’, and “Well, You Needn’t,” from Steamin’. The group also recorded “‘Round Midnight,” the version that is featured on “Miles Davis and the Modern Jazz Giants” (1959).

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The Daily Elvis

1956: Elvis, along with the Blue Moon Boys and the Jordanaires, are at CBS Studio 50 in New York, rehearsing for their upcoming second appearance on The Ed Sullivan Show, scheduled for October 28th.

They had been barred from the show after their first appearance for Elvis’s lower-body gyrations, but became too popular for Sullivan to continue the ban. During the rehearsal, Sullivan stood at the side of the stage and scolded The King to keep his movements “family-friendly.”

Herbie Hancock and his pre-Headhunters Mwandishi Sextet in Detroit, 1973. From left to right: Mwandishi (Herbie Hancock)(elp), Mchezaji (Buster Williams)(bg), Mwile (Bernie Maupin)(bcl), Jabali (Billy Hart)(d), Mganga (Eddie Henderson)(fh), and Pepo (Julian Priester)(tb). Patrick Gleason (key) and Buck Clarke (perc) would also appear on recordings and some live dates.

Chicago at Carnegie Hall

1971: Legendary American jazz-rock band Chicago release their fourth LP, the two-hour and forty-eight minute quadruple-live album, “Chicago at Carnegie Hall.” Often referred to as Chicago IV, its original LP release spanned eight sides and included 33 songs, though 12 of those are sub-sections to longer suites.

Featuring live versions of numbers from the band’s first three studio albums, all of which were 2-LP releases, there was plenty of content to perform at their run of six Carnegie Hall concerts in New York, from April 5th to April 10th of 1971. With outstanding performances, the pool of material for the record was vast.

My favourite tracks include “Fancy Colours,” “25 or 6 to 4,” the 15-minute epic “Ballet for A Girl in Buchannon,” and the 16-minute suite “It Better End Soon,” all taken from their second LP, “Chicago.” Additional highlights are “Beginnings,” “Introduction,” “Does Anybody Really Know What Time It Is?,” and “Questions 67 and 68,” all from their debut, “The Chicago Transit Authority.” Plus the songs from “Chicago III,” including “Lowdown,” “Sing a Mean Tune, Kid,” and “Mother,” are also great!

The album reached No. 3 on both the Billboard 200 and the RPM 100, earning Gold certification in Canada and Platinum in the U.S.

This is a fantastic live album, though it’s very long. I’ll be listening to it today, however! I really enjoy it. There’s a 2021 digital release of the LP that includes the entirety of every show from the residency. It’s over 14 hours long, which is a little much even for a Chicago fanatic like me.

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Crime of the Century

1974: “Crime of the Century,” the third studio album by English progressive-pop band Supertramp, is released. Recorded in London, and produced by Ken Scott for A&M Records, it is one of the all time greats of classic rock.

The record became the group’s commercial breakthrough, reaching No. 4 in both the U.K. and Canada, and No. 5 in Germany. In Supertramp-crazy Canada, it is certified Diamond (i.e. 10x Platinum), going Platinum in France and New Zealand, plus Gold in the U.S., the U.K., Australia, and five other countries.

Frankly, I’m surprised it was only Gold and single-Platinum across Europe and the Anglosphere because it’s a phenomenal record, forming the first of what would be four consecutive classic releases in the 1970’s. I’m happy that my fellow Canadians give this LP its full and proper recognition.

Ian Faith in the movie This Is Spinal Tap quote alert: Every cut on this album is a hit. I can’t even choose highlights from amongst the eight amazing tracks because I like them all equally. However, the most popular songs are “Bloody Well Right,” “School,” “Dreamer,” and “Crime of the Century.” The others though, as I note, are equally as good: “Asylum,” “Hide in Your Shell,” “If Everyone Was Listening,” and “Rudy.”

The only single released from the LP was “Dreamer,” but it didn’t garner a lot of attention. Even in Canada, it peaked at only No. 75 on the RPM 100. However, it was re-released as a single from the 1980 live album, “Paris,” and that version went all the way to No. 1 in Canada, and No. 15 on the Billboard Hot 100.

Paul Wakefield designed the cover, which depicts an image of hands tightly holding the bars of a jailhouse window, all floating in space. It’s an apt thematic representation of the music. It was the first album cover design for the famous photographer. He has only directed about 25 covers in total, with other famous works including “Crisis? What Crisis?” by Supertramp, in 1975, “Heaven and Hell” by Vangelis, also in 1975, and “Rhapsodies” by Rick Wakeman, in 1979.

The record is dedicated to Sam, which refers to Stanley August Miesegaes, a wealthy man from Netherlands who was a big fan of the group, and supported them financially from 1969 to 1971.

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Natty Dread

1974: Bob Marley and The Wailers release the group’s seventh studio album, the excellent “Natty Dread.” It was the first LP without Peter Tosh and Bunny Wailer, and the first to be credited as Bob Marley and The Wailers.

All the songs on the LP are great with highlights including “Natty Dread,” “Lively Up Yourself,” “Them Belly Full (But We Hungry),” “No Woman, No Cry,” and “Bend Down Low.”

Highly-rated by critics, and earning spot No. 181 on the Rolling Stone list of The 500 Greatest Albums of All Time ©2012, this work of political and social commentary is one of Marley’s best.

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Still Crazy After All These Years

1975: Legendary American singer-songwriter Paul Simon releases his fourth solo studio album, “Still Crazy After All These Years.” A commercial success, it went to No. 1 in the U.S., earning Gold certification, and No. 8 in Canada, where it is a Platinum record.

Universally-acclaimed by critics, and featuring 10 excellent songs, the highlight tracks are: the No. 1 single, “50 Ways to Leave Your Lover,” which is based around drummer Steve Gadd’s legendary rhythm pattern; the great title track, “Still Crazy After All These Years;” “My Little Town,” with guest vocalist Art Garfunkel; and “Gone at Last,” a duet with blues and gospel singer-songwriter, Phoebe Snow.

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Turbulent Indigo

1994: “Turbulent Indigo,” the fifteenth studio album from legendary Canadian singer-songwriter, musician, and painter Joni Mitchell, is released to widespread acclaim. It won the Grammy Award for Best Pop Album at the 1995 ceremonies.

The record’s title is taken from the track, “Turbulent Indigo,” and is a reference to post-impressionist Vincent Van Gogh, singing of the difficulties of the creative process. Mitchell painted a self-portrait for the cover that sees her replacing Van Gogh in a reproduction of his masterpiece, Self-Portrait with Bandaged Ear. She also employed the same impasto technique as was used by the Dutch master for his piece.

The LP reached No. 24 on the Canada RPM 100, where it was certified Gold.

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Uh-huh

1983: John Cougar Mellencamp releases his seventh studio album, “Un-huh.” It was released during his transition from his stage name, John Cougar, to his legal name, John Mellencamp.

A big commercial hit for the singer-songwriter, it reached No. 9 on the Billboard 200 and was certified 3x Platinum in the U.S. In Canada, it went Platinum five times.

Several of the songs, and their corresponding videos, were hits in the charts and on MTV, including “Crumblin’ Down,” “Little Pink Houses,” “Authority Song,” and “Play Guitar.”

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Sun City

1985: Classic rock singer-songwriter, guitarist, actor, and member of The E Street Band, Little Steven Van Zandt forms Artists United Against Apartheid. They would release the album “Sun City,” as a protest against apartheid in South Africa.

Over 50 artists from all genres of music, including rock, jazz, pop, hip-hop, funk, reggae, and Afrobeat participated, some singing and others playing the instruments. The lead single, “Sun City,” written by Van Zant, was a popular hit and reached No. 38 on the Billboard Hot 100. It helped bring awareness to young people about the horrible situation in the Republic of South Africa.

Some of the artists who sang on the album included Van Zandt, Jackson Browne, Jimmy Cliff, George Clinton, Bob Dylan, Peter Gabriel, Bob Geldof, Joey Ramone, Lou Reed, Run-DMC, and Bruce Springsteen.

