The 1996 book "Rolling Stone's Alt-Rockarama" book of lists and trivia contained a list entitled "100+ Alt-Rock Super groups we hope never happen". This was a list of band name mashups used to creat new stupid band names for ill advised supergroup pairings. Notable examples incuded;
Agnostic Front Line Assembly
Average White Band of Susans
Echo and the Bunnymen Without Hats
Greatful Dead Kennedys
The Husker Doobie Brothers
Iggy Pop Will Eat Itself
Kool and the Gang of Four
Marvin Gaye Bikers on Acid
Peter Murphy's Law
The Scoolly dB's
The Simply Red Hot Chilli Peppers
Soul 2 Soul Asylum
Steely Danzig
Swing Out Sisters of Mercy
Zodiac Mindwarp and the Love and Rockets
You get the idea.
Since I love stupid pointless trivia even more than I love stupid pointless band names here are a few of my own suggestions for this stupid pointless list;
The Aero-Smiths
Alien Sex Pistols
Altered Images In Vogue
The Amboy Dukes of the Stratosphere
Anti Black Flag
The Anti-Human League
Atomic 7 Seconds
Balaam and the Comsat Angels
Amy Bauhaus
Aprilwine and Iron
The Beaumarks Inside
The Body Count 5
The Big Bad Livers
The Black Flag of Convieniance
Black Lips Arkansas
Black Sabbath Flag
The Black Sabbath Keys
The Blue Cheer Demons
The Blue Demon Oyster Cult
The Blue Oyster Magoos
Blue Demon Rodeo
Blue Oyster Rodeo
David Bow Wow Wowie
Boy George Micheal
The Bullet Boys Brigade
The Chalk Circle Jerks
The Chocolate Watchband of Susans
Christian Death Angel
Christian Death of Samantha
The Chromosome Cranks
Courtney Love and Rockets
The Cowboy Mouth Junkies
The Cowboy Murder Junkies
The Crowded Housemartins
Curiosity Killed The Stray Cats
The Cutting Crewcuts
Dead Cats Can Fly
Dead Guy Smiley
The Dead Kennedys Can Dance
The Dead Milkmen Can Dance
The Death of Samantha Ronson
Deja Voodoo Glow Skulls
Deja Voodoo Machine
The Del Lords of the New Church
Destroy All Monster Magnets
Dexy's Midnight Run DMC
Dinosaur Jr. Gone Wild
The Dream Syndicate of Sound
D.R.Eyehategod
The Dropkick Peter Murphys
Emerson, Lake and Robert Palmer
Fifth Durutti Column
The Flamin' Groovie Sideburns
The Flat Duo Jetboys
The Fleshtonie Braxtons
The Florida Razorbacks
Gang of 4 Skins
Gaye Bikers on Scratch Acid
Generation X-Ray Specs
Generation XTC
Gentle Giant Sand
Girlschooly D
The Go-Go Go Betweens
The Grapes of Wrathchild
Great Big Black Sea
Haircutting Crew
Hayseed Dixie Chicks
Richard Hellacopter & The Voidoids
Richard Helmet & The Voidoids
Holy Fuck Rounders
Iron Maiden Wine
Lambchop of God
Latex Generation X
LL Cool J Macias
The Lords of Scratch Acid
L7 Mary Three
The MC5 Star
Machine hHead
Magnetic Fields of The Nephelim
The Meatloaf Puppets
The Men Without Hats They Couldn't Hang
Meshugga-Knight
The Mighty Clouds of Joy Division
Mojo Nixon and Skid Row
Modern English Beat
Monster Voodoo Glow Skulls
Motley 2 Live Crue
The Mudhoneycombs
The Murder City Rollers
My Cordelia's Dad is Dead
Nashville Pussy Galore
The New York Toy Dolls
Nine Inch Nails Below Zero
999 Below Zero
999 Inch Nails
999 Pound Hammer
Nine Pound Hammer Below Zero
Pee Wee King Cob Steelie
The Knoxville Girlschool
The Luna-Chixdiggit
Nurse With Sucking Chest Wound
Operation Poison Ivy
Orchestral Maneuvers in The Dark Carnival
Hank Pennywise
Four Platinum Non Blondes
Poison Ivy Idea
Pretty Pink Boy Floyd
Prince and The Deep Purple Revolution
Public Images in Vogue
Puddle of Mudhoney
The Pukka Orchestra Manouvers in the Dark
Raised By Guitar Wolves
The Randypeter Murphys
The Raybeat Farmers
The Real Kids on the Block
Redd Kris Kross
Reel Big Fishbone
Renaldo and the Meatloaf
The Romeo Voidoids
Roomfull of Blue Cheer
Roomfull of Blue Demons
Roomfull of Blue Oyster Cult
Roomfull of Blue Rodeo
Roxx Gang Children
The Roxy Music Machine
Run DOA
The Samhain Roberts Band
Screamin' Lord Baltimore
Screamin' Lord Buckley
Secret Police Affair
Septic Death Angel
Seven Mary Three O'Clock
Sex Gang Children of Bodom
The Shadows of Gladys Knight
Sham 69 Eyes
The Sick Boys Next Door
The Silver Apples in Stereo
The Soft Boys Brigade
The Soft Boys Machine
Sonic Youth Brigade
Southern Culture Club on the Skids
Stray Cats Can Fly
The Subhuman League
Super Furry Animal Collective
System of a Down By Law
The Talking Motorheads
Teenage Head Fanclub
Teenage Headpins
The Thin White Amboy Dukes
The Thin White Dukes of the Stratosphere
They Might be Gentle Giants
They Might Be Giant Sand
The Ten Foot Polecats
The Tragically Hipsway
The Trashmen They Couldn't Hang
The Trashmen Without Hats
Tuuli Live Crew
Twisted Sisters of Mercy
The 2 Live Krewmen
The 2 Live Crewcuts
The 2 Live Cutting Crew
Type O Negative Approach
Type O Negative Trend
Undertones on Tail
Vanilla Ice T
The Velvet Underground Revolver
The Viletony Toni Tones
The Wanda Jackson Five
The White Flag of Convieniance
White Zombie Stripes
The Young Fresh Lions
It took me about a half hour to come up with those, OK make that an hour, or more. So I have no doubt you can come up with more. No fair using the names of bands that are so obscure nobody can tell if you're just making shit up.
