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songs/22

The "Press and Play"list version (click the links for music and extras) songs/22 playlist

1. Elvis Costello -“Farewell, Ok”: A garage rock burner with a bit of the attitude that made E.C. the dean of the class of ‘77. 2. Band of Heathens - “Carry Your Love”:  A monster hook, and every time I hear this it, it makes me think of Tom Petty & The Heartbreakers. That's a good thing. These guys also released a cool Covid covers album this year. 3. Nikki Lane - “First Time: On-the-rise outlaw rocker recalls her 80's high school rock roots. It features my favourite lyric of the year: "Take me back to the first dream, 501 blue jeans, tighter than god damn Springsteen”. 4. Lucuis- “Next To Normal'': Produced by Brandi Carlile, this deceptively funky tune has been in my head for months. 5. Khruangbin/Leon Bridges: From "Texas Moon" the lone star state collab and follow up to 2020’s "Texas Sun". The adventurous and vibey, Khruangbin have become one of my favourite bands. 6. Lizzo - “It’s About Damn Time”: "It’s bad bitch o’clock". 7. Elle King - “Honky Tonk Disco Nights'': Been listening to Elle for a while now as an emerging star in Americana/Country world. But on this one she makes a left turn teaming up with Chic’s Nile Rogers on this country/disco mash-up. "Dance, dance dance". (Hollywood Fun Fact #1: Elle the daughter of comedian and former SNL cat member Rob Schnieder). 8. Say She She- “Pink Roses”: Slinky cool and danceable, this Brooklyn based female trio love Nile Rogers too. So much so, their band's name is a sly nod to his group. "Yowsah, yowsah, yowsah". 9 .Stone Foundation - “Heaven Knows Why”: Smooth disco grooves and wah- wah guitar from UK soul revivalists. Bell bottoms and platform shoes not included.

10. Dreadzone - “Dread Town”: The eternal spirit of 2-Tone lives on this bouncy single from veteran British reggae/dance outfit featuring lead vocals by Emily Capell who borrows the style of Amy Winehouse and the attitude of Lily Allen, on a joyous celebration of London's multi racial musical melting pot. 11. Pearl Charles -“Givin it Up”:  Last year I stumbled on Pearl’s brilliant ABBA inspired “Only For Tonight” and was subsequently blown away by the whole album. She’s back again with another lush and luminous 70’s styled single whose swirling strings, memorable hook, and slyly funky finish made it one of favourites of the year. (Hollywood Fun Fact #2: Pearl is the daughter of Larry Charles ofSeinfeld/Curb fame). 12. The Dip - “Real Contender”: Big horns and big hooks from a Pacific northwest band that gives me Jamie Cullum vibes. 13. Mapache - “Light My Fire”: Cosmic folk rock harmonies for your mellow mood. 14. River Kittens - “Hate To Break It”: Speaking of harmonies, this break-up torch ballad sounds like it came straight off Shelby Lynne’s country/soul masterpiece, “I Am Shelby Lynne”. 15. The California Honeydrops - “In Your Arms”: More soul horns and a chugging Stax rhythm from Oakland outfit who sounds like they may have been fans of Oaktown homeboys Tony! Toni! Tone'! 16. The Harlem Gospel Travelers - “Nothing But His Love”: Nope, this is not a gospel tune, just some sweet vintage styled soul and harmony in praise of a higher power. 17. Miko Marks/Ressurectors “Feel Like Going Home”: Rising star Miko Marks and the guys may actually get closer to church on this one. Her album has blues, country, and gospel influences, think The Staples Singers and The Band on the "Last Waltz, All of which reminds me there was a pretty great posthumous release this year from the late Leon Helm and the very much alive Mavis Staples.18. Lee Bains + The Glory Fires - “(In Defense of the) 40 Hour Work Week: Blue collar country rock in the spirit of The Drive By Truckers.

19. Titus Anddronicus - “Give Me Grief”: A jangly, angsty pop anthem from post punk Jersey boys. 20. Pinegrove - “Alaska”: More catchy indie pop from Jersey (Montclair!) 21. Wet Leg - Wet Dream: Isle Of Wright indie pop duo exploded on the scene last year with two great singles, "Chaise Lounge" and this one. A proper album was released in '22, so the song still qualifies, and I get to make up for missing them first time around. 22. Hurray For The Riff Raff - RHODODENDRON: Always moving in new directions, Alynda Segarra and crew are back. This time they bring the spirit of The Velvet Underground with them. 23. Melissa Carper - “Ramblin Soul”: Old-time Texas Swing from the woman they call the “The Hill-Billie Holiday”. 24. Taj Mahal/Ry Cooder - “Hooray Hooray”: Roots rock veterans and former Rising Sons bandmates reunite over 50 years later to pay tribute to blues legends Sonny Terry and Brownie McGhee. Hooray Hooray indeed. 25. North Mississippi AllStars - “See The Moon”: These guys have always drawn on the southern rock and blues they grew up on. The connection runs deeper on this album with the addition of Lamar Williams Jr, son of former Allman Brother Band bassist Lamar Williams. 26. Wilco - “Falling Apart” (Right Now): I’ve enjoyed all of Wilco’s sonic explorations over the years. but If I’m gonna be honest, I always loved their early alt country outings the most. 27. Reigning Sound - “Lonely Ghost”: This long running Memphis garage rock band broke up late last year…but they released this Dylanesque single early this year. So, have they “ghosted” us or not? Either way, it’s the final rattle of a hard working band at the end of the road, but going out defiantly.

28. John Doe - “Never Coming Back”: Former X-Man John Doe reminds us you can’t go home again in this dark, moody song with a memorable hook that will stick with you and your subconscious. 29. Valerie June - “Use Me”: No, not the classic Bill Withers tune, (it actually has the opposite sentiment), She has an idiosyncratic vocal style, but like Bill Withers, Valerie June is the real deal. 30. Deslondes - “Good To Go”: A charming world weary tale of hard luck and never giving up. 31. Billy Swan - “Don’t Be Cruel”: Season two of “Euphoria” opened with this haunting 1974 cover of the Elvis classic and it blew me away in much the same way the show does. I couldn't stop listening to it for weeks.

If you got this far...thanks for checking it all out. I appreciate you. Hope you all have a great holiday season and I look forward to seeing you in the new year. Peace, Doug

Los Angeles, December 2022

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ALL KILLER, NO FILLER

I only have one Jerry Lee story, but it’s a good one. In May 2004 I was about to leave the USA Network to return to Viacom. But not before, I oversaw the last of a trilogy of Willie Nelson tributes we had produced annually starting in 2002. Over the previous two years we had been able to attract dozens of amazing artists to appear with Willie, including Eric Clapton, Sheryl Crow, Paul Simon, John Mellencamp, Elvis Costello Norah Jones, Toots, Bon Jovi, ZZ Top, Ray Charles and many, many others.

The final one, taped in LA (in celebration of Willie’s 70th birthday) was to be no exception. Bob Dylan, Al Green, Merle Haggard, Kid Rock and Keith Richards were among the many performers slated to be on hand. About 48 hours before the show, and with a bit of hesitation,

Willie’s manager Mark Rothbaum asked Jerry Lee to participate.

Willie and Jerry had a long if not complicated relationship.

l think they were getting drunk together the night Elvis died. But I might have to go back and verify that one.

Anyway…afterr a bit of back and forth, arrangements were made to get the Killer to LA. He finally arrived backstage the day before the taping and walked around all day scowling in a terrycloth robe and shower slippers, his horribly long yellow nails portruding from both feet.

He looked awful and unhealthy. He had a greenish hue to his skin, cadaver like. I was certain he wouldn’t make to showtime. Hard to believe he lived another 20 years or so.

The idea was for Jerry to perform in the finale along with Willie, Keef, and Merle.

They would perform “Trouble in Mind”, “Whole Lotta Shakin”, “You Win Again”, and “Honky Tonk Woman” with Kid Rock on lead vocals.

Rehearsal finally started as midnight approached. The all star band with the likes of Nils Lofgren and Jim Keltner took their places. Willie slid on stage and put on his guitar, Merle does the same, then Jerry Lee sits at the piano, and now everyone is waiting for Keith. After a few minutes Keef finally arrives and bounding on to the set and announces….

“Ain’t It great we’re all out of jail at the same time??!!”

Maybe the best line EVER.

Anyway…everyone is ready to go.

They want to try “Honky Tonk Woman” first. The band kicks in.

Now this is a song we all know by heart. We have heard it a million times. I can’t play any musical instrument, but I bet I could figure it out in time from muscle memory.

So, the all star band is rocking The Stones classic but Jerry seems to be playing something else. It sounds awful…like a car accident. Everyone on stage is looking around at one another bewildered. Everything stops… the music director and the “billion dollar quartet” huddle around Jerry Lee and his piano…and after some discussion, they try again.