Performing on the record, among others, were Ringo Starr and his son Zak on drums, Tony Williams (d), Steve Jordan (d), Little Steven (g), Pete Townshend (g), Ron Wood (g), Keith Richards (g), Ron Carter (b), Herbie Hancock (key), Miles Davis (t), and Clarence Clemons (ts).

You might also recognize Van Zandt as Sylvio Dante from The Sopranos or Frank Tagliano from Lilyhammer.

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You Can’t Do That on Stage Anymore, Vol. 2

1988: Frank Zappa releases the second volume of his massive six-part live performance anthology series, and his 52nd album overall, “You Can’t Do That on Stage Anymore, Vol. 2: The Helsinki Concert.” It was originally issued only as a 2-CD package by Rykodisc, and is now available only as an MP3 from UMe. There was a vinyl version at one point, and I’m hopeful UMe will re-issue it!

Presented as one full concert held at the Kulttuuritalo in Helsinki, Finland on the night of September 24, 1974, it’s actually put together from the entire three-show run. Unlike previous live releases by FZ, there are no studio overdubs on the CD, which likely explains why he drew content from all three concerts.

Zappa had to satisfy at least one of eight questions he put to himself when compiling the anthology series. The songs on YCDTOSA Vol. 2 meet three of those criteria in varying combinations: “Is this the best available version of THIS SONG by THIS BAND;” “Is there a good solo in it?;” and “Does the inclusion of this song help the stylistic flow of the album sequence by providing contrast or relief?”

Featuring the core of Zappa’s phenomenal 1974 band playing great versions of amazing songs, the album is one of the best of the FZ catalogue, and popular among his fans.

THE BAND: FZ (g; v), Napoleon Murphy Brock (ts; v), George Duke (key; v), Ruth Underwood (perc), Tom Fowler (bg), and Chester Thompson (d).

Some of the tracks featured, all of which are excellent, include “Inca Roads,” “RDNZL,” “Pygmy Twylyte,” the 24-minute “Dupree’s Paradise,” and the “whipping floss” version of “Montana (Whipping Floss).”

An audience member had called-out for the song, “Whipping Post,” to which Zappa replied that the band didn’t know it. He asks the person to sing “Whipping Post,” which is somewhat of a trap because it’s such a difficult song to sing. The fan tries but Zappa cuts him off. Nonetheless, Frank sings the lyric “whipping floss” instead of the usual “dental floss” during the song, and the background singers follows suit. Zappa would eventually begin playing “Whipping Post” in concert in the 1980’s, and included a version on his 1984 release, “Them or Us.” He had always been a fan of The Allman Brothers.

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The Daily Elvis

1961: Elvis is at Radio Recorders in Hollywood working on final overdubs for the soundtrack EP to the movie Follow That Dream. The core tracks were made months earlier at RCA Studio B in Nashville.

Supertramp in early 1975, from left to right: Dougie Thompson (bg), Bob Siebenberg (d), John Helliwell (as; ts; cl; v), Roger Hodgson (p; elp; g; v), and Rick Davies (p; key; h; v).

Hemispheres

1978: Rush, the legendary progressive hard-rockers from Toronto, release their sixth studio album, “Hemispheres.” Once again co-produced with Terry Brown, it’s the second album to be issued on their proprietary label, Anthem, giving them more control over their Canadian releases.

Internationally, the band’s work was still distributed by Mercury Records. “Hemispheres” was the fourth consecutive Rush LP to earn platinum certification in the U.S., putting to rest once and for all Mercury’s concerns about the trio’s viability.

The LP features the 18-minute epic taking up all of Side-A, “Cygnus X-1 Book II: Hemispheres,” which is sub-divided into six parts. It is the conclusion of the story told in “Cygnus X-1 Book I: The Voyage,” from their prior album, “A Farewell to Kings.”

We find the celestial realm at war. On one side, Apollo, and his army of reason and intellect: the mind; on the other side is Dionysus, leading a military of instinct and emotion: the heart.

Our protagonist, the Explorer from Book I, is now a disembodied spirit following the destruction of his ship, the Rocinante, and his corporal being, when it was absorbed by a black hole. Greatly distressed by the carnage of the battle, he emits a silent cry that is felt by the belligerents. They stop fighting to listen to his story.

Considering him a hero, the people name him Cygnus: The God of Balance. The story ends with the beings merging emotion and reason into one harmonious state:

Let the truth of love be lighted; Let the love of truth shine clear; Sensibility, armed with sense and liberty; With the heart and mind united in a single perfect sphere.

For a summary of the Book I story, see my article of August 29th about the album “A Farewell to Kings.”

The record features a second great epic track, “La Villa Strangiato (An Exercise in Self-Indulgence).” Though running only 9.5 minutes, it is sub-divided into 12 parts. The band is currently performing it on their 50-Something Tour.

The remaining two songs are also great. This is a great album, after all: “The Trees,” famous for its odd time signatures and three distinct parts, plus “Circumstances,” drummer and lyricist Neil Peart’s autobiographical recounting of his time spent as a professional musician in England, and his subsequent disillusionment.

“Hemispheres” reached No. 47 on the Billboard 200, but went to No. 14 in both Canada and the U.K. A good showing for an album of progressive hard rock. In addition to its Platinum certification in the U.S., it is certified Platinum in Canada and Silver in the United Kingdom.

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Parsley, Sage, Rosemary and Thyme

1966: Legendary American folk-rock duo Simon & Garfunkel release their third studio album, “Parsley, Sage, Rosemary and Thyme.” Issued on Columbia Records, the sessions were overseen by house producer Bob Johnston, who worked with many famous artists including Bob Dylan and Johnny Cash.

With four months allotted for the recording, the pair had considerable freedom to write and perfect the songs, ultimately delivering a record described as a masterpiece by Bruce Eder of AllMusic.

Balanced between an acoustic and electric sound, the work was also slightly political, including the song “7 O'clock News/Silent Night,” which merged the Christmas noel with audio from contemporary news of 1966 such as the war in Vietnam and the death of Lenny Bruce.

Featuring the hit singles “Scarborough Fair/Canticle,” “Homeward Bound,” and “The 59th Street Bridge Song (Feelin' Groovy),” the 28-minute album was a big success commercially, reaching No. 4 on the Billboard 200 and being certified 3x Platinum.

It’s an excellent LP that placed No. 202 on Rolling Stone’s list of the 500 Greatest Albums of All Time ©2012, and is included in Robert Dimery’s 1001 Albums You Must Hear Before You Die. New York disc jockey and writer Pete Fornatale said of the recored, “Few others have come close to the intelligence, beauty, variety, creativity, and craftsmanship that Parsley, Sage, Rosemary and Thyme captured.” Indeed!

It’s going to be a folk-rock listening experience today, as I will of course play this great album, along with…

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American Pie

1971: “American Pie,” the second studio album from American singer-songwriter Don McLean, is released to great commercial success. It reached No. 1 on the Billboard 200, No. 1 on the RPM 100 in Canada, and No. 1 on the Kent Music Report in Australia.

The record’s success was largely the result of the success of the title track, “American Pie.” The near-ten minute folk rock tale sings of “the day the music died,” recounting the tragic death of Buddy Holly. The song uses that incident more broadly as a metaphor to the culture and changes in the United States at the end of the 1960’s.

The single went to No. 1 on the Billboard Hot 100 and the Billboard Adult Contemporary charts. It was also No. 1 on the RPM 100 Singles and on the RPM Adult Contemporary chart in Canada. It peaked at No. 2 in the U.K., but went all the way to No. 1 in Australia. It was 6x Platinum in the U.S. and 5x Platinum in Canada.

The album itself also sold well, earning double-Platinum certification in the U.S., and Gold in the U.K. and Canada.

I just might drive my Chevy to the levee today, if the levee is dry, listening to this song on 8-track with a group of good ol’ boys drinking whiskey and rye!

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The Daily Elvis

1958: A day after meeting American rocker Bill Haley, while in Germany serving in the U.S. Army, Pvt. Elvis Presley meets Swedish rocker Karl-Gerhard Lundkvist aka Little Gerhard.

Simon & Garfunkel in New York, 1966. From left to right: Art Garfunkel (v) and Paul Simon (g; v).