Monday, 19 December 2011
Thursday, 1 December 2011
John Cage makes Iron Butterfly look like DRI
You think rock operas are absurdly long? How about free jazz solos? Emerson, Lake and Palmer? John Coltrane? Tangerine Dream? Amateurs all of 'em. Ladies and gentlemen I give you the reigning heavy weight champion (drum roll please); John Cage!
Whatever clever artsy idea you think you had, John Cage has already done it. Probably better too.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
JOHN CAGE & TAKEHISA KOSUGI:
World’s longest concert will last 639 years
By Maura Judkis (Washington Post)
You’d be praying for intermission if you attended even just a fraction of the world’s longest concert. Now in its 10th year, “Organ²/ASLSP(As SLow aS Possible),” by avant-garde composer John Cage, is just getting started.
Composer, John Cage rehearses his 12-hour composition "Empty Words" in Hartford, Conn., in 1981. (Anonymous - ASSOCIATED PRESS)
The concert began in 2001 at the former St. Burchard church in Halberstadt, Germany, and is scheduled to conclude in 2640, for a duration of 639 years. Though Cage did not specify a duration for his piece, the length was chosen because the start date for the performance is 639 years after Nicolaus Faber built the first church organ. Other performances of the piece have lasted between 29 and 70 minutes.
The Halberstadt performance, by an automated organ, progresses so slowly that visitors have to wait months for a chord change (for one note change, in 2008, more than 1,000 visitors came to listen). They occur on the fifth of the month, but the next one isn’t scheduled until July 2012. The organ emits a low meditative hum at all times. You can hear it on the ASLSP Web site.
The performance is so slow that the organ it is being played on was not even complete before the music began. Pipes were added to the organ, which keeps the music steady thanks to a machine called a blower that provides a constant stream of air, in 2008.
Supporters can sponsor a note for a year with a donation of 1000 € or more. Those who donate can choose any year through 2640, and will receive a metal plaque with their name and year in the church.
Fans of Cage, such as board chairman of the town’s John Cage Organ Foundation, Rainer Neugebauer, say that the performance is a rebuke of hectic modern life.
“Everything does not need to happen so fast. If something needs a bit longer then it can give us an inner calm that is rare in normal life.”
Update, Nov. 28: There is competition for the world’s longest concert. On Twitter, Mark Polishook alerts Arts Post to Longplayer, a 1,000-year-long musical score that is being played by computers.
JOHN CAGE PERFORMS "WATER WALK" ON "I'VE GOT A SECRET" 1950's;
JOHN CAGE NOISE SPECIAL 1966;
JOHN CAGES' "4:33" PERFORMED BY WILLIAM MARX;
Whatever clever artsy idea you think you had, John Cage has already done it. Probably better too.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
JOHN CAGE & TAKEHISA KOSUGI:
World’s longest concert will last 639 years
By Maura Judkis (Washington Post)
You’d be praying for intermission if you attended even just a fraction of the world’s longest concert. Now in its 10th year, “Organ²/ASLSP(As SLow aS Possible),” by avant-garde composer John Cage, is just getting started.
Composer, John Cage rehearses his 12-hour composition "Empty Words" in Hartford, Conn., in 1981. (Anonymous - ASSOCIATED PRESS)
The concert began in 2001 at the former St. Burchard church in Halberstadt, Germany, and is scheduled to conclude in 2640, for a duration of 639 years. Though Cage did not specify a duration for his piece, the length was chosen because the start date for the performance is 639 years after Nicolaus Faber built the first church organ. Other performances of the piece have lasted between 29 and 70 minutes.
The Halberstadt performance, by an automated organ, progresses so slowly that visitors have to wait months for a chord change (for one note change, in 2008, more than 1,000 visitors came to listen). They occur on the fifth of the month, but the next one isn’t scheduled until July 2012. The organ emits a low meditative hum at all times. You can hear it on the ASLSP Web site.
The performance is so slow that the organ it is being played on was not even complete before the music began. Pipes were added to the organ, which keeps the music steady thanks to a machine called a blower that provides a constant stream of air, in 2008.
Supporters can sponsor a note for a year with a donation of 1000 € or more. Those who donate can choose any year through 2640, and will receive a metal plaque with their name and year in the church.
Fans of Cage, such as board chairman of the town’s John Cage Organ Foundation, Rainer Neugebauer, say that the performance is a rebuke of hectic modern life.
“Everything does not need to happen so fast. If something needs a bit longer then it can give us an inner calm that is rare in normal life.”
