Toronto Radio Time Machine; Live Aid 1985

QUEEN ~ "WE ARE THE CHAMPIONS";




THE WHO ~ "LOVE REIGN OVER ME";


37 years ago this week on July 13 1985; Live Aid, a benefit concert for the people of Ethiopia then suffering through a terrible famine and the largest benefit concert in the world at the time, took place with two simultaneous shows in London and Philadelphia as well as being broadcast worldwide in TV. Smaller concerts were also held in the Soviet Union, Canada, Japan, Yugoslavia, Austria, Australia and West Germany and parts of these shows were also aired.

DIRE STRAITS & STING ~ "MONEY FOR NOTHING";


Best known now (musically at least) for sets by Queen (that kicked off their comeback), a Black Sabbath reunion with Ozzy, a Led Zeppelin reunion (with Phill Collins), a Who reunion, Dire Straits (with Sting) and U2. The sets by U2, Dire Straits and Simple Minds helped make them major stadium stars, although in the case of Simple Minds it would not last. In checking out the line-up I see there were several last minute additions not on the poster including Black Sabbath (with Ozzy), Tom Petty, Madonna, The Hooters, Tina Turner, Paul McCartney, Cliff Richard, Four Tops, RUN DMC, George Thorogood w/Bo Diddly & Albert Collins, BB King (via satellite from Holland) Prince (ditto), Loudness (from Tokyo), Autograph (from Russia), Kool & The Gang (from a studio), Pat Metheny, CSNY, The Beach Boys, Joan Baez, Teddy Pendergrast (in his first appearance aftr being paralyzed in a car accident) and Dylan with Keith Richards & Ron Wood closing the show. Most acts did from one to three songs bout a few got slightly longer sets. Phill Collins actually played both shows as he palyed London then hopped on the Concorde and flew to America to play with Zeppelin. As I recall the set with Dylan, Keith Richard and Ron Wood was a complete trainwreck as was the Zeppelin set as it was obvious none of them had bothered to rehearse.

U2 ~ "SUNDAY BLOODY SUNDAY";


The concert was a by-product of the "Do They Know It's Christmas" single the previous year arranged by Bob Geldoff and Midge Ure and the following singles in America ("We Are The World") and Canada "Tears Are No Enough"). I was too young to have actually seen any of these bands but as a New Wave kid watching on TV I was primarily there for U2, Simple Minds, Pretenders, Ultravox and Adam Ant in that order.

SIMPLE MINDS ~ "DON'T YOU FORGET ABOUT ME";


In Toronto one oddity was that the only radio station that simulcast the entire concert was the tiny campus station CKLN (rival CIUT did not go on air until the next year) using their cable feed. CKLN had been on air since 1981 and was by this point known as a station which played underground and avant garde music and most of the bill was totally mainstream but among the New Wave acts who had been on the CKLN/campus charts only a few years earlier; U2, Simple Minds, the Pretenders, Ultravox, the Boomtown Rats, Tom Petty, Elvis Costello, Style Council, Adam Ant, Sting (in the Police), the Cars, Alison Moyet (in Yazoo), Paul Young (in the Q-Tips), Tears For Fears (including as the Graduates), Run DMC and Judas Priest plus Bowie, Bryan Ferry, Paul Simon's "Graceland" & Neil Young's "Trans" albums. Although by 1985 some of these acts certainly still got some airplay on CKLN along with other campus stations that were less aggressively avant garde than CKLN.

THE PRETENDERS ~ "MIDDLE OF THE ROAD";




By contrast here are the actual CKLN Charts for July/85; The Jesus & Mary Chain (and it's early wall-of-feedback era too, Hell Yeah!), Nick Cave, Black Flag, the Barracudas, Deja Voodoo, REM, Talking Heads (their last decent album), Discharge, Robert Fripp, Jah Wobble, Psychic TV, Rain Parade, Primal Scream, A Certain Ratio, Del Amitri, the Redskins (best name for a Marxist Mod band ever), Slaughter (the Toronto Thrash band not the later US Hair Metal band), Living Proof, Suzanne Vega, Roy Orbison's comeback album and the soundtracks for "Repo Man" & "Return Of The Living Dead". About the only bands here that could have possibly been asked to play Live Aid would have been Talking Heads if they had not essentially stopped touring by that point and maybe Robert Fripp with King Crimson who also were not touring. I could possibly see Suzanne Vega doing "Luka" in a studio via satellite. REM had not yet made the jump to stadium status by that point. Mind you it would have been cool if early Jesus & Mary Chain and Deja Voodoo had played. And by cool I mean a glorious clusterfuck of historic proportions. I don't think the TV audience was ready for that.