Sorcerer

1967: Legendary American jazz trumpeter, composer, and bandleader Miles Davis releases his 54th album, “Sorcerer.” As was the norm for Miles as the time, this post-bop LP was produced by Teo Macero for Columbia Records at 30th Street Studios in New York.

The album’s sidemen are all legends in their own rights, and form Miles’s Second Great Quintet: Wayne Shorter (ts), Herbie Hancock (p), Ron Carter (b), and Tony Williams (d). A larger and different lineup appears on the track “Nothing Like You” as it was recorded years earlier. Arranged by Gil Evans, that song features the legendary rhythm section of Paul Chambers (b) and Jimmy Cobb (d).

Lauded by critics and earning a 5-Star rating in jazz publication Down Beat magazine, Davis took advantage of the songwriting capabilities of his ensemble to freshen his sound. Four of the seven tunes were composed by Shorter, with Hancock and Williams each contributing one. “Nothing Like You” was a Bob Dorough-Fran Landesman composition.

It’s a great album and I’m looking forward to playing it tonight!

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Chunga’s Revenge

1970: Frank Zappa releases his third solo album, “Chunga’s Revenge.” It is the legendary composer’s eleventh LP overall when including works by The Mothers of Invention. It was produced by Zappa for his proprietary label Bizarre, and distributed by Frank Sinatra-founded Reprise Records.

Though “Chunga’s Revenge” is described as jazz-fusion, it’s not exclusively in that sub-genre. It also features tracks that are heavy blues (“Road Ladies”), hard rock (“Tell Me You Love Me”), classic rock (“Would You Go All the Way”), experimental rock (“The Clap”), and doo-wop (“Sharleena”).

In fact, only a few tracks truly qualify as jazz-fusion, but are some of the best, and my favourites, from the record. These songs include “Transylvania Boogie,” “Chunga’s Revenge,” “The Nancy & Mary Music,” and the softer fusion number, “Twenty Small Cigars.”

Joining Frank, who sang and played guitar, harpsichord, and drums, were multi-instrumentalist Ian Underwood (or; p; g; elp; as), Aynsley Dunbar (d), Jeff Simmons (bg; v), George Duke (or; elp; v; tb), Howard Kaylan and Mark Volman aka Flo & Eddie (v), and Don Sugarcane Harris on organ, not violin. Highly-regarded jazz session musicians Max Bennett (b) and John Guerin (d) play on “Twenty Small Cigars.”

Critics rated the album in the mid-range, and it only reached No. 43 on the Billboard 200, but they don’t know what they’re talking about. This is a fantastic album, and I love it!

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Trespass

1970: “Trespass,” the second studio album by legendary progressive rock masters Genesis, is released. It is the first and only album to feature John Mayhew, the third of nine¹ drummers across Genesis’s recording and performing career.

It’s also the last album to include original guitarist Anthony Phillips. Both Steve Hackett and Phil Collins would join the group for their next record, “Nursery Cryme,” forming the classic lineup of the band.

It was a relaunch for Genesis following the dismal commercial performance of their debut, “From Genesis to Revelation,” in March of 1969. All band members returned for the album, except for drummers John Silver and Chris Stewart.

Reviews were mostly strong for “Trespass,” with Rolling Stone deeming it simply “(unfavourable),” but The Daily Vault grading it an “A-.” In Melody Maker, it was described as “tasteful, subtle, and refined,” earning the magazine’s Album of the Month award. That’s a significant accolade given that “Led Zeppelin III,” “Atom Heart Mother” by Pink Floyd, “Tumbleweed Connection” by Elton John, and of course “Chunga’ Revenge” by FZ, were all released in the same month.

All the tracks on the LP are quite good, with the most famous cut being “The Knife,” which was released as a single, with half the song on Side-A, and the other half on Side-B. Though it’s pretty catchy, a 9-minute epic isn’t conducive to the 45-RPM format. Genesis would play “The Knife” in concert for years to come, and a concert version appears on their first contemporary live album, “Genesis Live.”

This is an excellent album!

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The Friday Frank

1992: Legendary American composer Frank Zappa releases the final volume of his massive retrospective concert anthology series, “You Can’t Do That on Stage Anymore, Vol. 6.”

As with the previous five volumes, there is firstly an overarching theme to the songs included in the package. In this case, it was sexuality, and therefore includes the classic songs “Dirty Love,” “Magic Fingers,” “Shove It Right In,” “I Have Been in You,” “Dinah-Moe-Hum,” and “Camarillo Brillo” among its 37 tracks.

Secondly, for each volume of YCDTOSA, Zappa made himself satisfy at least one of eight questions, preferably more than one, when choosing which performances of which songs should be featured. Volume 6 was no different. Among the questions were: “Is it a one-time-only performance of an improvised event?;” “Is there a good solo in it?;” “Is it a premier recording?;” and “Is it the best available version of THIS SONG by THIS BAND?.”

It’s an excellent release. It was the first YCDTOSA volume I ever bought, and I listened to the CD’s in my car on long trips all the time. I’m going to revisit it today!

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The Daily Elvis

1958: In Frankfurt, Germany, while off-duty with the U.S. Army, Pvt. Elvis Presley attends a concert by Bill Haley & His Comets. The King hung out backstage with Haley after the show, even playing a little guitar together.

Frank Zappa in 1970.

¹The Nine Drummers of Genesis

1. Chris Stewart: one track on the first album

2. John Silver: 12 tracks on the first album

3. John Mayhew: “Trespass”

4. Phil Collins: all studio albums from 1971 to 1991; all live albums ever

5. Bill Bruford: 1976 tour; one track on “Second’s Out”

6. Chester Thompson: all tours from 1977 to 2007, and corresponding live LP’s

7. Nick D’Virgilio: “Calling All Stations” except second half of “Alien Afternoon”

8. Nir Zidkyahu: second half of “Alien Afternoon” from “Calling All Stations”

9. Nic Collins: The Last Domino?

Led Zeppelin II

1969: Legendary English heavy blues and folk rockers Led Zeppelin release their second studio album, “Led Zeppelin II.” The LP arrived only ten months after their debut release, “Led Zeppelin.”

Featuring an even-heavier sound than their first record, it was poorly-received by critics at the time. Rolling Stone journalist John Mendelsohn wrote in a negative review that, “…it seems as if it’s just one especially heavy song extended over the space of two whole sides.” Robert Christgau of The Village Voice reported that, “…all the songs sound alike…” in his “B” grade of the record. Wut? “Whole Lotta Love” and “Thank You” sound the same? “Ramble On” and “Moby Dick” are indistinguishable?

Writers got over themselves and the album is now highly-praised in retrospective reviews. It has a 5-Star rating in The Rolling Stone Album Guide, The Encyclopedia of Popular Music, and AllMusic. It is graded “A+” by Entertainment Weekly.

Fans, however, knew from the start that it was a special album. It shot to No. 1 on the Billboard 200, No. 1 on the U.K. Official Albums Chart, No. 1 in Canada on the RPM 100, and No. 1 in Australia. It has been certified 12x Platinum in the U.S., 9x Platinum in Canada, and 4x Platinum in both the U.K. and Australia, selling over 15 million copies worldwide.

It’s an objectively excellent record, and one of my favourites from Led Zeppelin.

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The Song Remains the Same

1976: “The Song Remains the Same,” the first contemporary live LP by Led Zeppelin, is released. The double-album doubles as the soundtrack to the concert film, The Song Remains the Same.

Both the album and the film were made from a series of three concerts the group held at Madison Square Garden in New York on the nights of July 27th through 29th of 1973. Jimmy Page produced the album, and the band’s manager, Peter Grant, was executive producer of the film, with Australian Peter Clifton directing.

The band was in strong form for those concerts, playing long sets of long versions of their best songs from their recording career up to that point, with all five of their studio albums represented.

One highlight of the album is the 27-minute version of “Dazed and Confused,” taking up all of Side-B and featuring Jimmy Page’s extended improvised solo in which he used a violin bow across his guitar for one segment. That moment was hilariously lampooned in This is Spinal Tap, when Nigel Tufnel drags an actual violin across his guitar during his feature solo, taking a moment to fine-tune the violin when he hears a wrong note.