It sounds no better. Worse maybe.

They huddle again…and then Jerry Lee proclaims….

“If we can’t play it my way…we ain’t playing it at all”.

And….they did not.

They didn’t call him “The Killer” for nothing.

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Songs/21

Welcome to a third decade for this annual playlist. Thanks to everyone and anyone who has been along on this 20+ year ride. Enjoy the music and check out the bold links along the way.

Broke- Teddy Sims (Feat. Thomas Rhett) The music business eco system has changed so dramatically since my MTV days that I barely recognize it. Bands I've never heard of routinely sell out arenas and theaters coast to coast. Social media and streaming services rather than old school promotion and airplay are the roads to success in 2021. Teddy Swims, started performing covers in his distinctive and soulful style during the pandemic on Youtube and Tik Tok garnering millions of views in the process. It wasn't long before he was recording his own R&B inspired, genre bending material like this. His Georgia roots are well evident on this R&B meets country number that's a little goofy, a tad cheesy, but mostly good fun.

Witchoo- Durand Jones & The Indications Super chill and funky party vibes from this Indiana retro soul outfit who manage to sound both old school and contemporary all at once.

Bad News - Aron Frazer The Indications co-founder, co vocalist and drummer steps out from behind the kit for his solo debut produced by Dan Auerbach (The Black Keys). His smooth falsetto vocals sound like an out take from Marvin Gaye's "Trouble Man" album. Give the drummer some!

Come Over- VanJess Smooth contemporary R&B from these real life sisters following in the footsteps of great female vocal groups like The Supremes, En Vogue, and Destiny's Child, bringing the tradition and sound up to date for a new generation.

Hot Summer- Prince It was great to have a real summer in 2021 and Prince's previously unreleased album "Welcome 2 America" was an added bonus. Recorded 10 years ago, but never released, it finally found its way to his fans. While not in a league with his very best, the whole affair is strong overall and I'll take "good" Prince over no Prince any day. If the quality of his legendary vault recordings are going to be this good, keep it coming.

Wanderer- Judith Hill As a one time Prince protege, the Purple One was certainly a musical godfather. In that case Sly Stone must be a spiritual great godfather, as her sound, look and style owe a great deal to both legends. Fun Fact: Her parents, Japanese mom/keyboard player, African American dad/bass player, met in a funk band, and now back up their daughter on stage! ('blood's thicker than the mud"). A real chip off the old block, Judith plays pretty good guitar and piano and has the kind of vocal chops that made her a one time MJ duet partner and a Voice finalist. Her new album has several stand out tracks. The one I chose, a lockdown lament, begins like a Philly 70's soul number before evolving into a funk vamp that would make both Prince and Sly proud.

Love Don't- Nathaniel Rateliff & The Night Sweats Starting with a classic Motown backbeat, this track jump right out of the speakers before it morphing itself into a Van Morrison style rave up and then climaxing with some Otis Redding like soul shouts. What's not to like about all that? I have seen these guys live several times at various festivals and they never disappoint.

Call Me A Fool- Valerie June (featuring Carla Thomas) The talented Valerie June is an absolute fool for your love as she lays her torchy, soaring vocals on top of a Memphis style soul ballad. This might be my favorite song of the year.

Nightflyer- Allison Russell Despite being almost 40, this Canadian singer songwriter is a relative newcomer to the national scene. Her debut album Outside Child deals mostly with the trauma of the sexual and emotional abuse she suffered growing up. I know that doesn't sound like a great listening experience, but I promise the album is well worth your time. Just check out this track, a soulful and beautifully defiant celebration of survival.

I Can Help-Charley Crockett I can't say enough good things about Charlie Crockett. He's released a prolific amount of music over the past few years. 10 albums since 2015, including 4 in the past 2 years, not to mention some singles and EP's. His effortless mixture of country and soul, originals and covers sound like they come from a different era, and pay homage to the classic recordings of mid 60's Nashville. Somehow he manages to sound both classic and modern at the same time. Here he covers Billy Swann's 1974 country crossover hit. One of my favorite artists of the last few years.

Write A List Of Things To Look Forward To- Courtney Barnett A jangly folk rock paean to the joys of snail mail and embracing optimism in the face of an uncertain world. Reasons to be cheerful 2021.

Stuck In The Morning- The Night Beats The album is titled Outlaw R&B, and while there is some stuff on it that qualifies, this one’s a psychedelic garage rocker.

Only For Tonight- Pearl Charles Admit it, every time you hear the majestic, swirling, disco-fied opening to "Dancing Queen" you want to dance like no one is watching. This cheeky homage to Sweden's sequined superstars was recorded by an LA singer/songwriter barely old enough to remember Mama Mia: The Movie, much less the 70’s. Yet somehow she nails that glitter ball vibe right on the head.

Caramelo- Cimafunk Cuban funk. I don't understand a word of Spanish, but my feet do.

B Side - Khrurangbin & Leon Bridges Thanks to my pal Allie Eberhardt I've recently fallen under the spell of Khruangbin, and while I still can't pronounce the band’s name, their intoxicating global blend of dub, rock, disco, and psychedelia is hard for me to resist. I saw them live this October in LA and found their show almost like a DJ set…seamless, vibey and groove oriented. I've also developed a huge old man crush on band member Laura Lee, who not only plays incredibly funky bass, but possess an inspired fashion sense and style, NEVER performing in the same outfit twice. Released moments before we went to print, this track reunites them with Leon Bridges who joined forces with the band on their Texas Sun EP in 2020. This one, (with a guitar vaguely reminiscent of Talking Heads) is from the follow up Texas Moon scheduled for release in early 2022.

Dreadlocks In Moonlight - Lee Perry (1936-2021) Natty Rebel- URoy (1942-2021) Peanut Butter- Sly and Robbie (Robbie Shakespeare 1953-2021) Reggae music lost four towering figures from its golden era this year, including one just as we went to publish. All of them Jamaican music giants whose influence stretched far beyond the Caribbean island. One was a brilliant, colorful and idiosyncratic producer who had an enormous influence not just on reggae, but popular music in worldwide. One may have inadvertently helped birth rap and hip hop, while another was part of a drum and bass/producing duo that dominated not only reggae but popular music in general for years, and finally, one was 1/3 of a legendary Kingston triumvirate who became reggae superstars and propelling it into the pop music consciousness worldwide. (more on him later)

Lee Perry, (AKA: "The Upsetter", "Pipecock Jaxson" and "Scratch") was a brilliant producer, sonic innovator, and arguably one of the most important architects of recorded music in the last century. His studio innovations around reggae and dub and remixing were nothing short of monumental. His enormous influence is still felt today throughout popular music.

He originally came into view producing the classic early Wailer records prior to the group signing to Island Records. In the mid 70's he had his own distribution deal with the label, releasing a series of albums produced at his Black Ark studio that rank among the best of the genre. His work with the likes Max Romeo, Junior Murvin, and The Congos were nothing short of essential, bringing him international acclaim and collaborations with The Clash and The Beastie Boys. He was also famously batshit crazy, I mean certifiable. His erratic and often bizarre behavior, eccentric habits and beliefs were as legendary as they were head scratching. At the height of his career, he burned down his own Black Ark studio where he birthed some of Jamaica's most enduring recordings. Call him a genuis, call him a mad man, but either way, he's undoubtedly one of music's true originals and giants.

U Roy was a pioneer reggae "toaster" /"DJ”. He started off chatting and rhyming over instrumental and dub tracks with some of Kingston's early 70's sound systems. His style proved so popular he was soon recording and releasing his own albums and singles, creating a new genre that inspired several generations of like minded performers in the process. Later on he recorded a series of albums for Virgin Records that brought him international fame. Meanwhile, in the boogie down Bronx, DJ Kool Herc a Jamaican ex pat and acknowledged godfather of rap/hip hop, was citing U-Roy as his inspiration for putting “rappers" on the mic at his legendary and seminal Bronx block parties. That innovation jump started what would ultimately become the hip hop revolution. Daddy U Roy left an amazing legacy that traveled from Jamaica to the Bronx, and ultimately the world. Wake the town and tell the people!

Robbie Shakespeare was one half of the prolific bass and drum duo Sly & Robbie (AKA "The Riddim Twins"). Starting out in Kingston's studios they played on dozens (if not hundreds) of reggae classics. Later they gained attention backing Peter Tosh on tour opening for The Rolling Stones in 1978. Upon returning to JA they took over the local charts producing some of the top names in reggae on their own Taxi label. They created an instantly identifiable style with Robbie’s thunderous bass lines and the lightning flash of Sly’s syn drum. creating a deep, dubby funk that would define post disco dance music in the new decade. Before long everyone wanted a piece of their sound.