THE JESUS & MARY CHAIN ~ "NEVER UNDERSTAND";


BLACK FLAG ~ "NOTHING LEFT INSIDE";


BLACK FLAG ~ "LOOSE NUT";


DISCHARGE ~ "NEVER AGAIN";


THE BARRACUDAS ~ "SUMMER FUN";


THE REDSKINS ~ "KEEP ON KEEPING ON";


A CERTAIN RATIO ~ "SHACK UP";


DEJA VOODOO;




DEJA VOODOO ~ "STRANGE";


DEJA VOODOO ~ "CEMETARY";


BLACK SABBATH ~ "WICKED WORLD";

BLACK SABBATH ~ "THE WRIT";


BLACK SABBATH ~ "WARNING";


BLACK SABBATH ~ "F/X";

Throwback Thursdays Retro Video Project Pres; Black Sabbath & Monster Magnet

This week on my Throwback Thursdays Retro Video Project; Black Sabbath and Monster Magnet.

You wouldn't normally think of Sabbath as subject for some artsy film mashups but there's a couple.

BLACK SABBATH ~ "EMBRYO";


This one uses one of the earliest short clips from Edison Studios circa 1894.

BLACK SABBATH ~ "FX";


For this little effects noodle I used some Edison Studios footage taken from the 1901 Pan-Am Expo in Buffalo which was incidentally where President Willaim McKinley was shot.

MATMOS ~ "FX";


This cover of the Sabbath song was from a Black Sabbath cover album and I used some more Edison Studios footage, this time of the aftermath of the San Fransisco earthquake and fire of 1904.

MONSTER MAGNET ~ "INTO THE VOID";


This epic cover came from yet another Sabbath tribute. Uses a Polish film based on the Gogol story "The Portrait".

MONSTER MAGNET ~ "EGO THE LIVING PLANET";


With their 1995 album "Dopes To Infinity" album Monster Magnet produced the greatest album Black Sabbath never made. More footage from the Edison Studios footage of the San Francisco Earthquake for this instrumental.

MONSTER MAGNET ~ "MASTERBURNER";


For this track I used a short art film made by Yoko Ono as part of Flux Films, a Dada art Collective in 1967.

MONSTER MAGNET ~ "KING OF MARS";


This video used another art film, by Robert Breer from 1970

BLUE CHEER ~ "MAGNOLIA CABOOSE BABYFINGER";


Before there was Black Sabbath there was Blue Cheer. This vid uses some test footage from a horror film from the British studio Hammer Films in the 1960's

The Lego Will Rock

I swear I could watch these every day for the rest of my life;

JOY DIVISION ~ "TRANSMISSION";


JOY DIVISION ~ "SHE'S LOST CONTROL";


THE SEX PISTOLS ~ "GOD SAVE THE QUEEN";


KILLING JOKE ~ "REQUIEM";


THE DAMNED ~ "NEW ROSE";


MOTORHEAD ~ "ACE OF SPADES";


THE CULT ~ "SHE SELLS SANCTUARY";


AC/DC ~ "THUNDERSTRUCK";


IRON MAIDEN ~ "THE NUMBER OF THE BEAST";


IRON MAIDEN;


KISS ~ "DETROIT ROCK CITY";


ADAM ANT ~ "STAND AND DELIVER";


And I don't even like Kiss, in fact I loathe them. Now I await Lego Bauhaus, Siouxsie, Sabbath, Runaways and Van Halen;
BAUHAUS ~ "DARK ENTRIES";


SIOUXSIE ~ "HONG KONG GARDEN";


BLACK SABBATH ~ "PARANOID";


THE RUNAWAYS ~ "CHERRY BOMB";


VAN HALEN ~ "JUMP";

The really long notes

In my earlier post I talked about some great really short songs, mostly punk. These are the obvious logical extension of punk's "less is more" philosophy which came as a result of the excesses of the psychedelic era, like long sprawling solos, rock operas, and endless Grateful Dead concerts that went on for days. I am down with that in theory. But you have to admit there were some really cool, really long songs of the psychedelic era. Before prog rock had to ruin everything.