Other highlights include: the performance of “Rock and Roll,” but mainly for John Bonham’s enhanced ending compared to the original version on their non-titled fourth album; “Moby Dick,” which includes the feature solo for John Bonham and runs just under 13 minutes; “No Quarter;” and “Whole Lotta Love.”

The film includes more than just the concert footage, showing an incident where manager Peter Grant lambasts an arena concessions manager for failing to prevent the sale of unauthorized merchandise on the premises, taken from the Baltimore concert of the tour, not MSG. Also included are vignettes of the band following their non-musical pursuits, such as John Bonham’s real-life drag racing hobby and a fantasy shirt that had Robert Plant’s as a medieval knight.

Back to the album, it received negative reviews, earning only 3-Stars in Blender and The Daily Telegraph, and 2-Stars from The Rolling Stone Album Guide and the Encyclopedia of Popular Music. However, the 2007 reissue, which addressed the sound quality complaint and digitally re-edited the performances, had a better reception. That version has earned 4-Stars from each of Mojo, Record Collector, and Uncut.

It’s a Led Zeppelin record, therefore it goes almost without saying that it was big in the charts and sold in huge quantities. “The Song Remains the Same” was No. 1 on the U.K. Official Albums Chart, No. 2 on the Billboard 200, and No. 8 on the Canada RPM 100. It was a Top-20 LP in seven other countries.

Certifications are not as monumental as other Zeppelin records, but still enormous by any standard. It is 4x Platinum in the U.S., 3x Platinum in New Zealand, Platinum in the U.K., and Gold in France and Germany.

Though Song is a good live album, with a loose feel, an even-better Led Zeppelin live record (well, triple-CD album) is “How the West Was Won.” Taken from recordings made of their shows in Los Angeles, CA and Long Beach, CA (though Long Beach is still within L.A. County) in June of 1972, it was packaged and released retrospectively in May of 2003.

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Year of the Cat

1976: Al Stewart, the beloved Scottish singer-songwriter, releases his seventh of sixteen career studio albums, “Year of the Cat.” Recorded at Abbey Road Studios and produced by Alan Parsons, it was released by RCA Victor.

The LP reached No. 5 on the Billboard 200 in the U.S., No. 13 in Canada, and No. 2 in Netherlands. However, in Scotland it peaked at only No. 43, and only went to No. 38 on the wider U.K. chart. Nonetheless, the record and Stewart enjoy immense popularity in Britain to this day.

Led by the title track, “Year of the Cat,” which was a Top-10 hit across Europe and North America, its highest position being No. 3 in Canada, the album was well-received by critics. It earned 4.5-Stars out of five from AllMusic and American Songwriter, and 8/10 by The Great Rock Discography.

The album cover features a collage of cat-related items, including an actual cat with only its tail visible, and an image of KISS drummer Peter Criss, who was The Catman in terms of the band’s make-up and costumes.

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Dondestan

1991: Legendary British singer-songwriter and drummer extraordinaire Robert Wyatt releases his fifth studio solo album, “Dondestan.” The title is an Anglicized contraction of the short Spanish phrase, donde están, meaning where are they.

The album cover features a bucolic painting by Wyatt’s wife, Alfreda Benge, and pictures the pair in the sitting room of their Lincolnshire cottage in Louth, England.

Musically, the songs reflect Wyatt’s typical style of combining jazz with pop to create his own brand of progressive rock. Instrumentation is sparse, with piano and keyboard prominent, accompanied by brushes on snare percussion parts, and few other sounds.

Receiving mixed reviews, Rolling Stone publishing that Wyatt takes, “…homey minimalism to the brink of creative indolence…” in its 3-Star rating. However, AllMusic rates it 4-Stars out of five.

I really enjoy the musical minimalism of this album.

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The Daily Elvis

1976: Elvis is in Champaign at the University of Illinois Assembly Hall, where he performs a sold-out concert to 17,000 adoring fans. Clad in his Egyptian jumpsuit, The King handed out scarves to the ladies in the front row of the audience towards the end of his show.

Playing 25 songs, classic hits included “Hound Dog,” “Jailhouse Rock”, and “See See Rider.” As was Presley’s tradition in those days, the performance opened with the Sunrise movement from Richard Strauss’s tone poem, Also sprach Zarathustra (popularly recognized as the opening music from the movie 2001: A Space Odyssey) and closed with “Can’t Help Falling in Love.”

Led Zeppelin at Madison Square Garden in New York, July of 1973. From left to right: John Paul Jones (bg; key), John Bonham (d), Jimmy Page (g), and Robert Plant (v).

Try as I might, I could not find a high-resolution frame of the band from The Song Remains the Same concert movie that included the faces of all four members. However, I don’t think Bonham would have minded that his 24” Paiste Giant Beat ride cymbal is front and center of his image.

Day of the Troubadours

Nighthawks at the Diner

1975: Legendary American troubadour Tom Waits releases his third studio LP, “Nighthawks at the Diner,” to warm reviews. It earned well above the 80th percentile in ratings by several music publications, including The Rolling Stone Album Guide, Uncut, Mojo, and Classic Rock.

Recorded at The Record Plant in Los Angeles over four sessions, it was performed in front of a small studio audience to achieve the sound and atmosphere of playing in a jazz club. The double-album includes spoken-word intros by Waits, just as he would do when playing a bar.

In keeping with the aura of a late-night hotspot, the record is almost entirely acoustic, with electric piano by Mike Melvoin being the only powered instrument. The project was inspired by Edward Hopper’s great 20th-Century painting, Nighthawks.

Though a photo session was held for promotional material and the album cover, in the end, Tom chose to have Cal Schenkel illustrate the cover. Using the music and the promo pictures as inspiration, Schenkel delivered a realist work that perfectly captured the mood of the music.

The title of the LP is also the first line in the song, “Eggs and Sausage (In a Cadillac with Susan Michelson).” “Nighthawks at the diner, of Emma’s Forty-Niner…”

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New Morning

1970: “New Morning,” the eleventh studio album from legendary American troubadour Bob Dylan, is released. The album of folk-rock and country-rock evokes its title well, being a serene and satisfying work of music. Dylan had written the songs while living in Woodstock with his wife, Sara, and their five children.

The LP received much higher reviews from critics and fans than his previous album, “Self Portrait,” which had been issued only four months earlier and wasn’t fully understood by listeners. Dylan later explained that the album was created purposefully to confuse critics and the public, and shed the thought of him as “spokesman for a generation.” On that basis, the record succeeded!

Though none of the 12 songs on “New Morning” are popular Dylan hits, they are all excellent, with highlights including “Day of the Locusts,” “The Man in Me,” “If Dogs Run Free,” “Sign on the Window,” “New Morning,” and “If Not for You.”

You might recognize the title “If Not for You” from George Harrison’s album, “All Things Must Pass.” Harrison performed an excellent cover of the song for that record.

Some of the famous musicians to appear on the album were Al Kooper of course, Charlie Daniels, and Billy Mundi on drums, who had been an original member of The Mothers of Invention.

“New Morning” would reach No. 7 on the Billboard 200 and No. 1 on the Official Albums Chart in the United Kingdom. It is certified Gold in the United States.

*****

Comes a Time

1978: Neil Young, the legendary Canadian troubadour, releases his ninth studio album, “Comes a Time.” A quiet, folk-oriented album, it sings of failed love and worldly troubles.

Well-received by critics, it would spawn two hits, the title track, “Comes a Time,” and “Lotta Love,” which Nicolette Larson would later cover and reach No. 1. She also sings on the album, but ironically not on “Lotta Love.”

Additional highlights include “Four Strong Winds,” “Motorcycle Mama,” and “Human Highway.” All the songs are excellent, however.

The album reached No. 4 in Canada, No. 13 in the U.S., and No. 2 in France. It was certified Gold in the U.S., the U.K., France, and in Australia, it is 2x Platinum.