The shout out they received in The Tom Tom Club's brilliant "Genuis Of Love" ("reggae's expanding with Sly & Robbie") spoke to their ever growing influence as the duo emerged as must-have recording session gunslingers. They performed on dozens of albums across the pop music spectrum alongside the likes of Joe Cocker, Mick Jagger, Gwen Guthrie, and even Serge Gainsbourg. They famously recorded with Bob Dylan as part of the super group he put together on his early 80's albums. They were the foundation of the genre busting studio house band The Compass Point All Stars and backed Grace Jones on her breakthrough album trilogy and her groundbreaking, chart topping club smash, "Pull Up To The Bumper". They produced and toured with Black Uhuru guiding them to international stardom and a Grammy. At the dawn of the 80's, the Sly & Robbie sound was inescapable. The Riddim Twins effortlessly segued into the 90's and the digital/dancehall era staying relevant into the millennium working with the Fugees, No Doubt and a new generation of reggae artists. Robbie was named the #17 greatest bassist by Rolling Stone. His playing is right up there with the likes of Motown’s James Jamerson, P-Funk’s Bootsy Collins, and slap bass innovator Larry Graham. His contributions as both a player and producer to reggae, dub, and dance music cannot be underestimated. He is easily the most successful and prolific bass player that Jamaica has ever seen. And that’s saying a lot.

The collective loss of these artists is enormous. They were hit makers, innovators, pioneers, and ultimately legends. They took the sound of Jamaica, made it their own and brought to the world. Jah bless them all.

Bandido Para Ti- Alejandro Escovedo For Record Store Day release, rock veteran Alejandro Escovedo re recorded his 2018 album The Crossing entirely in Spanish ("La Cruzada"). "Bandido Para Ti" is a garage punk, name dropping, foot stomping, farfisa fueled ode to his early days and is plenty fun even if you don't speak espanol. The original version ("Outlaw For You") is worth a listen if only for lyrics like "We love The Stooges and we hate U2" There was another notable Spanish re recording this year: Elvis Costello's 1978 classic "This Year"s Model" was reimagined by producer Sebastian Krys who used the Attraction's original tracks and replaced Elvis's lead vocals with various singers from the world of contemporary latin music. The results are surprisingly fun and inspired. If you are an Elvis fan, you must check out Spanish Model.

Mississippi Phone Booth- John Hiatt (with Jerry Douglas Band) Another rock n roll survivor and veteran roots and blues man returns with a classic slice of songwriting no doubt pulled from the pages his own life and personal struggles. As good a song as he has ever written and on par with his great 80's compositions.

Gutters Of Love- The Quivers If you have been following these lists for awhile you know I love me some jangle pop. This year's model comes from down under with shimmering soft rock vocals that explode into an anthem worthy of a festival crowd.

Cuff Your Jeans- Claud Moody emo-pop. Hazy, dreamlike and instantly memorable.

Nothing Else Matters- My Morning Jacket MMY has a long tradition of performing eclectic covers in their live set. But I honestly had no idea this one (recorded for a tribute album) was a Metallica tune turned inside out.

Sanctuary- Hiss Golden Messenger

North Carolina's Hiss Golden Messenger seeks shelter from the storm on a gorgeous indie-folk track.

Pass It On- The Wailers (Bunny Wailer 1947-2021)

Bunny Wailer, along with Bob Marley and Peter Tosh formed Jamaica's first super group the legendary Wailers. Allong with the cult film "The Harder They Come" they helped established reggae music as a major musical force the world over. They started as teenagers harmonizing in the Kingston ghetto, moving form ska to rock steady, finally finding real success in the roots reggae era. Even as a trio they started to develop distinct personalities and focus. Bob was the revolutionary hero, Peter the militant rebel. Bunny was the spiritual one, the mystic rasta, the man in the hills. In the mid 70's as Marley emerged as the leader and star, Bunny and Peter decided to embark on solo careers. Bunny's debut album, the rasta centric "Blackheart Man" is widely considered a roots era classic, but his reluctance to tour the states (too cold/not enough "ital" food available) and the overtly spiritual lyrics may have hurt his commercial fortunes abroad.

After Marley's death in 1981 the reggae's roots era began to wane and Bunny turned his attention to the dancehall scene emerging from the Jamaica's sound systems and the Kingston studios. Long time fans found this evolution somewhat head scratching as that type of reggae was not considered particularly conscious. But Bunny managed to fuse his rasta message with the popular dancehall rhythms and found surprising success. Sadly none of those recordings are currently available to stream.

Pass It On, written and performed by Bunny comes from the Wailers 1973 debut album for Island Records. I used the song as the closing theme on my college reggae radio show back in the late 70's. I suppose I was drawn to reggae for it’s conscious message oriented lyrics. exotic rhythms, bass heavy groove, and and of course....the weed. But this song resonated with me in a different way. It sounded like something you'd hear in a house of worship. Hymn like, with righteous lyrIcs and a simple, universal message. I’ve been compelled to "pass it on" from the moment I first heard it. Be not selfish in your doings Pass it on Help your brothers in their needs Pass it on Live for yourself, you will live in vain Live for others, you will live again In the kingdom of Jah Man shall reign Pass it on

If you made it this far...you are a G*d damned hero. Thank you. The Herzogs are are all happy and healthy here in Los Angeles. We hope you are as well. Have a great holiday season and I look forward to seeing you in the new year. Pass it on, dh songs/21

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A repost from 2019

GARDEN PARTY 9/22/79

In late summer 1979 Jackson Browne and a group of like minded LA musicians announced a series of “No Nukes” concerts at Madison Square Garden for September. Like any self respecting young person at the time I was well aware of the dangers posed by nuclear energy after the incident at Three Mile Island. It became a big issue particularly on college campuses, I was concerned about it but wasn’t ready to hit the streets in protest. The initial concert line up had a distinctly ‘El Lay’ vibe. Headliners and performers included The Doobies, CSN, James Taylor, Carly Simon, Poco, Orleans, and of course Jackson Browne. The post Woodstock Hollywood hippy vibe surrounding the event left me a bit cold. Back then my eclectic college radio tastes were leaning hard into punk, new wave, and reggae. But then the organizers announced Bruce Springsteen would perform, and quickly got my attention. Up till then Springsteen had avoided affiliation with any and all political or social movements. His participation was seen as a big deal. I had seen him live for the first time on The Darkness Tour a year earlier, and became an immediate convert. I was anxious to see him again.

Bruce had agreed to headline two nights, including a Saturday night show on the eve of his 30th birthday, on a bill that included Peter Tosh, Tom Petty & The Heartbreakers, Gil Scott Heron, and Bonnie Raitt. It was amazing line up that seemed to spring directly from my record collection and I convinced some Emerson College classmates to join me as we took a train from Boston to NYC the day of the show. After dropping our bags at a friends small studio apartment where we all slept on the floor, we headed to Washington Square Park in search of “loose joints”. What we purchased was closer to oregano than Panama Red, but undeterred and a bit lighter in our wallet, we headed back up town to MSG for the show. We had seats in the Garden’s top deck. The infamous blue seats where the NY Ranger’s faithful reigned supreme. They were nosebleeds, to the side of the stage, our vantage point decidedly higher than we were, but we were ready for a big night.

It turned out to be was an unforgettable evening of music. Gil Scott Heron in peak form with his conscious brand of jazz funk (before he would ultimately succumb to a spiral of heroin addiction), pleased the crowd with his No Nukes themed “We Almost Lost Detroit”. 

Then there was the always entertaining Peter Tosh. At the time, Bob Marley, was still alive and the world’s biggest reggae star, but Tosh was arguably the coolest. Signed to Rolling Stone records, he was hanging and touring with Mick and Keith and the “World’s Greatest Rock and Roll Band”. I vividly remember him prowling the stage in his Japanese robe and middle eastern Keffiyeh smoking a giant spliff backed by the legendary Sly and Robbie. 

The great Bonnie Raitt was next, she was nearing the end of the first chapter of her storied career. Not long after, she would enter a tough stretch, ultimately dropped from her label before triumphantly re-emerging 10 years later with her platinum selling, Grammy winning “Nick Of Time”. 

The big question mark was Tom Petty and The Heartbreakers. We weren’t sure what to make of him at the time. Were they a new wave band like their name seem to indicate? Petty and his crew were two albums and a couple of cult singles in at that point. In those pre MTV days you didn’t have much to go on without seeing the band live. You could only judge an artist by what radio played, what Rolling Stone wrote, or what the album cover looked like. The band’s breakthrough album “Damn The Torpedoes” would be released a month later. Petty and his band delivered a confident and strong set that night hinting of big things to come.