Update, Nov. 28: There is competition for the world’s longest concert. On Twitter, Mark Polishook alerts Arts Post to Longplayer, a 1,000-year-long musical score that is being played by computers.
JOHN CAGE PERFORMS "WATER WALK" ON "I'VE GOT A SECRET" 1950's;
JOHN CAGE NOISE SPECIAL 1966;
JOHN CAGES' "4:33" PERFORMED BY WILLIAM MARX;
Saturday, 22 October 2011
Aaron Arsenic; RIP Dude
On October 21 Aaron Beamish, A.K.A. Aaron Arsenic, drummer with Toronto punk band Slow Motion Victory died when he was struck by a truck while he was skateboarding in the early morning and he died at the scene. He was only 2 but had already played with a number bands including Five Minutes to Glory, Sweet Lips and The Famous Monsters. But Slow Motion Victory were the most recent band, and the one most likely to actually be a success, having already gotten some buzz on CFNY after winning some sort of fan contest on Much Music. They're a basic pop punk band and not really on my radar, however they do have a cool version of the only Bryan Adams song that didn't suck.
Slow Motion Victory ~ "Run to you";
I knew him best from his earlier bands like the hardcore Five Minutes To Glory and The Misfits influenced Famous Monsters, who I booked a few times back in 2007-2008. They didn't have a cd but there is a Myspace page with some tracks on it.
The Famous Monsters ~ "Saturday Night" (live with dodgy sound);
Aaron was always a fun, upbeat, cheerful, friendly down-to-earth guy. And a great drummer too with a distinctive flailing but rock-solid style. We weren't really close but I remember running into him back in 2009 right after those lying scumbags at CKLN fucked me over and I was in a foul and bitter mood, he ran over and gave me a hug and offered to get me drunk. I don't drink but the gesture was sweet.
If he actually had lived to become the actual rockstar he clearly wanted to be I doubt it would have changed him. He still left behind a whole lot of friends, all of whom he deserved, and all of who already miss him.
A video someone put together of Aaron, (for some reason the music is from Blink 182);
Slow Motion Victory ~ "Run to you";
I knew him best from his earlier bands like the hardcore Five Minutes To Glory and The Misfits influenced Famous Monsters, who I booked a few times back in 2007-2008. They didn't have a cd but there is a Myspace page with some tracks on it.
The Famous Monsters ~ "Saturday Night" (live with dodgy sound);
Aaron was always a fun, upbeat, cheerful, friendly down-to-earth guy. And a great drummer too with a distinctive flailing but rock-solid style. We weren't really close but I remember running into him back in 2009 right after those lying scumbags at CKLN fucked me over and I was in a foul and bitter mood, he ran over and gave me a hug and offered to get me drunk. I don't drink but the gesture was sweet.
If he actually had lived to become the actual rockstar he clearly wanted to be I doubt it would have changed him. He still left behind a whole lot of friends, all of whom he deserved, and all of who already miss him.
A video someone put together of Aaron, (for some reason the music is from Blink 182);
Thursday, 20 October 2011
Some more early Rock n' Roll figures pass on
Some Rockers;
Sean Bonniwell ~ Singer/keyboards w/1960's garage punk group The Music Machine. Did the classic "Talk Talk";
The Music Machine ~ "Talk talk";
Gene Kurtz ~ 1960's Bassist/songwriter with Roy Head on "Treat her right" ~ 69
Roy Head & The Traits ~ "Treat her right";
Kim Brown ~ Singer/guitarist for 1960's English/Finnish garage bands The Renegades and The Cadillacs ~ 61
The Renegades ~ "Brand new Cadillac";
Bob Brunning ~ English Rock and Blues bassist w/ John Mayall, Fleetwood Mac, Savoy Brown ~ 68
Some early R&B figures;
Hubert Sumlin ~ blues Guitarist on many of Howlin Wolf's 1950's hits on Chess Records ~ 80
Howlin Wolf w/Hubert Sumlin & Willie Dixon~ "Smokestack Lightning";
Jimmy Norman ~ American R&B singer/songwriter/producer. Worked with Irma Thomas, Jimi Hendrix, The Coasters, Bob Marley. Co-wrote "Time is on my side" ~ 74
Jimmy Norman ~ "Here comes the night";
Freddie Ferrara ~ 1950's Doo Wop singer w/The Del-Satins, The Brooklyn Bridge
The Del Satins ~ "Remember";
Marv Tarplin ~ American guitarist and songwriter with Motown R&B group The Miracles. Although Tarplin stayed in the background, Robinson referred to him as his "secret weapon". He also worked on Smokey Robinson's solo records as well as Marvin Gaye and the Supremes ~ 70
The Miracles ~ "The tracks of my tears";
Wardell Quezergue ~ New Orleans 1950's & 60's R&B songwriter/producer w/ hits with Professor Longhair, “Iko Iko” by the Dixie Cups, “Barefootin’ ” by Robert Parker, “Groove Me” by King Floyd, “Mr. Big Stuff” by Jean Knight. ~ 81
Dixie Cups ~ "Iko Iko";