*****

You Want It Darker

2016: Legendary Canadian troubadour Leonard Cohen releases his 14th studio album, “You Want It Darker.” In typical Cohen fashion, the lyrics sing of death, religion, and humour. He died only 17 days after the release of the album.

Adored by critics and fans alike, it would reach No. 7 on the Billboard 200, the second-highest charting album of his career, after “Old Ideas,” which hit No. 3 in 2012.

The record was certified Platinum in Canada, Gold in the U.S., and Platinum in several European countries, including Germany, France, Belgium, and Denmark. It sold over a million copies worldwide, which is massively successful for LC.

Though he was always appreciated to some degree, it was nice to see the whole of the world finally take notice of Cohen’s immense talent late in his career and life.

*****

Four albums by four of the greatest singer-songwriters of the sixties and seventies, who produced consistently exceptional music over decades. Though we miss Cohen dearly, Bob, Neil, and Tom are still writing and performing today. Young released his 50th studio album, “Second Song,” just last month! It’s been a treat to have experienced their songs throughout my life.

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A Little Prog on the Side

Leftoverture

1975: American prog-rock band Kansas releases their fourth studio LP, “Leftoverture.” The album was received with mixed reviews, yet includes Kansas’s most famous song, “Carry On Wayward Son,” which reached No. 5 in Canada and No. 11 on the Billboard Hot 100.

Playboy described the album as “extremely strong,” while music journalist Robert Christgau claimed it “…lacked the intelligence of European prog-rock works,” reflecting mixed reviews.

The reviewers that really count, however, the fans, adored the album, buying over 5 million copies for 5x Platinum certification, and sending it to No. 5 on the Billboard 200.

*****

Bat Out of Hell

1977: American Rock and Roll singer and actor Michael Lee Ada aka Meat Loaf releases his debut studio album, “Bat Out of Hell.” Jim Steinman, who composed the album, wrote it as an offshoot to his futuristic rock opera telling of Peter Pan, titled Neverland, which was created for a workshop in 1974.

Recorded at various studios in and around New York, including Bearsville in Woodstock and The Hit Factory, it was produced by legendary American composer and producer Todd Rundgren.

Meat Loaf had met Steinman when they were touring with The National Lampoon Show, a comedy and music revue directed by Ivan Reitman. Most of the cast of the show would depart for the newly-commissioned NBC-TV show, Saturday Night Live, in 1975. The others founded SCTV in Canada in 1976. Meat Loaf had replaced John Belushi.

The pair felt that three of the Neverland songs were perfect for the new concept, and would form the core of the album: “Bat Out of Hell;” “Heaven Can Wait;” and “All Revved Up and No Place to Go,” originally titled “The Formation of the Pack.” Using those three as the impetus for the style and lyrical content of additional songs, Steinman then wrote, “You Took the Words Right Out of My Mouth (Hot Summer Night),” “For Crying Out Loud,” “Two Out of Three Ain’t Bad,” and the infamous teenage sex comedy, “Paradise by the Dashboard Light.”

Joining Meat Loaf, who sang all lead vocals and sings harmonies on all male background vocals, and Todd Rundgren, who played guitar and sang background vocals, were several famous musicians. Those players included Max Weinberg of The E Street Band on drums for three songs, Roy Bittan, also of The E Street Band, on piano and keyboards, Edgar Winter on saxophone, and of course Ellen Foley on lead female vocals and backing vocals.

Nine other musicians appear, as does Marcia McClean, who speaks the words to “Hot Summer Night,” and New York Yankees 40-year tenured radio and TV announcer, Phil “Scooter” Rizzuto, who calls the play-by-play between the two characters of “Paradise by the Dashboard Light.” Members of both the New York Philharmonic and the Philadelphia Orchestra provided orchestration for the LP, directed by concertmaster Gene Orloff.

The first single, “You Took the Words Right Out of My Mouth (Hot Summer Night),” did well in the U.S., breaking into the Top-40 on the Billboard Hot 100, but was a hit in Europe and Australasia. It went to No. 3 in Netherlands, No. 4 in Belgium, No. 2 in New Zealand, and No. 3 in Australia. My favourite part of that song is the Be-My-Baby rhythm and the great backing vocals.

“Two Out of Three Ain’t Bad” was more successful in North America. It reached No. 11 on the Hot 100, and No. 5 on the RPM 100 in Canada. The quasi-prog anthem, “Bat Out of Hell,” didn’t chart in the 70’s, but was a No. 8 hit in the U.K. in 1993 on the strength of the success of “Bat Out of Hell II: Back Into Hell.”

Finally, “Paradise by the Dashboard Light,” originally the B-Side to “You Took the Words Right Out of My Mouth (Hot Summer Night),” was the fourth single, but reached only No. 39 on the Billboard Hot 100. In Netherlands however, it was No. 1.

Despite the success of the album as whole, none of the songs went to No. 1. Meat Loaf himself never topped the singles charts until “I’d Do Anything for Love (But I Won’t Do That)” became a worldwide No. 1 mega-hit in 1993. That song was taken from the aforementioned, “Bat Out of Hell II: Back Into Hell.”

“Bat Out of Hell” was massively successful commercially, going to No. 14 on the Billboard 200. In Netherlands, and in both Australia and New Zealand, it was No. 1, and in Canada, it peaked at No. 5.

Sales certifications are astronomical. Though the LP didn’t top the charts in North America, it had longevity, selling consistently for years and years. It is currently the seventh-highest selling album of all-time (excluding greatest hits packages and multi-artist soundtracks), with 22 million verified sales and more than 40 million estimated sales worldwide.

In the U.S., “Bat Out of Hell” is 14x Platinum; in Canada, it’s 2x Diamond (i.e. 20x Platinum); the U.K. has certified the album 12x Platinum; Australia has it at 26x Platinum, and New Zealand follows with 17x Platinum. The LP is Platinum in Netherlands, Denmark, and Germany.

I’ve always enjoyed this album!

*****

I don’t truly think of Kansas and Meatloaf as prog, but they have prog elements, particularly Kansas. Let’s call them “prog light” for today.

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A Little New Wave on the Side

The The

1983: The debut album by The The is released. The nine-song LP of post-punk and synth-pop earned good reviews and reached No. 27 on the Official Albums Chart in the U.K., where it was certified Gold.

I like this record!

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The Daily Elvis

1961: Marty “Moon” Lacker is hired by Elvis to be his personal assistant, adviser and “gatekeeper.” Marty would become a close confidante of The King and member of his inner circle, dubbed the Memphis Mafia. Lacker would also be one of two best men at Presley’s wedding to Priscilla in 1967, along with Joe Esposito.

A frame from the “Nighthawks at the Diner” promotional shoot featuring Tom Waits in 1975. Taken at Toff’s Coffee Shop in Hollywood, the man lighting Waits’s cigarette was a random patron of the restaurant.

Boy

1980: Dublin Rockandrollers U2 release their debut studio record, “Boy,” a collection of eleven new-wave and post-punk tracks. The LP did very well commercially, going to No. 63 on the Billboard 200 and No. 52 on the U.K. Official Albums Chart. Its highest position was in Canada, where it reached No. 12 on the RPM 100.

Two of the band’s greatest songs appear on the LP, “I Will Follow,” and “The Electric Co.” (one my favourite U2 songs!), along with additional highlights, “Out of Control,” “A Day Without Me,” and “Into the Heart.”

Critics were highly-impressed, earning the album 5-Stars in Record Mirror, and 4.5-Stars from Sounds. In Rolling Stone, it was 4-Stars.

Produced by Steve Lillywhite for Island Records, the album is now certified Platinum in the U.S., Platinum in Canada, and Gold in the U.K., France, and Australia.

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Who Came First

1972: Legendary The Who guitarist, vocalist, producer, and principle songwriter Pete Townshend releases his debut solo studio album, “Who Came First.” Produced by Pete himself, it was issued on Polydor in the U.K., and MCA in the U.S., both of which were owned by PolyGram at the time.

The record consists of songs that were intended to form the abandoned Lifehouse project, several of which became The Who’s excellent 1971 album, “Who’s Next.” Being the demos Townshend made to bring to The Who, all of the instrumentation is played by PT, with Ronnie Lane, Billy Nicholls, and Caleb Quaye adding a few parts on guitar, bass guitar, and vocals on just two of the songs.