Finally it was time for the main event. This was a home town crowd and they were ready for Bruce, who would be playing a shorter set than usual. He and The E Street Band hit the stage and the place nearly exploded. I had only seen him live once before and was blown away by his energy and intensity. But just seeing him for the second time that night night I sensed a slightly different vibe. A shorter more urgent set played with the wild abandon of man at odds with himself. He was a house on fire. 

Bruce has grown up in a 60′s culture that believed “Don’t trust anyone over 30” while listening to The Who proclaim “Hope I die before I get old”. Some of those sentiments had to be in the back of his mind that night.

During the show Bruce was presented with a birthday cake that he weirdly, in a rare moment of petulant behavior, tossed into the audience. Later, he had a young woman (later identified as his former girlfriend, photographer Lynn Goldsmith) dragged up to the stage by security only to be immediately escorted out of the building. Even having only seen him once, I knew this was all a bit odd. But the crowd did not seem to mind at all. He blasted through an abbreviated set that had the upper deck bouncing and rolling like an LA earthquake. I have only seen a crowd that frenzied a few times in my life. 

It’s 40 years on and he’s still at it. I’m sure he couldn’t imagine it then, but he would ultimately navigate the challenge of “growing up” in the music business, redefining what it means to grow old in the rock world. A few months after this show, he would release “The River” a double album with themes and lyrics pointing to a rapidly maturing songwriter grappling with the issues of getting older.

That night, on the verge of turning 30, performing alongside his peers, playing like the slipper was about to come off his foot when the clock struck twelve, he stood exhausted and triumphant in front of an adoring crowd, diving defiantly headfirst into his thirties and rock and roll adulthood. He really had no choice, because as we now know, he’s “just a prisoner of rock and roll” and he’d already been issued a life sentence.

Happy 70th Birthday Bruce.

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The Birth of The Daily Show: 25 Years of Fake News and Moments of Zen

It was July of 1995 and I had left MTV to become President of Comedy Central. It was the basic cable equivalent of going from the NY Yankees to an expansion team. I was on the job just two weeks when I received a call from Brillstein Grey the high powered managers of Bill Maher, host of one of the networks few original programs, "Politically Incorrect". We were informed Bill and his show would leave the network when his contract expired in 12 months. It was a done deal. Bill wanted to take his show to the "big leagues" at ABC where he would follow Night Line. Comedy Central was left jilted. Terrible news for a network still trying to establish itself. We had a year to figure out how to replace him and the clock was ticking. So began the path to The Daily Show.

It was very much a fledgling Comedy Central I joined, available in barely 35 million homes, desperately seeking an identity and an audience. It was just over three years old, born into a shot gun wedding that joined two struggling and competing comedy networks, HBO’s Comedy Channel and Viacom’s HA!, Watching them both stumble out of the gate, the cable operators forced them to merge, telling them: "We only need one comedy channel, you guys figure it out”. After some contentious negotiations the new channel was born and the red headed step child of MTV and HBO set out to find the pop culture zeitgeist its parents had already expertly navigated. The network had yet to define itself. The programming consisted mainly of old stand up specials from the likes of Gallagher (never underestimate the appeal of a man smashing watermelons), a hodgepodge of licensed movies (“The God’s Must be Crazy and The Cheech and Chong trilogy were mainstays) and Benny Hill reruns. The networks biggest hit by far was the UK import “Absolutely Fabulous”, better know as “AbFab”. Comedy Central boasted a handful of original shows, including the wonderfully sublime "SquiggleVision" of “Dr. Katz”, the sketch comedy "Exit 57" (starring the then unknown Amy Sedaris and Stephen Colbert) and of course Maher’s "Politically Incorrect". In retrospect I don’t think Bill got enough credit for pioneering the idea of political comedy on mainstream TV. Back then he was the only one doing it.

Politically Incorrect performed just fine, but got more critical attention than ratings. It was a panel show, and I had something a bit different in mind to replace it. I knew we needed a flagship, a network home base, something akin to ESPN's Sports Center where viewers could go at the end of a the day for our comedic take on everything that happened in the last 24 hours….."a daily show". I had broad idea for it in my head. I would describe it as part "Weekend Update", part Howard Stern, with a dash of "The Today Show" on drugs complete with a bare boned format to keep costs low so we could actually afford to produce it. We could open with the headlines covering the day's events (our version of a monologue), followed by a guest segment (we wouldn't need to write jokes...only questions!), and finish with a taped piece. Simple, right? We just needed someone to help flesh out our vision.

Comedy Central was a a second tier cable channel then and considered a bit of a joke (no pun intended). It had minuscule ratings, no heat and even less money to spend. Producers were not lining up to work with there. Eileen Katz ran programming for the channel and the two of us began pitching this idea to every producer who would listen. One of the first people we approached was Madeleine Smithberg, an ex Letterman producer and had overseen "The Jon Stewart Show" for us at MTV. We thought she was perfect for the role. “You can’t do this, you can’t afford this, you don't have the stomach for this, it will never work ” Madeliene said when we met with her. We could not convince her to take the gig. Ok then....we moved on. The problem was we heard that same refrain from everybody. No one wanted the job. So after weeks being turned down by literally EVERYONE, I said to Eileen: “We have to go back to Madeleine and convince her to do this with us"!

Part our pitch to her was we would go directly to series. There would be no pilot. The show was guaranteed to go on air. We had decided this show was our to be our destiny and we had to figure it out come hell or high water. As a 24 hour comedy channel, if we couldn't figure out a way to be funny and fresh every day...what good were we? We told Madeliene we were committed to putting the show on the air and keeping it there till we got it right (for at least a year anyway). That, plus some gentle arm twisting got her to sign on. Shortly after that, Lizz Winstead did too.

Madleiene and Lizz very quickly landed on their inspired notion of developing the show and format as a news parody. It brought an immediate focus and a point of view to the process . All of the sudden things started to take shape and coming to life. Great ideas started flowing fast and furious while an amazing collection of funny and talented began to come on board. Madeliene and Lizz were off to the races. Now all we needed was a host.

The prime time version of ESPN's Sports Center was hosted by Dan Patrick and Keith Olbermann back then and it was must see cable TV. But I had recently started to notice another guy hosting the show's late night edition. He was funny, with a snarky delivery reminiscent of Dennis Miller. His name was Craig Kilborn. On the phone with CAA agent Jeff Jacobs one day, I asked if he knew happened to know who repped him? “I do" he said. "We just signed him”. Within days he was in my office along with Madeleine, Lizz, and Eileen who were all a bit skeptical about the tall blond guy with the frat boy vibes sitting across from them. After opening the meeting with a few off color comments that would probably get him cancelled today (an early warning sign fo sure), Craig ultimately won them over and we had our host.

FUN FAC#1: Minutes after the news of Craig's hiring went public, Keith Olberman's agent called me directly to ask why we hadn't considered hiring him?

Ok, we had a host and producers...but what to call it? After sifting through dozens of ideas for a title, Madeleine called me one day and said, "I think we should just call it what we've been calling it all along...."The Daily Show". As we approached our launch date we taped practice shows and took them out to focus groups to get real life feedback. The groups hated it.... I mean with a red hot hate. They hated Craig, the format, the jokes, everything. We were crushed and dejectedly looked around at the room at one another. "Now what?" “Either they’re wrong, or we are". I said I think they are...but it doesn’t matter, we're doing this!" We never looked back.

The show took off quickly garnering some quick buzz and attention, we felt like we had crashed the party. Well, sort of. We had no shortage of fun, growing pains and drama along the way. The Daily Show version 1.0 was about to unravel. In a December 1997 magazine interview Craig made some truly offensive and inappropriate remarks about Lizz and female members of the staff. Whether it was poor attempt at humor or just plain misogynist (or both) is beyond the point. It was all wrong, very wrong. Craig was suspended for a week without pay. Lizz left the show. In the moment I chose to protect the show and its talent more so than Lizz. That was wrong too. It's more than cringe worthy looking back now, and I regret not making some better decisions then. My loyalty to our host was later "rewarded" when in the Spring of 1998 Kilborn's team, a la Bill Maher, unceremoniously informed us he had signed a deal to follow Letterman on CBS when his contract expired at the end of the year. No discussion, a done deal. Comedy Central jilted again. Like Maher, Kilborn wanted his shot at the network big leagues and we had a little over six months to figure out how to replace him. We all know how that chapter ended. That search would eventually reunite us with Jon Stewart who along with The Daily Show took Comedy Central and basic cable to the "the big leagues" on their own terms, redefining late night comedy in the process The rest, as they say, is "Fake News" history.

Fun Fact #2: before approaching Jon (who I did not originally think would be interested) I initially offered the job to a chunkier, largely unknown Jimmy Kimmel, fresh off his co hosting duties on "Win Ben Stein's Money" ...only to have him turn us down.