Sylvia Robinson ~ American 1950's R&B singer with Mikey Baker in Mickey & Sylvia. Later a record producer and record company co-founder of Sugar Hill Records ~ 75
Mickey and Sylvia ~ "No good lover";
George "Mojo" Buford ~ Blues harmonica player with Muddy Waters ~ 81
Muddy Waters & Mojo Buford ~ "Got my Mojo workin";
Jessy Dixon ~ American gospel singer ~ 73
Leonard Dillon ~ Singer with 1960's and 70's Jamaican ska and rocksteady group The Ethiopians ~ 68
The Ethiopians ~ "Train to Skaville";
Some folk and country figures;
Country Johnny Mathis ~ Not be confused with the pop singer, this Mathis was a country singer songwriter from the early 1950's to the 1960's recording for a number of labels as well as writing hit songs for Johnny Paycheck, Web Pierce and George Jones. ~ 77
Liz Anderson ~ 1950's Country singer and mother of singer Lynn Anderson ~ 81
Johnnie Wright ~ Country singer from the 1950's and 60's as part of Johnny And Jack with Jack Anglin until Anglin's death in a car accident in 1963. It was a benefit for Anglin's widow that Patsy Cline was returning from when her plane crashed killing her as well as Cowboy Copas and Hawkshaw Hawkins. Wright married Kitty Wells and was a songwriter with hits into the 1970's including "Seasons in the sun. ~ 97
Johnny & Jack ~ "I get so lonely" (w/ Ray Price and an intro by Roy Acuff);
Herbert "Bert" Jansch ~ Scottish folk rock guitarist both solo and with UK group Pentangle from 1968 to 1972 and then continuing on as a solo artist. He also played Banjo, Dulcimer, Concertina and Recorder. His guitar work is highly influential on British guitarists from Jimmy Page to Niel Young, Donovan, Nick Drake and later Johnny Marr. ~ 67
Pentangle ~ "Traveling song" & "Let no man steal your thyme";
Some jazzbos;
Sam Rivers ~ Bebop and Free Jazz sax, clarinet and flute player solo and w/Miles Davis, Herbie Hancock, Freddie Hubbard, Tony Williams, Anthony Braxton ~ 86
Al Vega ~ Boston based Jazz pianist w/Dizzy Gillespie, Betty Carter, Lester Young, Stan Getz, Billy Holiday ~ 90
Billy Bang ~ Violinist with Sun Ra 63
Sun Ra Arkrestra in Egypt;
Paul Motian ~ Jazz drummer w/Bill Evans, also played with Paul Bley, Keith Jarrett, Lennie Tristano, Warne Marsh, Joe Castro, Carla Bley, Charlie Haden, Don Cherry, Bill Frisell, Joe Lovano, Lee Konitz and even Arlo Guthrie (Motian performed briefly with Guthrie in 1968-69, and performed with the singer at Woodstock) ~ 80
Sean Bonniwell ~ Singer/keyboards w/1960's garage punk group The Music Machine. Did the classic "Talk Talk";
The Music Machine ~ "Talk talk";
Gene Kurtz ~ 1960's Bassist/songwriter with Roy Head on "Treat her right" ~ 69
Roy Head & The Traits ~ "Treat her right";
Kim Brown ~ Singer/guitarist for 1960's English/Finnish garage bands The Renegades and The Cadillacs ~ 61
The Renegades ~ "Brand new Cadillac";
Bob Brunning ~ English Rock and Blues bassist w/ John Mayall, Fleetwood Mac, Savoy Brown ~ 68
Some early R&B figures;
Hubert Sumlin ~ blues Guitarist on many of Howlin Wolf's 1950's hits on Chess Records ~ 80
Howlin Wolf w/Hubert Sumlin & Willie Dixon~ "Smokestack Lightning";
Jimmy Norman ~ American R&B singer/songwriter/producer. Worked with Irma Thomas, Jimi Hendrix, The Coasters, Bob Marley. Co-wrote "Time is on my side" ~ 74
Jimmy Norman ~ "Here comes the night";
Freddie Ferrara ~ 1950's Doo Wop singer w/The Del-Satins, The Brooklyn Bridge
The Del Satins ~ "Remember";
Marv Tarplin ~ American guitarist and songwriter with Motown R&B group The Miracles. Although Tarplin stayed in the background, Robinson referred to him as his "secret weapon". He also worked on Smokey Robinson's solo records as well as Marvin Gaye and the Supremes ~ 70
The Miracles ~ "The tracks of my tears";
Wardell Quezergue ~ New Orleans 1950's & 60's R&B songwriter/producer w/ hits with Professor Longhair, “Iko Iko” by the Dixie Cups, “Barefootin’ ” by Robert Parker, “Groove Me” by King Floyd, “Mr. Big Stuff” by Jean Knight. ~ 81
Dixie Cups ~ "Iko Iko";
Sylvia Robinson ~ American 1950's R&B singer with Mikey Baker in Mickey & Sylvia. Later a record producer and record company co-founder of Sugar Hill Records ~ 75
Mickey and Sylvia ~ "No good lover";
George "Mojo" Buford ~ Blues harmonica player with Muddy Waters ~ 81
Muddy Waters & Mojo Buford ~ "Got my Mojo workin";
Jessy Dixon ~ American gospel singer ~ 73
Leonard Dillon ~ Singer with 1960's and 70's Jamaican ska and rocksteady group The Ethiopians ~ 68
The Ethiopians ~ "Train to Skaville";
Some folk and country figures;
Country Johnny Mathis ~ Not be confused with the pop singer, this Mathis was a country singer songwriter from the early 1950's to the 1960's recording for a number of labels as well as writing hit songs for Johnny Paycheck, Web Pierce and George Jones. ~ 77
Liz Anderson ~ 1950's Country singer and mother of singer Lynn Anderson ~ 81