The LP opens with “Pure and Easy,” edited down from the original demo time of 8:35 to 5:32. The Who recorded a full band version and released it in 1974 as part of the “Odds and Sods” compilation record. It probably should have been included on “Who’s Next,” or at least a non-album single, because it’s a fantastic track.

With prominent acoustic guitar and Pete’s solemn piano, it’s a folk-ish rock record, and it’s quite good, despite not making a splash in the charts. It carries a 4-Star rating from AllMusic and was graded “A-” in Christgau’s Record Guide.

I really enjoy this record. In fact, I’m listening to it while I write this Article. These songs, performed by The Who with heavier electric guitar, Daltry on some lead vocals, Keith Moon’s inimitable drumming, and Entwistle’s deep, percussive bass guitar, combined with the songs from “Who’s Next,” would have made one hell of a double-album!

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Hackney Diamonds

2023: Fifty-nine years, six months, and four days after the arrival of their debut studio album, legendary English Rock and Roll band The Rolling Stones release their 26th studio LP, “Hackney Diamonds.” It’s the first collection of original compositions since “A Bigger Bang” in 2005, and the first studio album since 2016’s “Blue and Lonesome.”

Receiving high praise from a number of the industry’s most-respected reviewers, and earning a score of 79/100 (too low in my opinion) on Metacritic, it had already sold-out through pre-orders at Amazon and the official Stones’ shop. Could it possibly become the band’s 11th No. 1 album on the Billboard 200, and first since 1981’s “Tattoo You?”

No. The LP peaked at No. 3 on the Billboard 200, but it made it all the way to No. 1 on the U.K. Official Albums Chart, and on the charts of no less than 15 European countries, including France, Switzerland, and Germany. Elsewhere, it was No. 1 in Australia and New Zealand, and in Argentina.

“Hackney Diamonds” was the first album to feature Bill Wyman since his retirement in 1993, playing on the song “Live by the Sword.” Other than on retrospective live releases and other compilations, it is sadly the last album that will feature Charlie Watts on drums, also on “Live by the Sword,” and on “Mess it Up.”

Several legendary entertainers make guest appearances on the album, including Stevie Wonder, Elton John, Paul McCartney, and Lady Gaga. Miles Davis alumnus Darryl Jones once again plays bass, as he has on every album since Wyman’s departure, and Steve Jordan, Watts’s hand-picked successor and frequent member of Kieth Richards’s solo projects, in addition to dozens of other recordings, plays drums.

The Rolling Stones with special guest Lady Gaga, who sings on one of the album’s best tracks, “Sweet Sounds of Heaven,” held an official release party at Club Racket in New York’s Meatpacking district on the evening of October 19th, playing a surprise set of seven songs, including four from the new album, following a DJ set by Ahmir “Questlove” Thomson of The Roots, who are also The Tonight Show band.

A previous promotional event for the album was an interview with Jimmy Fallon of The Tonight Show at the Hackney Empire Theatre in London, on September 6th, the day the first single and video, “Angry,” was released. That event also included Sidney Sweeney, who stars in the video.

In addition to “Angry,” “Live by the Sword,” and “Sweet Sounds of Heaven,” there are many other highlight tracks on the LP of 12 excellent songs, including “Depending on You,” “Bite My Head Off,” “Driving Me Too Hard,” and after sixty years of Stones history, the group finally made a studio recording of their namesake song, “Rolling Stone Blues,” by the legendary Muddy Waters.

The album was recorded over a period of four years from February 2019 to January 2023 at a variety of studios including Electric Lady, The Hit Factory, and Metropolis. Production was a collaboration between The Glimmer Twins (Jagger-Richards) and Andrew Watt, with Watt co-writing the first three songs on the record. Don Was, who worked with the group in 2019, is also credited as producer.

“Hackney Diamonds” is an excellent record. With 5-Stars out of five from both The Daily Telegraph and The Times, I agree with many critics that it is their best album since “Tattoo You.”

It wasn’t to be their last, either. “Foreign Tongues,” the 27th studio album by The Stones, was released just this year, on July 10th.

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The Daily Elvis

1971: “Elvis Sings The Wonderful World of Christmas,” the fifteenth studio album and second Christmas album by Elvis Presley, is released to the usual good reviews and strong commercial sales of an LP by The King.

Unlike his first Christmas record, which included four gospel songs on Side-B, all of the tracks on “Elvis Sings The Wonderful World of Christmas” are traditional Christmas noels, or contemporary classics. Some of the most popular songs include “O Come All Ye Faithful,” “Winter Wonderland,” and “Silver Bells.” Some re-releases added his first Christmas hit, “Blue Christmas,” to the track list to please the fans.

The LP is certified 3x Platinum in the U.S.

The Rolling Stones in 2023, from left to right: Ron Wood (g), Mick Jagger (v; h; g), and Keith Richards (g; v).

Burnin’

1973: Legendary Jamaican reggae band The Wailers release their sixth studio album, “Burnin’.” Island Records had not yet added bandleader Bob Marley’s name to the group’s marquee.

Recorded in Kingston and in London, and produced by the band itself with record company executive and Island Records founder, Chris Blackwell, the collection of ten reggae songs was a hit on Billboard’s sub-chart in the U.S., reaching No. 41.

With the great tracks “Get Up, Stand Up,” composed by Bob Marley and Peter Tosh, “I Shot the Sheriff” by Marley, “Small Axe,” also by Marley, Tosh’s “One Foundation,” and the traditional Jamaican folk song, “Rasta Man Chant,” arranged by Marley, Tosh, and Neville Livingston (aka Bunny Wailer), the album was highly-rated by music writers. It carries 5-Stars at AllMusic, and is graded “A” in Christgau’s Record Guide.

Ranked No. 319 on Rolling Stone’s 500 Greatest Albums of All Time ©2012, it was also added to the Library of Congress National Recording Registry. That’s quite an honour for a non-American group!

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Damn the Torpedoes

1979: “Damn the Torpedoes,” the third album by American roots-rockers Tom Petty and The Heartbreakers, is released to commercial and critical success. The LP reached No. 2 on the Billboard 200, earned 3x Platinum certification in the U.S., and was rated 5-Stars by Rolling Stone.

Including a number of now-classic Tom Petty tunes, and certified double-Platinum in Canada, where it also reached No. 2 on the charts, the most famous cuts from the record are the hits, “Don’t Do Me Like That” and “Refugee.”

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Specials

1979: The Specials invoke a ska revival with their debut album, “Specials.” Combining elements of ska and reggae with and punk and new wave, in other words “two-tone,” and produced by Elvis Costello, the LP was highly-praised by critics.

Enjoying initial commercial success in the UK, reaching No. 4 on the U.K. Official Albums Chart and going Gold, it has since become a legendary album that perfectly captured a moment in time. The record sings of disaffected youth in the urban industrial jungle of late-1970’s Coventry, England. (where the famous London Cabs are built)

The New Musical Express ranked it No. 260 on its list of 500 Greatest Albums of All Time, and Rolling Stone ranked it No. 68 on its list of the 100 Best Albums of the 1980’s. It wasn’t released in the U.S. until 1980, therefore not part of the 1970’s ranking.

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Main Offender

1992: Legendary Rolling Stone Keith Richards releases his second solo studio album, “Main Offender.” Richards collaborated with drummer-producer Steve Jordan and guitarist-producer Waddy Wachtel to compose and produce the LP.

Steve Jordan formerly played in the Saturday Night Live band with Paul Shaffer, who then hired him into the Late Night with David Letterman band. He is currently the drummer for The Rolling Stones, though he is not an official member of group. He has also performed and recorded with dozens of famous artists across jazz, pop, and rock, including Herbie Hancock, Billy Joel, and Neil Young.

Waddy Wachtel is a well-known sideman and studio musician, who played with Warren Zevon, Linda Ronstadt, Stevie Nicks, Kim Carnes, James Taylor, and Iggy Pop, among a long list of recording artists.