My fascination with late night began as a kid. I remember how exciting it was to stay up to sneak a peek at the Carson monologue and watch him do spit takes with his chummy Hollywood guests. Later on I also loved the heady adult conversation Dick Cavett would have with everyone from Sly Stone to Groucho Marx. But it was the comedic revolution of Saturday night Live in 1975, followed by Letterman's game changing show in 1981 that truly established late night as the coolest place on the television landscape. I could only dream of one day being part of it.

25 years on, I couldn’t be more proud of The Daily Show and its legacy. Those days helping build it alongside Madeleine, Lizz, Eileen and the team were among the most satisfying (and fun) experiences I have ever had. It was thrilling to take a shot at the late night landscape and try and make our mark, especially when no one thought we could.

I am prouder still of what Trevor Noah and his staff have achieved since they took the hand off from Jon, evolving and growing the show through a new voice and lens. I think my personal "Moment Of Zen" will last as long as Trevor remains behind the desk, allowing me to selfishly boast of having hired every host this award winning and culture defining franchise has ever had.

25 years later. it remains as relevant as ever, a bona fide late night institution, standing shoulder to shoulder with all the great shows that inspired us to start.

#the daily show #jon stewart #trevor noah #comedy central

[dherzogblog]

Home Again: In Praise Of Tapestry and Older Sisters

i could hear the album playing over and over from the next room while sitting in my bedroom, and in time I would know every song by heart. It was 1971 and the closet in my bedroom had a common wall with a closet in the room my two big sisters shared. For some strange reason the shared wall did not go all the way up to the ceiling. There was an open space of probably a foot and a half. Perfect for little brothers to spy on big sisters. I could overhear conversations, arguments, late night whispers, planned revolts against parental discipline, and of course every record they played. If my math is correct, they were 16 and 15. High school students, ready to move on to something more sophisticated than The Beach Boys and Motown, and putting Carole King’s “Tapestry” in heavy rotation.

Older siblings were an important part of music discovery in those days, (think Almost Famous) especially for a pre teen. My sister Debbie is 5 years older, and sister Jane 4. I was 11, listening to WABC AM radio and the 45′s in our family jukebox. Right round that time I got a portable record player and sister Debbie gave me a few album she had extra copies of, including Bob Dylan’s Greatest Hits and the Rolling Stone’s “December’s Children”. An excellent starter kit. Later on sister Jane would be the first to tell me about “The Harder They Come” and Bruce Springsteen. I have been listening to these artists ever since. So a belated and heartfelt thank you ladies.

Carole King’s “Tapestry” was released on this date 50 years ago. But in our house, the year prior it had all been about James Taylor’s breakthrough LP ‘Sweet Baby James”. His introspective lyrics, melodic gifts and dreamy looks made him a big deal for all the women the house. He still is. 

Carole King’s “Tapestry” landed in an entirely different way, and the album would have a different impact for my sisters. The songs were soulful, yearning and instantly memorable. More importantly, she literally looked like the girl next store. Jewish, frizzy hair, and a decidedly post Woodstock earthy style. JT may have been singing to them, but it felt (at least to me) that Carole King was singing for them. She struck a different chord, and it was palpable. Jane and my little sister Jill would try and learn the songs on guitar, and sing them with a hairbrush mic in the mirror.  Back then we lived in a beautiful Tudor home in Paterson. There was a landing with a window sill and bench at the top of the first floor staircase. It very much evoked the look of Tapestry’s famous cover, especially when our alley cat “Frankie” sat there. You could often find my sisters hanging there in embroidered jeans, bare feet, chatting with friends, trying conjuring up some Laurel Canyon vibes in northern New Jersey.

As for me, like everyone pretty much else, I fell in love the album. From the opening piano of “i Feel The Earth Move” with a band anchored by LA study stalwarts Russ Kunkel and Danny Kortchmar, it was impossible to resist. It moved easily from the romantic regret of “It’s Too Late” to the road weary longing of “Home Again” and “So Far Away”. I particularly loved the churchy “Way Over Yonder”, and her beautiful “Will You Still Lover Me Tomorrow”. Which became one of my favorite songs and this my favorite version. I already knew Aretha’s version of “Natural Woman” and loved it, the definitive version for sure. But the revelation that King was a songwriter first led me to discover the amazing catalogue of hit songs she had written (or co written) for other artists in the 60′s.

Tapestry of course became one of the best selling albums of all time and one King would never equal. Along with the rise of James Taylor, and singer-songwriter’s like Joni Mitchell, Carly Simon, and Jackson Browne, it ushered in a era of acoustic oriented “mellow music” and the much maligned “soft rock” radio format. Along with the emergence of everything from southern rock, to glam rock, and later disco and punk, and despite continued commercial success, the El Lay troubadours soon became very uncool, especially for teenage boys. But I always had a soft spot for a lot of this stuff. There are some truly great songs, lyrics, and singers. More importantly, whenever I hear anything from Tapestry I think of my sisters and that time. And no matter how far away i may be, the music instantly take me home again.

Listen to my Tapestry Tribute Playlist here

#CaroleKing #tapestry

[dherzogblog]

songs/20

Happy Holidays Everyone! I started making these yearly playlists in 2001 as an attempt to connect with friends in the wake of 911. It was just before the dawn of ITunes, and way before social media. We were not in touch like we are today. I burned dozens of individual cd’s one at a time, printed up customized jewel case covers and snail mailed them all out. It was an annual month-long labor of love. Over the past few years, streaming music has made it much easier and faster to compile and distribute, and frankly much more fun. I still look forward to putting the playlist and blog together and sharing it with all of you. Particularly this year as it gives me a chance to connect with so many friends I haven’t seen in quite some time. It was a tremendously challenging year for all of us. I was grateful to have had my family here in LA the entire time, we remain healthy and well. The west coast Herzogs know just how lucky we have been. The next year will not be without its own challenges, but I'm hopeful we are able to move past this pandemic and the exhausting events of the past 4. More than that, I look forward to seeing each and every one of you in 2021. Until then, be safe, be well, and be good to one another. Enjoy the music.

ox peace, dh

Los Angeles CA. December 2020

Khruangbin - Time (You And I) Don’t ask me to pronounce the name of this eclectic trio from Texas, but this dubby disco tune had me returning to its chilled out groove often during the last few decidedly “un-chill” months. Dreamy and funky, the groove takes me back to NYC’s early 80′s club scene and Ze Records releases from the likes of Kid Creole and Coati Mundi.

Anderson .Paak- Lockdown Scenes from the front, June 2020

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Bill Withers (1938-2020)- Use Me The legendary Bill Withers left the playing field at the top of his game in the early 80′s, hardly heard from again. And while he didn't pass from Covid, his healing pop hymn Lean On Me seemed to be everywhere as people found music to help them cope with the challenges of the pandemic. Withers left behind a legendary and enduring group of hit songs that moved easily from soul to folk to pop, not to mention the subtle rolling funk of this one.

Black Pumas- Fire Strong debut from an unlikely Austin duo that garnerd both buzz and grammy nods. The critics are calling it “psychedelic soul”. Not quite sure that nails it, but like the artists coming up next, they’re carving out new ground while drawing inspiration from classic sources.

Gabe Lee- Babylon

Marcus King- Wildflowers and Wine

Charley Crockett- Welcome to Hard Times

Three artists that are literally changing the face of Country and Americana music. Soulful, authentic and diverse, reaching back for inspiration but always looking forward. If you like this sort of stuff they are all worth checking out. Each album is filled with quality songs.

Low Cut Connie_ Private Lives Philly’s Low Cut Connie are back at it with a double album that plays like the soundtrack to a boozy night at your favorite bar. Sweaty, funky and not a little bit messy. If Peter Wolf and Bruce had a kid it would be this blue eyed soul boy. Adam Weiner grew up in the shadow of the Jersey shore and can't help but have a bit of that E Street hustle.

Willie Nile- New York at Night One of New York’s beloved adopted  son’s dropped this love letter right into the jaws of a battered metropolis driven to its knees by the pandemic. It was heartbreaking to listen as the “city that never sleeps” came to a full stop. Somehow I still found myself coming back to it, imagining night’s ahead, when NYC is back on its feet and I’m roaming its streets. Looking for music, a beer, or maybe just a slice, and fueled by the irreplaceable energy and promise of the greatest city on earth.

The Long Ryders- Down to The Well Americana pioneers the Long Ryders reunited last year for a surprisingly solid album. This single sounds like it could have been recorded during their 80′s heyday featuring their trademark Byrds like jangle and harmonies, but the lyrics mark this song as unmistakably 2020.

The Speedways- Kisses Are History UK power pop outfit reach back to the the 60′s on this sweet slice of retro pop perfection.