Johnnie Wright ~ Country singer from the 1950's and 60's as part of Johnny And Jack with Jack Anglin until Anglin's death in a car accident in 1963. It was a benefit for Anglin's widow that Patsy Cline was returning from when her plane crashed killing her as well as Cowboy Copas and Hawkshaw Hawkins. Wright married Kitty Wells and was a songwriter with hits into the 1970's including "Seasons in the sun. ~ 97
Johnny & Jack ~ "I get so lonely" (w/ Ray Price and an intro by Roy Acuff);
Herbert "Bert" Jansch ~ Scottish folk rock guitarist both solo and with UK group Pentangle from 1968 to 1972 and then continuing on as a solo artist. He also played Banjo, Dulcimer, Concertina and Recorder. His guitar work is highly influential on British guitarists from Jimmy Page to Niel Young, Donovan, Nick Drake and later Johnny Marr. ~ 67
Pentangle ~ "Traveling song" & "Let no man steal your thyme";
Some jazzbos;
Sam Rivers ~ Bebop and Free Jazz sax, clarinet and flute player solo and w/Miles Davis, Herbie Hancock, Freddie Hubbard, Tony Williams, Anthony Braxton ~ 86
Al Vega ~ Boston based Jazz pianist w/Dizzy Gillespie, Betty Carter, Lester Young, Stan Getz, Billy Holiday ~ 90
Billy Bang ~ Violinist with Sun Ra 63
Sun Ra Arkrestra in Egypt;
Paul Motian ~ Jazz drummer w/Bill Evans, also played with Paul Bley, Keith Jarrett, Lennie Tristano, Warne Marsh, Joe Castro, Carla Bley, Charlie Haden, Don Cherry, Bill Frisell, Joe Lovano, Lee Konitz and even Arlo Guthrie (Motian performed briefly with Guthrie in 1968-69, and performed with the singer at Woodstock) ~ 80
Monday, 5 September 2011
For MTV's 30th Anniversary, the first 20 videos MTV ever played
Aug. 1 was the 30th anniversary of MTV's first broadcast and here is the list of the first twenty video ever played on air;
THE BUGGLES ~ "VIDEO KILLED THE RADIO STAR";
1. The Buggles ~ Video killed the radio star
2. Pat Benatar ~ You better run
3. Rod Stewart ~ She won't dance
4. The Who ~ You better you bet
5. PHD ~ Little Susie's on the up
6. Cliff Richard ~ We don't talk anymore
7. The Pretenders ~ Brass in pocket
8. Tod Rundgren ~ Time heals
9. REO Speedwagon ~ Take it on the run
10. Styx ~ Rockin in the Paradise
11. Robin Lane & The Chartbusters ~ When things go wrong
12. Split Enz ~ History never repeats
13. 38 Special ~ Hold on loosely
14. April Wine ~ Just between you and me
15. Rod Stewart ~ Sailing
16. Iron Maiden ~ Iron Maiden
17. REO Speedwagon ~ Keep on loving you
18. The Pretenders ~ Message of love
19. Lee Ritenour ~ Mr. Briefcase
20. The Cars ~ Double life
(The final video of the first day was "Carouselambra" by Led Zeppelin)
PAT BENATAR ~ "YOU BETTER RUN";
The generational breakdown was;
From The Old Guard; Rod Stewart (twice), Cliff Richard, Todd Rundgren, The Who (4)
From The New Wave; The Pretenders (twice), The Cars, The Buggles, Split Enz, Pat Benatar, Robin Lane & The Chartbusters, PHD (7)
From The Stadium Rockers; REO Speedwagon (twice), April Wine, 38 Special, Styx
Plus one from Metal (Iron Maiden) and one from Jazz Fusion (Lee Ritenour).
Geographically the breakdown is;
From the USA ~ REO Speedwagon (twice), Pat Benatar, Todd Rundgren, The Cars, 38 Special, Styx, Robin Lane, Lee Ritenour (8, or 9 if we count REO twice)
From the UK ~ The Who, Rod Stewart (twice), Cliff Richard, The Pretenders (twice), PHD (5, or 7 if we count the Pretenders and Rod Stewart twice)
Plus one from New Zealand (Split Enz) and one from Canada (April Wine).
Gender wise there is less balance with only three females (unless we count The Pretenders).
THE PRETENDERS ~ "BRASS IN POCKET";
The biggest lack of balance though can be seen in one area. The list is completely lilly white, with not one black artist in the bunch. This is no anomaly either, the policy of MTV in the early years was too play as little black music as possible so as to not offend middle America. There were a few acceptable black black artists of course; Stevie Wonder, Lionel Ritchie, Dinah Ross, Donna Summer, The Commodores, Pointer Sisters along with some vintage footage of Motown artists and Jimi Hendrix. But that's about it. Hip Hop? Forget it. Hip Hop actually had been around for a few years by then, mostly in New York and a few other urban centers in the North East, however most black neighbourhoods didn't have cable yet and would not be seeing MTV anyway (most rural areas wouldn't be getting it either), and the MTV brass were desperate not offend their mostly white suburban viewers and the advertisers who love them.
ROBIN LANE & THE CHARTBUSTERS ~ "WHEN EVERYTHING GOES WRONG";
This Lilly White policy started to get them flack from some in the media fairly quickly and during one interview David Bowie once caused a scene when he dared to ask one of MTV's unctuous hosts ON THE AIR why they didn't play more black music. What blasted the white wall of MTV though was Micheal Jackson and "Thriller".