Back to “Main Offender,” the LP was moderately-rated and moderately-successful commercially. The songs are good though, with the highlight tracks being “Eileen,” “Yap Yap,” “Runnin’ Too Deep,” and “Will but You Won’t.”

Released between the Stones’ projects “Steel Wheels” and “Voodoo Lounge,” the collection of rock, reggae, and R&B songs has a distinctively Steel Wheels guitar sound.

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The Monday Miles

1959: Columbia Records releases “Jazz Track,” the 37th album by legendary American trumpeter, composer, and bandleader Miles Davis. A compilation record, it was pressed by Columbia but also includes music previously-issued by Fontana Records.

It went largely unnoticed at the time because it was released only two months after the seminal masterpiece,“Kind of Blue,” and two months before “Workin’ with the Miles Davis Quintet.” The album was overshadowed by those two legendary LP’s.

Side-A is the American release of the music Davis recorded on December 4, 1957 for the Louis Malle film, Ascenseur pour l'échafaud (Elevator to the Gallows), which was released in 1958. Until “Jazz Track,” that score had only been available in Europe on a 10” vinyl disc, issued by Fontana.

Side-B features newly-released tunes that were recorded by Davis’s ensemble on May 26, 1958. The three tracks are the now-classics, “On Green Dolphin Street,” “Fran Dance,” and “Stella by Starlight.” In addition to Miles on trumpet, the sextet was comprised of future legends Cannonball Adderley (as), John Coltrane (ts), Bill Evans (p), Paul Chambers (b), and Jimmy Cobb (d).

All three of the Side-B tracks would appear on two other Miles compilations, plus the great posthumous release, “Birth of the Blue,” in 2024. Featuring the entire May 26, 1958 session, it’s the same sextet (plus Wynton Kelly for two tracks) that recorded “Kind of Blue,” in April of 1959.

“Birth of the Blue” was an important release. The original “Jazz Track” album had become difficult to find, and it didn’t include the entire session. Birth was essentially a previously-unreleased, fully composed Miles Davis LP. Columbia did an excellent job packaging it in 1958 stylings, as though it had been released way back then.

With both “Ascenseur pour l’échafaud” and the trio of 1958 recordings being absolutely phenomenal compositions, “Jazz Track,” despite being relatively unknown, is filled with legendary material. However, now that “Ascenseur pour l’échafaud” and “Birth of the Blue” are both available in their intended LP formats, “Jazz Track” is superfluous.

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The Daily Elvis

1955: Elvis performs at the Circle Theater in Cleveland. His appearance was filmed and became the short-subject documentary, The Pied Piper of Cleveland. It captured The King just as he began his rise to super-stardom.

Keith Richards and his 1952 Fender Bassman amp in 1992, from the photo session that produced the album cover for “Main Offender.”

It’s Only Rock ‘n Roll

1974: Legendary British Rock and Roll band The Rolling Stones release their 14th studio album, “It’s Only Rock ‘n Roll.” A transitional record for the group, it was the last to feature lead guitarist Mick Taylor and long-time producer Jimmy Miller. Jagger and Richards produced the LP under their pseudonym, The Glimmer Twins.

Although tepidly received by critics, the album is considered by many Stones’ fans to be among the band’s best. Well at least the Stones’ fan who is me. Reporting for The Village Voice, Lester Bangs wrote, “The Stones have become oblique in their old age, which is just another word for perverse except that perverse is the corniest concept extant as they realized at inception...” Firstly, what? Secondly, that’s a near-psychotic evaluation of the album. Plus, even in 1974, using the term “old age” for the Stones was ridiculous. Mick and Keith were 31.

Combining the usual rock and blues of Stones’ music with elements of funk and reggae, it also features many of the Stones’ regular collaborators from the past, including sixth member and road manager Ian Stewart on piano for three tracks. Billy Preston appears on clavinet (Stevie Wonder influence?) for two tracks, and Nicky Hopkins also plays on piano for an additional five songs. Ray Cooper of the Elton John band handles percussion for the first time on a Rolling Stones LP, and would be part of the group’s orbit for the next ten years.

Foreshadowing Mick Taylor’s replacement, Ronnie Wood plays guitar on the title track, “It’s Only Rock ‘n Roll (But I Like It).” The basic tracks for the song were recorded during a jam session Mick Jagger and David Bowie had with English group The Faces. David Bowie subsequently sings background vocals on the song, Kenny Jones plays drums, and American Willie Weeks, who was part of the jam, is on bass guitar.

Jagger was so pleased with the outcome, rather than re-record it, he brought it to Richards, who overdubbed guitar parts, and the two added more vocals and production to create the final cut. Peaking at No. 16 on the Billboard Hot 100 and No. 13 in Canada, “It’s Only Rock ‘n Roll (But I Like It)” is an enduring classic.

Another highlight of the LP is track five, “Time Waits for No One.” A song out of character for the Stones, its slow and hypnotic groove is punctuated by Jagger’s ghostly vocals. It ends with an extended guitar solo by Mick Taylor, the length of which was also uncharacteristic. It remains one of the best solos recorded on a Stones’ record.

Those aren’t the only great songs on “It’s Only Rock ‘n Roll.” All are excellent, but additional highlights include “If You Can’t Rock Me,” “Dance Little Sister,” the reggae-influenced “Luxury,” the ballad, “‘Til the Next Goodbye,” and the definitive cover of the Whitfield-Holland Motown classic, “Ain’t Too Proud to Beg,” originally recorded by The Temptations in 1966.

The album itself would be the fourth consecutive Rolling Stones record to reach No. 1 on the Billboard 200, a streak that would end at eight in 1981, with “Tattoo You.” It also reached the Top-10 in Canada, Australia, Netherlands, Austria, Italy, Finland, Norway, Sweden, and the United Kingdom. The LP was certified Platinum in Canada and the US, and Gold in the UK and France. Audiences knew better than critics in this case.

This is one of my favourite Rolling Stones albums!

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Them or Us

1984: Frank Zappa releases his 40th LP, the double-album, “Them or Us.” Issued on FZ’s proprietary label Barking Pumpkin, it was distributed by new partner EMI on its Capitol Records subsidiary.

Zappa’s regular distributor at the time had refused to issue the triple-LP, “Thing-Fish,” delaying its release to November of 1984 despite being completed in 1983. That forced Zappa to seek out a new distribution deal.

Typical of many records by the legendary bandleader and composer, “Them or Us” is neither a live nor a studio album, with many basic tracks recorded live and subject to extensive studio overdubbing.

A few songs were recorded fully in the studio, most notably “Be in My Video,” “Ya Hozna,” and “Frogs with Dirty Little Lips.” Hozna features backward vocals taken from the previously-released FZ songs, “Sofa No. 2” (LP: One Size Fits All), “Lonely Little Girl” (LP: We’re Only in It for the Money), and “Valley Girl” (LP: Ship Arriving Too Late to Save a Drowning Witch.) Much to the chagrin of the Parents Music Resource Center, none of the backward tracks has satanic messages!

A guitar-heavy album, it features several extended Zappa guitar solos, as well as solos from the inimitable Steve Vai, and a solo by FZ’s 14-year old son, Dweezil. Highlight tracks include a cover of an old R&B song by The Channels, “The Closer You Are;” a new version of the classic Zappa track, “Sharleena,” originally appearing on his 1971 solo album, “Chunga’s Revenge;” and the musically great, but lyrically juvenile (which has its own charms), “In France.”

Songs with great guitar solos include “Stevie’s Spanking” (Steve Vai and then FZ), the afformentioned “Sharleena” (Dweezil), “Truck Driver Divorce” (FZ), “Sinister Footwear II” (FZ), “Marquee’s Chicken” (FZ), and an excellent cover of The Allman Brothers Band song, “Whipping Post,” written by Gregg Allman. Zappa plays the guitar solo on that track as well, with powerful and soulful lead vocals by keyboard player Bobby Martin.