The evolution of rock from the Jump Blues, Swing, R&B, Rockabilly, Doo-Wop, Honky-Tonk, Girl Group, Skiffle, Mersey Beat, Surf, Frat Rock, Folk Rock, Garage days of rock's first decade to the Psychedelic excess of the late 1960's was actually perfectly logical in retrospect. The first generation of Rock was based around the limitations of the jukebox single, tightly constructed dance songs or ballads that could fit onto a two and half to four minute single. AM radio simply followed that model. However by the late sixties the single had been taken over as the main focus of Rock by the long playing album which meant that artists were no longer faced with the time limitations of the 45 single. Jazz musicians had already been exploring this new freedom with the likes of John Coltrane, Miles Davis, Cecil Taylor and Ornette Coleman abandoning structured, song oriented swing in favour of long jam oriented suites with extended solos that could take up the entire side of an album. Many Rock musicians were fully aware of these developments and were eager to engage in some of the same freedoms.

This brings us to the other change in rock in it's second generation aside from the technical development of the LP, and that is the fact that both the artists and audience had now grown up listening to Rock and Roll and were not just high school kids and working class youth but now included middle class, educated and cultured youth who would never have been caught dead listening to Rock and Roll in the 1950's. It's often forgotten that in Rock's first decade few university students took it seriously and instead listened to either jazz, folk or pop vocals. However by the late sixties there were a whole generation of youth who had grown up with Rock and Roll as well as being exposed to jazz and classical music as well as poetry and high literature and art. For these musicians the freedom of being able to explore these ideas in the context of Rock and Roll was perfectly logical. Others had also developed ideals of virtuoso musicianship that opened the way for extended jazzy solos and instrumentals. Add in to this the influence of psychedelic drugs, pot and/or heroin as well in place of the liquor and pills of the 1950's as an added ingredient. The new medium of FM radio, looking for a way to differentiate itself from AM radio's top 40 formats eagerly embraced these new approaches.

Later this sort of experimentation would lead to sprawling, wretched excess of course. And hopelessly wrongheaded ideas like rock operas and classical rock fusions. Which would in turn lead to an inevitable back to basics reactions like punk, new wave, glam, pub rock and revivals of rockabilly and garage.

But as necessary as these reactions were, that doesn't mean that some of the early extended explorations of the psychedelic era should just be dismissed as bloated hippie crap. Some of the classic examples still stand as solid rock songs in their own right. Some are really just basic garage or R&B songs stretched out with long solos, (ie Iron Butterfly, CCR, Chambers Bros, Black Sabbath, Ten Years After, The Velvet Underground's "Sister Ray") while others are jazz influenced jams (Paul Butterfield, Jefferson Airplane, Pink Floyd, Pharaoh Sanders crossover epic) and then there are conceptual art pieces like The Velvet's "Heroin" or Arlo Guthrie's comedy jam.

The Top 20 over 7 minutes long (I figure they are so long that a Top 40 would go on forever);

1. The Chambers Brothers ~ "Time has come today";




2. Credence Clearwater Revival ~ "I heard it through the grapevine";




3. Paul Butterfield Blues Band ~ "East/West";




4. The Velvet Underground ~ "Heroin";




5. The Chambers Brothers ~ "Love peace and happiness";




6. Iron Butterfly ~ "In-a-Gadda-Da-Vida";




7. Credence Clearwater Revival ~ "Suzie Q";




8. Led Zeppelin ~ "Stairway to Heaven";




9. The Temptations ~ "Papa was a rolling stone";




10. The Doors ~ "The End";




11. Pink Floyd ~ "Interstellar Overdrive";




12. Black Sabbath ~ "Warning";




13. The Velvet Underground ~ "Sister Ray";




14. The Paul Butterfield Blues Band ~ "Work Song";




15. The MC5 ~ "Starship";




16. Vanilla Fudge ~ "You keep me hanging on";




17. Ten Years After ~ "Going home";




18. Quicksilver Messenger Service ~ "Who do you love";




19. Pharaoh Sanders; ~ "The creator has a master plan";



20. Tangerine Dream ~ "Journey through a burning brain" (a remix, couldn't find a embeddable copy of the original;



21. Arlo Guthrie ~ "Alice's Restaurant massacree";