THE WHO ~ "YOU BETTER YOU BET";
Micheal Jackson had actually been on MTV's "acceptable" list already for his previous "Off the wall" album as well as for his older Jackson 5 videos. However the "Off the wall" Jacko was a young, clean cut, smiling boy next door type. "Thriller" Jacko wore a leather jacket, a sneer borrowed from Elvis and dance steps borrowed from James Brown and MTV was reluctant to touch that one until Jackson's record company and management threatened to boycott all their artists from MTV until MTV caved in. Which they did with whatever dignity they could manage. As we all know "Thriller" only turned out to be the biggest selling album of all time a wielded a series of number one hit videos. Suddenly MTV looked like geniuses and just as suddenly they were looking around for the next Jacko.
SPLIT ENZ ~ "HISTORY NEVER REPEATS";
And then up popped Prince. Actually he had also been around for awhile and even recorded a couple of albums which sold quite well on the black music charts and got good reviews from both black and white critics. However white top 40 radio wouldn't touch him. Partly due to his X-rated lyrics but also due to his dirty-old-man costume of raincoat, heels, lipstick and speedos. After seeing the squeaky clean Jacko dominate the charts and airwaves Prince went back to his closet and came back with a look that combined James Brown, Jimi Hendrix and Adam Ant along with a slightly more slick sound that would take him to the top as well, not only with black audiences but white one too. Thus did MTV contribute to the breaking down of racial barriers on the American airwaves, even if they had to be dragged kicking and screaming to the alter.
APRIL WINE ~ "JUST BETWEEN YOU AND ME";
Later MTV's latent conservatism (born of caution not politics) would cause them to completely miss out on the new post-punk American underground of the 1980's and 90's to the fury of the likes of The Dead Kennedys and others. It would be hard to deny that by then they deserved it too. I have written elsewhere on here comparing MTV with Canada's Much Music (who had their 25th anniversary last year) and there's no doubt that we got the better deal even before MTV gave up on music entirely and started turning out comedy jams and those loathsome reality TV shows. Still there was once a few years when MTV was the most powerful music broadcaster on the planet. And it wasn't always a bad thing.
THE DEAD KENNEDYS ~ "MTV GET OFF THE AIR";
THE BUGGLES ~ "VIDEO KILLED THE RADIO STAR";
1. The Buggles ~ Video killed the radio star
2. Pat Benatar ~ You better run
3. Rod Stewart ~ She won't dance
4. The Who ~ You better you bet
5. PHD ~ Little Susie's on the up
6. Cliff Richard ~ We don't talk anymore
7. The Pretenders ~ Brass in pocket
8. Tod Rundgren ~ Time heals
9. REO Speedwagon ~ Take it on the run
10. Styx ~ Rockin in the Paradise
11. Robin Lane & The Chartbusters ~ When things go wrong
12. Split Enz ~ History never repeats
13. 38 Special ~ Hold on loosely
14. April Wine ~ Just between you and me
15. Rod Stewart ~ Sailing
16. Iron Maiden ~ Iron Maiden
17. REO Speedwagon ~ Keep on loving you
18. The Pretenders ~ Message of love
19. Lee Ritenour ~ Mr. Briefcase
20. The Cars ~ Double life
(The final video of the first day was "Carouselambra" by Led Zeppelin)
PAT BENATAR ~ "YOU BETTER RUN";
The generational breakdown was;
From The Old Guard; Rod Stewart (twice), Cliff Richard, Todd Rundgren, The Who (4)
From The New Wave; The Pretenders (twice), The Cars, The Buggles, Split Enz, Pat Benatar, Robin Lane & The Chartbusters, PHD (7)
From The Stadium Rockers; REO Speedwagon (twice), April Wine, 38 Special, Styx
Plus one from Metal (Iron Maiden) and one from Jazz Fusion (Lee Ritenour).
Geographically the breakdown is;
From the USA ~ REO Speedwagon (twice), Pat Benatar, Todd Rundgren, The Cars, 38 Special, Styx, Robin Lane, Lee Ritenour (8, or 9 if we count REO twice)
From the UK ~ The Who, Rod Stewart (twice), Cliff Richard, The Pretenders (twice), PHD (5, or 7 if we count the Pretenders and Rod Stewart twice)
Plus one from New Zealand (Split Enz) and one from Canada (April Wine).
Gender wise there is less balance with only three females (unless we count The Pretenders).
THE PRETENDERS ~ "BRASS IN POCKET";
The biggest lack of balance though can be seen in one area. The list is completely lilly white, with not one black artist in the bunch. This is no anomaly either, the policy of MTV in the early years was too play as little black music as possible so as to not offend middle America. There were a few acceptable black black artists of course; Stevie Wonder, Lionel Ritchie, Dinah Ross, Donna Summer, The Commodores, Pointer Sisters along with some vintage footage of Motown artists and Jimi Hendrix. But that's about it. Hip Hop? Forget it. Hip Hop actually had been around for a few years by then, mostly in New York and a few other urban centers in the North East, however most black neighbourhoods didn't have cable yet and would not be seeing MTV anyway (most rural areas wouldn't be getting it either), and the MTV brass were desperate not offend their mostly white suburban viewers and the advertisers who love them.
ROBIN LANE & THE CHARTBUSTERS ~ "WHEN EVERYTHING GOES WRONG";
This Lilly White policy started to get them flack from some in the media fairly quickly and during one interview David Bowie once caused a scene when he dared to ask one of MTV's unctuous hosts ON THE AIR why they didn't play more black music. What blasted the white wall of MTV though was Micheal Jackson and "Thriller".