Billie Joe Armstrong- That Thing You Do

In the early days of the pandemic we had all our kids (+ a significant other) at our house for a few months. It worked out great and we were luckier than most. The biggest issue was keeping enough food, weed and wine around.  There were some great nights with amazing meals, followed by gathering around the TV together. We re-watched The Sopranos, binged Billy On The Street, and revisited some of our favorite movies. One night we went back to a old family favorite, Tom Hanks’ underrated love letter to the one hit wonders of the post Beatles era, That Thing You Do!  I’ve seen the movie several times and it never fails to please. A true feel good film and a perfect Kodak snapshot capturing a simpler time in American pop culture. 

While we watch the unlikely chart topper’s The Oneders  fizzle as fast as they rose to fame, its not really the point. The movie is really an old fashioned love story. Playing like a perfect hit song you can listen to over and over, full of both hooks and heart. I always thought the title track, written by Fountains Of Wayne leader Adam Schlesinger  (who we lost to Covid), brilliantly captured the British Invasion sound every group wanted after The Beatles stormed America. Green Day’s Billie Joe Armstrong must agree. During the pandemic he cut an album’s worth of cool covers including a faithful version of this one.

Gerard Way (W/Judith Hill - Here Comes the End A tale of discovering music in 2020:  Heard this on a Netflix trailer for the series The Umbrella Factory. Turns out it is performed by Gerard Way (My Chemical Romance) who also writes the comic book the series is based on. (got all that?) He’s joined on this searing garage/psych rave up by the talented and versatile Judith Hill doing her best Merry Clayton.

Hinds- Spanish Bombs I’ve been following this Madrid based, all female outfit of punky garage rockers for a few years now. I think they are pretty great. This track, recorded for a Joe Strummer tribute bursts with an unbridled joy the stone faced and politically minded Clash could never muster. I bet Joe would love it though

The Secret Sisters- Hand Over My Heart Have enjoyed their harmonies for some time now. This one gives me vague Wilson Phillips vibes and I don’t really mind. 

Tame Impala- Breathe Deeper I know I’m supposed to like this guy, all the cool kids do, I’ve even seen the band at Coachella. Over the years very little of the music has stuck to me, but the pandemic offered a bit more free time to dig into this funky dubby, chilled out jam, and it stuck with me. Not to mention that 2020 was all about deep breaths.

Ledisi (feat.Corey Henry)- What Kind of Love Is That Ledisi is back with some slinky, sultry R&B and jazzy vocals

Dinner Party- FreezeTag An R&B/Jazz collective featuring Terrace Martin, Robert Glasper, 9th Wonder and Kamasi Washington use sweet soul on heartbreaking and all too familiar tale..

Toots and The Maytals- Time Tough  I’ve written an awful lot about my love for Reggae over the years. Right after Bob Marley kicked the door down for me, Toots showed me around the house. Ska, rock steady, and roots. He was true reggae royalty and sadly we lost him to Covid, just after he released what would be his last album. Check my Toots tribute blog and playlist.

Mungo’s Hi Fi- The Beat Goes SKA! These clever UK roots reggae collective never fail to surprise. This kitschy Sonny & Cher cover managed to make me smile every time I heard it. No mean feat in 2020

Stone Foundation (feat. Durand Jones)- Hold on To Love Frequent collaborators with Paul Weller  (he appears on a track on the album), Stone Foundation are back with another batch of their UK soul revival stylings. This one features Durand Jones ( of Durand Jones & The Indications) on vocals and some great reggae style horns at the top.

The Pretenders- You Can’t Hurt A Fool Can’t resist a good torch song, especially sung by the smokey voiced Chrissie Hynde. Was kind of shocked at how many good songs were on this album.

Shelby Lynne_ Don’t Even Believe in Love Sultry country soul and one of her strongest albums in awhile.

Jaime Wyatt- Neon Cross Outlaw country has a new bad girl. And in case you didn’t think she was serious, she enlisted producer Shooter Jennings (and his mom Jessi Colter on one track) to help make her point. 

Daniel Donato- Justice 25 year old guitar prodigy call his music “cosmic country”.  Ok, now I’m listening. You should be too.

The Jayhawks- This Forgotten Town 30 plus + after their debut this Twin Cities alt country group led by founding member Gary Louris continue to deliver. They find their inner Neil Young on this one.

Lucero- Time To Go Home God I wish I was in a bar right now listening to this, even if I might be crying in my beer.

John Prine (1946 -2020)- Lake Marie We lost so many this year, but this one really stung. A true American songwriting treasure, who was still making great music against all odds right up to his untimely passing. His songs are known for their simplicity, and economy of words. but this one goes against the grain. I’m still not exactly certain what it’s about. Sorrowful and haunting, yet somehow uplifting and redemptive. I heard him perform it live here in Los Angeles a just over a year ago and it has stuck in my head ever since. There is surely a place in heaven for the great John Prine.  He sang about it on his final studio album in 2018. Ironically it became the last song on his last record.

Thanks for making it this far....

***Play the entire songs/20 Spotify playlist HERE!***

[dherzogblog]

Almost Heaven, West Jamaica

I stumbled into reggae music as a 16 year old in 1975. Bob Marley was my gateway, but through the legendary cult film “The Harder They Come” I discovered artists like Jimmy Cliff and Toots and The Maytals . I was immediately drawn to Toot’s  R&B flavored performances of “Pressure Drop” and ”Sweet and Dandy”, they were electrifying and irresistible. His Memphis soul meets Kingston vocal style made it easy to wrap my teenage head around the new rhythms reggae was bringing. he was reggae’s true soul man.

In the early 80’s my (dearly departed) buddy Mike Cacia began to manage Toots, and over the next 30+ years, thanks to Mike, I saw him perform dozens of times in NY and LA. From time to time I would happily run into Mike and Toots on the road everywhere from Boston to Dublin! Toots toured constantly and remained remarkably energetic in concert. He always drew lots of young people to his shows and the vibes were always great.

Later on, I was able to show him some appreciation and respect by booking him to perform on Comedy Central’s “Viva Variety” in the 90’s, and a Willie Nelson tribute for the USA Network where he sang a duet with Willie. These were two of his all too rare American TV appearances.

In a career that spanned ska to rocksteady to reggae (he actually coined the term in his song “Do The Reggay”) he helped define Jamaican music and bring it to the world. His records never fail to cheer me up, the best one’s from the 70’s are gritty and soulful with an almost gospel feel. Check them out.

On his classic “Funky Kingston” album Toots surprisingly covered John Denver’s “Country Road”. I can remember at the time thinking how weird a choice it was. But he turned that corny country pop ballad into something else entirely, exchanging West Jamaica for West Virginia singing with a church inspired fervor. It was always an in concert sing along highlight. Everybody, no matter where they were from became joyously transported to their own road home. I hope he’s headed there now.

We’ll miss you Toots. 

#tootsandthemaytals

[dherzogblog]

Rockin’ All Over The World: Live Aid & the rise of MTV News

It was mid July 1985, The Coca Cola Company’s horribly misguided “New Coke” was declared an epic fail as it was pulled from shelves nationwide, tennis young guns  Boris Becker and Martina Navratilova were victorious at Wimbledon, and ”Back To The Future” was an immediate box office smash destined for several iconic sequels worth of success. As for me, I was fresh back from my honeymoon, days away from my 26th birthday, less than a year into a job at MTV, and headed down the New Jersey Turnpike on my way to cover the biggest concert event since Woodstock.

I had joined MTV in September of 1984. For those of you old enough to remember, this was probably the apex of the true music video era. It was the year of Bruce Springsteen (”Born In The USA”),  Prince (”Purple Rain”), Madonna (’Like A Virgin”) and maybe most importantly, Michael Jackson reuniting with his brothers on the record setting “Victory Tour”.  If there was a Mount Rushmore of music video, those four artists would be on it. That summer they dominated not only music video, but movies, radio, touring, record sales and airplay. And as for televison, MTV had them pretty much exclusively. In August John Sykes and Bob Pittman, two of the networks’s founding fathers and visionaries hired me to build an MTV News department. The network had just produced it’s very first Video Music Awards and was red hot. The cable TV upstart was easily the most exciting thing happening in the entertainment world.

Most of the senior management back then came from the music business. Radio stations, record labels, and concert promotion. Upon arrival I was looked at a bit skeptically having come from a more traditional TV background. I  started my career at CNN in 1981, before moving to the nascent Entertainment Tonight in 1983. Despite having specialized in producing music stories at both places, to my new colleagues at world’s coolest TV network, this was a decidedly uncool pedigree.

I inherited a small staff, who were generally regarded as the black sheep of the network’s family. A group of passionate reporters, rock critics and misfits whose downtown tastes were somewhat at odds with the more mainstream sensibility of the channel. We had our own little area in the bowels of the MTV offices at 1155 Sixth Avenue. It had a clubhouse/record store feel not unlike the film High Fidelity. Writers Stu Cohn, Michael Shore, and Merle Ginsberg were all there when I arrived, and were itching to contribute more. We were given a small budget so we could start shooting video and interviews outside the studio and bring on additional staff. 