With the basic live tracks taken from two separate Zappa tours, plus studio recordings and overdubs, a long list of 20 talented musicians perform on the album. The core backing band in those days was comprised of Ray White (v; g), Tommy Mars (key), Bobby Martin (key), Scott Thunes (bg), Chad Wackerman (d), and Ed Mann (perc). In addition to Steve Vai and Dweezil Zappa, special guests included Johnny Guitar Watson, one of FZ’s influences, singing lead vocal on “In France;” FZ’s daughter Moon Zappa, via the backward vocal track from “Valley Girl;” and popular Zappa alumnae Roy Estrada on vocals, via the backward track “Lonely Little Girl;” George Duke (p), and Napoleon Murphy Brock (v).

“Them or Us” was the second Zappa album I ever bought, after “200 Motels,” and it remains one of my favourites, certainly of his 1980’s work, but also of his entire discography. It just reaches me. Of course I will be spinning it today.

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Traveling Wilburys Vol. 1

1988: Traveling Wilburys Vol. 1, the debut album by supergroup Traveling Wilburys, is released to massive critical and commercial success. The LP went to No. 1 in the U.S., Canada, and Australia. It earned widespread acclaim from music writers, including 5-Star and “A-” ratings from several publications.

The LP is 6x Platinum in Canada, 6x Platinum in Australia, 3x Platinum in the U.S., and Platinum in the United Kingdom.

Comprised of ex-Beatle George Harrison (Nelson Wilbury), Jeff Lynne (Otis Wilbury) of Electric Light Orchestra, Heartbreakers founder and leader Tom Petty (Charlie T. Wilbury), Rock and Roll pioneer Roy Orbison (Lefty Wilbury), and the legend of legends, Bob Dylan (Lucky Wilbury), this was perhaps the most super of supergroups. All five members were highly-accomplished singer-songwriters with years of successful albums and singles to their credit.

Two of the singles were Top-10’s, “Handle With Care,” written by Harrison and Orbison, and “The End of the Line,” by Harrison, Orbison, Lynne, and Petty. Other great songs include “Last Night” by Petty and Orbison, and “Not Alone Anymore” by Orbison. The best track, and my favourite from the record, is unsurprisingly written entirely by Bob Dylan, “Tweeter and the Monkey Man.” Canadian band Headstones do a fabulous hard rock version of the song. An unofficial video for that cover, using clips from the movies “Savages,” “Gone in Sixty Seconds,” and “Drive,” is available on YouTube.

I’ll be enjoying this album tonight, as well!

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The Daily Elvis

1956: While driving his white Lincoln Continental Mark II in Memphis, Elvis notices gas fumes. He pulls in to a Gulf Oil service station to have it checked, but is quickly mobbed by young female fans seeking an autograph.

The station manager commands Elvis to move his car, an argument ensues, then the manager slaps Elvis in the face and pulls a knife. Elvis punched the manager, then defended himself against an employee. They rued the day that they messed with The King!

All three were arrested, and Elvis was booked on assault charges with $52 set as bail. The jail received over 200 phone calls from adoring fans offering to pay for Elvis’s bail.

The following day all charges were dismissed.

The Rolling Stones in 1974, from left to right: Mick Jagger (v; g; h), Charlie Watts (d), Keith Richards (g; v), Bill Wyman (bg), and Mick Taylor (g; v).

Making Movies

1980: Classic English rockers Dire Straits releases their landmark third studio album, “Making Movies.” Well-received by critics, and hailed by fans as the group’s best album at the time, it would reach No. 19 on the Billboard 200, No. 4 in the U.K., and No. 1 in Norway, eventually going Platinum in the U.S., the U.K., Canada, and three other markets.

Side-A features the excellent long-form tracks, “Tunnel of Love,” “Romeo and Juliet,” and “Skateaway,” for which a video trilogy titled “Making Movies,” was conceived and directed by American photographer Lester Bookbinder. The videos have a cool Eighties aesthetic, but advance the narrative too literally.

Though Side-B doesn’t quite measure-up to its obverse, the songs are still good enough to make this, in my opinion, the group’s best album. “Brothers in Arms” however is very close. I’ll enjoy listening to this one today!

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The River

1980: “The River,” the fifth studio album by American singer-songwriter and Boss Bruce Springsteen is released. It is the first, and so far only, studio double-album from Springsteen. However, “The Rising” at 72 minutes long, would have been a 2-LP release had it not been issued during the CD era.

Once again featuring The E Street Band, and produced with bandmate “Little Steven” Van Zant, the recored is a collection of mostly short, straight-ahead Rock and Roll songs. On the strength of seven hit singles, including “Hungry Heart,” “The River,” and “Cadillac Ranch,” it reached No. 1 on the Billboard 200 and was certified 5x Platinum in the U.S.

In Canada, “The River” was No. 1 on the RPM 100 and was certified 2x Platinum. It also went Gold or Platinum in ten other countries, breaking into the Top-10 in eight, including Australia, France, and Sweden.

The hits weren’t the only great tracks, however. All of the songs are fabulous, with additional highlights being “Jackson Cage,” “The Ties That Bind,” “Crush on You,” “Out in the Street,” “Wreck on the Highway,” and “Ramrod.”

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Street Survivors

1977: Lynyrd Skynyrd releases their fifth studio album, “Street Survivors.” Produced by Tom Dowd at the legendary Muscle Shoals Studios for MCA Records, it features the classic tracks, “What’s Your Name,” and “That Smell.”

Only three days later, on October 20, 1977, band members Ronnie Van Zant, Steve Gaines, and Cassie Gaines, along with the band’s assistant road manager, Dean Kilpatrick, and flight crew Walter McCreary and Willam Gray, were tragically killed in a plane crash during the band’s chartered flight to Baton Rouge, LA. Allen Collins survived, but suffered severe injuries and had to leave the band. He would eventually recover and re-join in 1979 for reunion performances, but “Street Survivors” was his last appearance on a studio record.

The LP reached No. 5 on the Billboard 200, No. 3 on the RPM 100, and was certified double-Platinum in the U.S., plus Gold in Canada.

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Fisherman’s Blues

1988: The great English band with the Scottish founder and frontman, The Waterboys, release their also-great fourth studio album, “Fisherman’s Blues.” It’s the group’s first album to be entirely folk-rock, following three art-rock and post-punk records. The title track to their prior release, “This is the Sea,” which is the last track on the album, foreshadowed their turn, which was hastened by the departure of keyboard player Karl Wallinger.

Though the band has never become a household name in North America, it has a strong following in Europe. With the excellent tracks “Fisherman’s Blues,” “Sweet Thing,” “World Party,” and “A Bang on the Ear,” the album was a commercial success in the Euro-zone.

It peaked at No. 13 in the U.K., and went to No. 7 in Norway. In both the U.K. and Ireland, it is certified Gold. Also included on the LP is a great cover of Woody Guthrie’s folk classic, “This Land is Your Land,” and “The Stolen Child,” a musical presentation of the famous W.B. Yeats poem.

Wallinger co-wrote the song “World Party,” and would use that title as the name for the band he formed after launching his solo career.

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12 X 5

1964: “12 X 5,” the second studio album by The Rolling Stones, is released. Issued only in North America, it expanded upon the August, 1964 EP named “Five by Five,” released only in the U.K. shortly after their debut album.

Still mostly a cover band, only three of the 12 R&B tracks were penned by Jagger-Richards, plus one group composition under the pseudonym, Nanker Phelge. With several hit singles such as “Around and Around,” “Time Is on My Side,” and “It’s All Over Now,” the album would reach No. 3 on the Billboard 200 and be certified Gold.

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The Daily Elvis

1976: Performing at the Metropolitan Sports Center in Bloomington, MN, Elvis wows the sold-out audience with an energetic show. Clad in his Inca Gold Leaf jumpsuit, The King was in good health that night, despite dealing with several medical problems at the time. The concert was recorded and released as part of the Follow That Dream series of retrospective live CD’s in 2010.

The E Street Band taking a bow after their performance on December 31, 1980. From left to right: Clarence “Big Man” Clemons (ts; v), Bruce Springsteen (g; v), Garry Tallent (bg), Max Weinberg (d), Roy Bittan (p; v), “Little Steven” Van Zant (g; v), and Danny Federici (org; v).