THE WHO ~ "YOU BETTER YOU BET";
Micheal Jackson had actually been on MTV's "acceptable" list already for his previous "Off the wall" album as well as for his older Jackson 5 videos. However the "Off the wall" Jacko was a young, clean cut, smiling boy next door type. "Thriller" Jacko wore a leather jacket, a sneer borrowed from Elvis and dance steps borrowed from James Brown and MTV was reluctant to touch that one until Jackson's record company and management threatened to boycott all their artists from MTV until MTV caved in. Which they did with whatever dignity they could manage. As we all know "Thriller" only turned out to be the biggest selling album of all time a wielded a series of number one hit videos. Suddenly MTV looked like geniuses and just as suddenly they were looking around for the next Jacko.
SPLIT ENZ ~ "HISTORY NEVER REPEATS";
And then up popped Prince. Actually he had also been around for awhile and even recorded a couple of albums which sold quite well on the black music charts and got good reviews from both black and white critics. However white top 40 radio wouldn't touch him. Partly due to his X-rated lyrics but also due to his dirty-old-man costume of raincoat, heels, lipstick and speedos. After seeing the squeaky clean Jacko dominate the charts and airwaves Prince went back to his closet and came back with a look that combined James Brown, Jimi Hendrix and Adam Ant along with a slightly more slick sound that would take him to the top as well, not only with black audiences but white one too. Thus did MTV contribute to the breaking down of racial barriers on the American airwaves, even if they had to be dragged kicking and screaming to the alter.
APRIL WINE ~ "JUST BETWEEN YOU AND ME";
Later MTV's latent conservatism (born of caution not politics) would cause them to completely miss out on the new post-punk American underground of the 1980's and 90's to the fury of the likes of The Dead Kennedys and others. It would be hard to deny that by then they deserved it too. I have written elsewhere on here comparing MTV with Canada's Much Music (who had their 25th anniversary last year) and there's no doubt that we got the better deal even before MTV gave up on music entirely and started turning out comedy jams and those loathsome reality TV shows. Still there was once a few years when MTV was the most powerful music broadcaster on the planet. And it wasn't always a bad thing.
THE DEAD KENNEDYS ~ "MTV GET OFF THE AIR";
Thursday, 25 August 2011
RIP to Jerry Leiber
Exhibit A;
"Hound Dog" ~ Big Mama Thorton w/ Buddy Guy;
Jerry Leiber and Mike Stoller were the greatest songwriters of the early rock & Roll/R&B era bar none. Their catalog reads like a how-to list for everything Rock & Roll, was, is and always should be. Which it is.
Exhibit B;
"Jail House Rock" ~ Elvis Presley;
How it took a couple of nice Jewish kids from New York to figure out how to take the the raw sounds of blues and doo-wop and modernize them for an new audience of white kids is one of those great unanswerable questions of pop culture history but Leiber and Stoller were there even before Phil Spector, Alan Freed, Bill Haley or Elvis. If not Sam Phillips. But while Phillips was a producer with a fine ear, he was no songwriter Leiber and Stoller were.
Exhibit C;
"Love potion number 9" ~ The Searchers;
The list of songs in their catalog includes no less than a hundred chart hits for a bewildering array of artists including, but not limited to;
The Beatles, Elvis Presley, Walker Bros, Rolling Stones, Ben E King, Drifters, Coasters, Wilbert Harrison, Beach Boys, Dion, Billy Thorpe, Searchers, Little Richard, The Crystals, Drifters, Brenda Lee, Bad Company, Tony Sheridan, The Hollies, Diamonds, Cheers, Freddie Bell, Big Mama Thorton, Jimmy Witherspoon, The Kinks, Lords, Groupies, Ronnie Hawkins, Dr.Feelgood, Otis Redding, Mickey Gilley, Jimi Hendrix, Johnny Burnett, Gene Vincent, Albert King, Koko Taylor,Dave Clark Five, Manfred Mann, Paramounts, Del Shannon, Animals, Merle Haggard, Link Wray, Frankie Lymon, Carl Perkins, Wayne Fontana, Ventures, Freddie & The Dreamers, Sha Na Na (of course) and ...ummm...Alvin and the Chipmunks, several times.
Exhibit D;
"Poison Ivy" ~ Billy Thorpe & The Aztecs;
The Duo started out in the 1950's as writers with hits for such blues and R&B figures as Big Mama Thorton, Wilbert Harrison and Jimmy Witherspoon before they were surprised to find one of those songs, "Hound Dog", become a hit for a young largely unknown white kid named Elvis. They would write a series of other hit song for him including "Love Me", "Loving You", "Don't", "Jailhouse Rock" and "King Creole". However most of their time would be writing numerous hits for black artists like the Coasters and Ben E King throughout the 1960's.
Exhibit E;
"I'm a hog for you" ~ The Lords;
They would also also branch out into owning record label Red Bird Records, which issued the Shangri-Las' "Leader of the Pack" and the Dixie Cups' "Chapel of Love" which they did not write however. As producers they also acted as mentors to the young Phil Spector. They also won a ton of awards.
Exhibit F;
"Kansas City" ~ The Beatles;
As time went on their tastes went to more elaborate pop songs that would lead to hits for Edith Piaf and Peggy Lee. They would continue into the 1970's with hits for Stealer's Wheel, Earth Wind and Fire, Elkie Brooks, George Benson, Steely Dan and Mezzo-soprano Joan Morris and her pianist-composer husband William Bolcom, which had little to do with rock and roll.