One of my first hires, fresh out of ABC News, was my college buddy Linda Corradina. If I was the Godfather of MTV News then Linda was surely the Godmother. Together, were were the architects of what became the legendary MTV News Department. following Live Aid, Linda oversaw the development of The Week In Rock, and ultimately made the game changing hire of Kurt Loder.  Over time, the staff expanded to include rock critic, avant garde musician, and enfant terrible, Tim Sommer, as well as Kathy Levinsky, Aline Allegra and Donna Gomes. I’m certain I am missing some other names from that initial team. My apologies. It was a 35 years ago after all.

The MTV News breaks started to get some attention as we added more video, breaking stories, and interviews. Our scrappy, passion filled team combined real music journalists, with people like Linda who had real TV news experience bringing some real credibility to the network. Covering Live Aid was going to be a huge test for the network and our emerging News department. The whole world would be watching.

Well, at least those wired for cable back then.

I remember attending a pre production meeting in a brownstone owned by legendary promoter Bill Graham in his NY office on the upper East Side of New York. Graham was a notoriously tough guy, a bully, and he had no love for MTV. He seemed to think it ran afoul of everything he held dear about the music  business. The sharp dressed Armani suited MTV senior execs seemed to rub him the wrong way. Before my arrival at the channel, he famously squared against the MTV crew at The US Festival and there was a history of bad blood. He did not like the fact MTV was going to pay such a large role at Live Aid. He was running the  production, and he wasn’t going to make it easy for us.

The basic mix for the MTV broadcast was going to be the live music coverage, VJ hosted color commentary, backstage interviews, and MTV News packages. We spent weeks trying to figure out how best to cover the event.

The majority of our coverage was going to come from the Philadelphia site. We sent Linda Corradina and Donna Gomes to do some reporting from London with JJ Jackson. The rest of the news team and MTV crew headed down the I-95 to Philly.

I arrived a day in advance to get set up and begin our coverage. I can remember camping out outside of a recording studio to try and grab Duran Duran for an interview, and then heading over to a small air strip where Mick Jagger, Daryl Hall, and Tina Turner were arriving together on a private jet. Jagger blew right by the assembled paparazzi, leaving Daryl and Tina to address the press while he motored off in a waiting van. We followed them all back to JFK stadium where we watched onstage as Mick and Tina rehearsed with Hall & Oates Band for the big show the next day.

The day of the event the MTV crew headed out at the crack of dawn. The Wembley show started at 7am EST with Status Quo’s spot on version of “Rockin All Over The World”.

The Philly Show started at 9am EST. It was a brutally hot day in the City of Brotherly Love. Bright sun, thick humidity and stifling heat. We sent our cameras out into the crowd to begin talking to fans. I vividly recall Tim Sommer quickly succumbing to heat exhaustion sometime before noon. The MTV news team were creatures of the newsroom, and nightclubs. The blistering mid day heat of a packed stadium was no place for them.

I manned a crew backstage all day producing segments with the VJ’s, doing a few off-camera interviews with MOR artists like  Marilyn McCoo, Dionne Warwick and Grace Slick (see below). Our image conscious senior execs deemed them to uncool to be seen with our VJ’s.

The backstage the artist compound was filled with rock stars aimelessly milling around alongside celebs like Jack Nicholson and Chevy Chase. Rumors were swirling everywhere about who might show up for the big finale…Michael Jackson? Bruce Springsteen? Prince?

(check the late great Beastie Boy Adam Yauch/MCA to the far right)

I didn’t get to see too many live performances that day. But I was onstage for the much anticipated (sort of) Led Zeppelin reunion. I was standing next to Tom Petty and then Heartbreaker drummer Stan Lynch. They were giddy with excitement at the prospect of seeing their heroes in the reformed Led Zeppelin. Their mood changed quickly once the music started. It was pretty awful and they knew it. about two songs in they looked at each other with sour faces, and moments later they split. When you look back at the Philly line up, it all looks a bit tame. Heavy on the MTV stars of the day, there were very few memorable performances. In retrospect London had some more weight and gravitas with the likes of  U2, Elton, Bowie, and McCartney. In fact the performance I remember best was watching the amazing Freddy Mercury and Queen performance on the monitor in out production trailer. It literally left me speechless. It was truly stunning, and still on elf the great performances ever I think.

 As day turned to night, Dylan arrived backstage with Ron Wood and Keith Richards in tow. Incredibly, 3 of the 5 Rolling Stones were in the house but sadly not playing together. This was at the height of the 80′s Jagger/Richards feuding and band dysfunction.

As the night unfolded our camera crew finally made it’s way into the artists compound as Graham’s security began to break down. We were camped outside Dylan’s trailer where Keef and Woody stood outside bemusedly strumming guitars, smoking cigarettes and chatting with the likes of Phil Collins and Eric Clapton. (see below)  Later on it would become abundantly clear that maybe they should have been rehearsing. Their set with Dylan is one of the most inexplicably awful performances of of all time, although his comments inspired Farm Aid just months later.

All day long my good buddy and MTV producer Joe Davola had been pitching in with the news crew. We had been stymied every time we tried to get our cameras onstage. Finally as they were preparing for the finale, the security had completely broken down and Joe and I got the crew onstage for the big moment.

We stood on the side of the stage as the Lionel Richie led a giant all star chorus singing “We Are The World” to millions around the globe. As the stage began to fill with what had to be over 100 people, Joe taps me on the shoulder and motions for the camera to follow HIM!  And then, in one of the great moves ever, Joe strolls onstage, puts him arms around some members of Duran Duran, leans into their mic, and sings his way into music television history. All of this, including the footage, is recounted in great detail in an MTV 20th anniversary special. If anyone has a copy, please let me know. Joe was is a bona fide MTV legend, and this may have been his crowning achievement.

After the song ended, I took the crew and ran out to grab an interview with Lionel Richie onstage. I literally shove the mic into his face and scream “HOW DO YOU FEEL”????, like I was asking the game winning Super Bowl quarterback where he was headed. (see below) I think I scared the shit out of him. Not to mention for some reason I am still wearing Ray Bans at 11PM at night. (Maybe it was a “Risky Business” thing?)

After the show ended I sat with Nina Blackwood onstage and wrote her wrap up voice over. When The news team finally got back to the hotel for the crew after party, we were given a heroes welcome. The MTV News team truly arrived that day. That, plus the critical bashing the VJ’s took (somewhat unfairly), and the eventual arrival of Kurt Loder changed the dynamic at the network forever. Most of the big stars only wanted to talk to Loder and MTV News rather than the original jocks. The news breaks, once an afterthought, became a key part of our daily programming. 

The Week In Rock eventually launched 1987 becoming an instant hit as it overtook Rolling Stone magazine as THE source for music news. This signaled a new era for the network leading to a then controversial new strategy that had us producing traditional 30 minute television shows (as opposed to just playing music videos), Shows like the game show “Remote Control” and the afternoon dance party “Club MTV” made an immediate impact with our audience and MTV would never be the same. 

The news team gained steam breaking stories and covering artists and genres (like Hip Hop) that were then largely ignored by the channel’s playlists. we played the mainstream hits but covered all the cool bands through news. Over time we started producing specials, live event coverage and producing award winning documentaries. And no one of a certain generation will ever forget our round the clock coverage after the tragic death of Kurt Cobain.

Those were heady times for MTV in the “Go Go 80′s”. I am so proud and grateful to have been part of it. We were all young, ambitious, and loved music. Making it all up as we went along, it was as much fun as it sounded.

Live Aid kicked off a generation of bloated all star benefits. Within months we found ourselves in Champaign Illinois for the very first Farm Aid concert. MTV was changing the face of television, and It seemed to us like the power of music could save the world. 35 years on we’re no longer naive enough to believe that entirely.  Hell, we couldn’t even gather for an event like this right now if we wanted. 

Despite that, I would give anything to be standing in the blistering heat of a packed stadium, a cold beer in hand, close enough to the feel the sweat of the person next to me. Spending the day listening to great live music, and hoping that somehow music could save the world. 

Los Angeles 7/13/20

****this is a revised version of a post from 7/13/15

[dherzogblog]

ROOTS, ROCK, REVELATION

Stevie, Marley & Me

Ever fan has a story about discovering the music that changed their life. This is mine

Over the years my mom had dozens of micro-careers. In the Fall of ‘75 she was trying her hand in the travel business. One night out of the blue, she got a call from a friend of a friend asking if she could arrange quick transport for Stevie Wonder’s(!) band, lights, and sound out of Los Angeles, Miami, and Detroit respectively. They needed to get everybody and everything to Kingston Jamaica for a benefit concert taking place just a couple of days later. She agreed to do it in exchange for airfare, hotel, and tickets to the event for me and my younger sister. as well as herself.