Exhibit G;
"Ruby Baby" ~ Dion;
However they also lived to see their early Rock and R&B hots are still covered down to the punk era by the likes of Dr.Feelgood, The Lambrettas, Los Straitjackets, Mink DeVille, El Vez, Queen, Mötley Crüe, Brownsville Station, Patti Smith, ZZ Top, Twisted Sister, The Cramps, AC/DC, MDC, White Stripes, Flotsam & Jetsam, Motorhead, Pennywise and The Blues Brothers (This version was the ending song of the movie, performed with other musicians such as Aretha Franklin, Ray Charles and Cab Calloway), even Negativeland and John Oswald. They were usually good sports about that, if somewhat bemused.
Exhibit H;
"Searchin'" ~ The Coasters;
Jerry Leiber died at the age of 78 on August 22, 2011, from cardio-pulmonary failure.
Exhibit I;
"Stand by me" ~ Ben E. King;
Exhibit J;
"There goes my baby" ~ The Walker Bros.;
Exhibit K;
"Stand by me" ~ John Lennon;
"Hound Dog" ~ Big Mama Thorton w/ Buddy Guy;
Jerry Leiber and Mike Stoller were the greatest songwriters of the early rock & Roll/R&B era bar none. Their catalog reads like a how-to list for everything Rock & Roll, was, is and always should be. Which it is.
Exhibit B;
"Jail House Rock" ~ Elvis Presley;
How it took a couple of nice Jewish kids from New York to figure out how to take the the raw sounds of blues and doo-wop and modernize them for an new audience of white kids is one of those great unanswerable questions of pop culture history but Leiber and Stoller were there even before Phil Spector, Alan Freed, Bill Haley or Elvis. If not Sam Phillips. But while Phillips was a producer with a fine ear, he was no songwriter Leiber and Stoller were.
Exhibit C;
"Love potion number 9" ~ The Searchers;
The list of songs in their catalog includes no less than a hundred chart hits for a bewildering array of artists including, but not limited to;
The Beatles, Elvis Presley, Walker Bros, Rolling Stones, Ben E King, Drifters, Coasters, Wilbert Harrison, Beach Boys, Dion, Billy Thorpe, Searchers, Little Richard, The Crystals, Drifters, Brenda Lee, Bad Company, Tony Sheridan, The Hollies, Diamonds, Cheers, Freddie Bell, Big Mama Thorton, Jimmy Witherspoon, The Kinks, Lords, Groupies, Ronnie Hawkins, Dr.Feelgood, Otis Redding, Mickey Gilley, Jimi Hendrix, Johnny Burnett, Gene Vincent, Albert King, Koko Taylor,Dave Clark Five, Manfred Mann, Paramounts, Del Shannon, Animals, Merle Haggard, Link Wray, Frankie Lymon, Carl Perkins, Wayne Fontana, Ventures, Freddie & The Dreamers, Sha Na Na (of course) and ...ummm...Alvin and the Chipmunks, several times.
Exhibit D;
"Poison Ivy" ~ Billy Thorpe & The Aztecs;
The Duo started out in the 1950's as writers with hits for such blues and R&B figures as Big Mama Thorton, Wilbert Harrison and Jimmy Witherspoon before they were surprised to find one of those songs, "Hound Dog", become a hit for a young largely unknown white kid named Elvis. They would write a series of other hit song for him including "Love Me", "Loving You", "Don't", "Jailhouse Rock" and "King Creole". However most of their time would be writing numerous hits for black artists like the Coasters and Ben E King throughout the 1960's.
Exhibit E;
"I'm a hog for you" ~ The Lords;
They would also also branch out into owning record label Red Bird Records, which issued the Shangri-Las' "Leader of the Pack" and the Dixie Cups' "Chapel of Love" which they did not write however. As producers they also acted as mentors to the young Phil Spector. They also won a ton of awards.
Exhibit F;
"Kansas City" ~ The Beatles;
As time went on their tastes went to more elaborate pop songs that would lead to hits for Edith Piaf and Peggy Lee. They would continue into the 1970's with hits for Stealer's Wheel, Earth Wind and Fire, Elkie Brooks, George Benson, Steely Dan and Mezzo-soprano Joan Morris and her pianist-composer husband William Bolcom, which had little to do with rock and roll.
Exhibit G;
"Ruby Baby" ~ Dion;
However they also lived to see their early Rock and R&B hots are still covered down to the punk era by the likes of Dr.Feelgood, The Lambrettas, Los Straitjackets, Mink DeVille, El Vez, Queen, Mötley Crüe, Brownsville Station, Patti Smith, ZZ Top, Twisted Sister, The Cramps, AC/DC, MDC, White Stripes, Flotsam & Jetsam, Motorhead, Pennywise and The Blues Brothers (This version was the ending song of the movie, performed with other musicians such as Aretha Franklin, Ray Charles and Cab Calloway), even Negativeland and John Oswald. They were usually good sports about that, if somewhat bemused.
Exhibit H;
"Searchin'" ~ The Coasters;
Jerry Leiber died at the age of 78 on August 22, 2011, from cardio-pulmonary failure.
Exhibit I;
"Stand by me" ~ Ben E. King;
Exhibit J;
"There goes my baby" ~ The Walker Bros.;
Exhibit K;
"Stand by me" ~ John Lennon;
Saturday, 23 July 2011
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";
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";
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