I had just turned 16 and recently started my junior year in high school. In the mid seventies Paterson Catholic Regional High School was equal parts Saturday Night Fever and Dazed and Confused. For every kid “hustling” to the disco of Van McCoy, The Bee Gees and Tavares, there was another ‘fist-pumping” to the arena rock of Queen, Kiss, and Aerosmith. Reggae music was not on the radar. In those days I was listening to everything from Springsteen ( Born to Run  had just been released), and Dylan, to J.Geils  and The Allman Brothers. I liked the west coast singer-songwriters, as well as all the great R&B/funk artists of the day.

But at the top of the list was Stevie Wonder. He was in the midst of one of the great album runs in the history of pop music. Starting with Talking Book in ‘72, followed by Innervisions in ‘73, and then Fuffilingness First Finale in ‘74. It was an unprecedented and stunning streak, as he piled up sales, critical acclaim, and Grammy’s on the way. His fans, record company, and management were desperate for his next album. Finally released in late 1976, Songs In The Key Of Life is widely considered his multi disc masterpiece. Needless to say, my sister and I were pretty psyched to see Stevie perform.

The concert was to be co-headlined by Jamaica’s emerging superstars  Bob Marley and The Wailers. Reggae music was just beginning to get some attention in the press so I may have been aware Marley had written the Eric Clapton hit “I Shot The Sheriff”.  I’m sure my college age sisters were already listening to “The Harder They Come” soundtrack by then so that may have seeped in. But honestly, I had no idea what to expect.

It promised to be a star studded affair. Philly International’s Harold Melvin and the Blue Notes were advertised to appear but never did due to issues with the promoters, and as then unknown reggae band Third World were set to open the whole thing. In addition, the promoters had put together a package of events in Kingston alongside the concert, including a tennis tournament and a closed circuit showing of Ali/Frazier III which later became known as “The Thrilla In Manila”

The Kingston Sheraton was buzzing when we arrived. Stevie and his band were in the house, along with international tennis stars, (Arthur Ashe, Roscoe Tanner, and Vijay Armitraj), music critics, writers from Jet magazine , Sports Illustrated and People, not to mention all the movers and shakers from the local reggae scene.

The photo above is somehow the only picture I have from that weekend. L to R:  are Ray Maldonado (Wonderlove’s trumpet player heard on Songs In The Key Of Life), My mom (smoking!), me, and a guy from Stevie’s management team.

One of the first people I noticed hanging around the hotel was Wailer lead guitarist Al Anderson. Probably for two reasons: 1. His dreadlocks. I’m sure he’s the first person I ever saw with them, and I  thought he might be Marley. 2. His black leather jacket. Dreadlocks, shades, and a leather jacket in the sizzling mid-day island heat? I was positive he was the coolest person I had ever seen.

Walking around the hotel, my sister and I met a young musician named Greg Phillingaines,. He was probably 18 years old at that time, just out of high school in Detroit, a keyboardist and the newest member of Stevie’s Wonderlove band. This was to be his first gig. Greg later went on to an amazing career as an artist, arranger and band leader. He led Michael Jackson’s band on several tours and played on all his classic albums. In addition to an early 80′s solo career, he has played and toured with pretty much anyone who is anyone in pop music over the past 40 years. More recently he was musical director for Stevie’s Songs In the Key of Life Tour bringing it all full circle.  

Greg invited my sister and I to come watch Stevie and the band rehearse in the hotel the night before the show. We were beside ourselves. We never had access to anything like this before. To be in the same room with one the biggest stars on the planet was truly unbelievable. Stevie came in and immediately sensed there were unknown visitors in his presence and asked about us. He sat down at his keyboards and he and the band jammed away on a few things before they kicked us out. Jill and I were literally spinning with excitement. We could barely get to sleep that night.

The afternoon of the concert I took a cab by myself into the middle of town to see some of the tennis at the National Arena. The city center was noisy, and bustling. Downtown Kingston is notoriously tough and no place for a 16 year old tourist from Jersey. Despite that, I was instantly taken with its simmering vibe. I had visited a Montego Bay resort with my parents a few years earlier and it was a complete yawn. Kingston couldn’t be more different. It hummed with a chaotic island energy and the slightest hint of danger.

That night we went to The National Stadium for the show. we had seats up front  among local dignitaries, tennis pros, and journalists. Third World was playing their uptown reggae fusion as we settled into our chairs. It wasn’t long before Marley and The Wailers entered from the rear of the stadium with a group of Nyabhingi drummers performing “Rastaman Chant” as they approached the stage. Completely lost on me that night was the fact that we were witnessing the last ever performance by The Original Wailer’s. Peter Tosh and Bunny Wailer had both left the group over a year prior to pursue solo careers and had not appeared publicly with Marley since. That night they performed a rare set of vintage Wailer’s hits and solo tunes. I can remember everyone singing and swaying along to “No Woman No Cry” Marley’s beautiful ghetto yard anthem. I’ll never forget Peter Tosh performing “Legalize It” to the delight of the crowd and my aspiring teenage stoner self.

I couldn’t take my eyes off Marley. I had never seen anyone like him before. I vividly recall him dancing about the stage like a natural mystic. Locks flying, eyes shut, trance like, his guitar slung over his shoulder, connecting with a rapturous hometown crowd. I was thunderstruck as the songs of rebellion, redemption and weed with their impossibly slinky beat and heartbeat bass moved right through me and his revolutionary lyrics exploded in my head.

Hit me with music. 

Later on Wonderlove took the stage in their 70′s space age outfits which seemed kinda cheesy coming after Bob and his rootsy ensemble. But Stevie was one of the globe’s biggest stars and the Jamaican crowd went wild as he master blasted his way through his catalogue of hits. Bob returned to the stage joining Stevie to perform ”I Shot the Sheriff“ and sit in on ”Superstition“. The audience left ecstatic and I would never be the same.

I’d been to my first funky reggae party, I was all in and ready for more. At the Kingston airport I bought a Jamaican pressing of Bob’s Natty Dread album. As soon as I got home I dropped it on the turntable and never turned back. Before long I was dragging buddies to midnight showings of The Harder they Come at the Elgin Theater in New York City. I started to search for all the reggae music I could find, reading everything printed about it, unconsciously becoming North Jerseys biggest (only?) reggae music evangelist in the process. 

Pass it on.

I was already listening to artists like Dylan, Springsteen, and Neil Young, starting to understand the urgency and power of great lyrics and storytelling. The trench town reality on Bob’s songs like  3 O’Clock Roadblock, or Burnin’ and Lootin’ gave his music a gritty, authentic dimension that set him apart. My musical sensibilities shaped in a post Woodstock world were totally intrigued by the music AND the message.

On the song “Knockin’ On Heaven’s Door”  Bob Dylan imagines he’s a fallen gun-slinging sheriff in a classic western. Conversely on “I Shot The Sheriff”  Marley guns down his local law man because he’s convinced he was going to kill him first. This was not a track from Hollywood western soundtrack, but a story from his own Kingston ghetto experience. The distinction was made even clearer in December 1976 when Marley was ambushed in his home by gunmen while rehearsing with his band. The assassination attempt was never officially solved. Was he targeted for political, personal, or business reasons? We may never know. But the photo of him seen round the world, bloodied and bandaged in the Kingston emergency room, gave him the kind of universal street cred a hit song could never buy. Two nights later he defiantly performed at The Smile Jamaica Concert (the event the gun men tried to derail), literally shielded onstage by friends, security and a make shift Wailers band. He finished his short triumphant set by unbuttoning his shirt revealing his bullet wounds to the crowd. A genuine rebel soul who won’t give up the fight.

Over the years my interest in Jamaican music and culture never waned. I’ve been a reggae fan and collector for 45 years and Marley remains one of my all time favorite artists. in 1978 at Emerson College in Boston I started a weekly reggae radio show on WERS called “Strictly Rockers” (later renamed “Rockers”). It became so popular it was soon airing daily over 35 years becoming one of the longest running reggae radio shows in the US. In the process I somehow became a a roots music pioneer, something I remain enormously proud of.

In retrospect that weekend trip proved pretty seminal. Music from an island a universe away from my Jersey high school, connected with me like nothing else before and kick started a life long obsession. More importantly, the opportunity I had to peek behind the scenes into the world of music would have a lasting effect. I returned home excited and inspired by what I heard, saw, and felt. I didn’t have any real idea of what I wanted to do with my life back then, but I thought that if I could figure out how to get close to some of what I had just experienced, then maybe, just maybe….”everything’s gonna be all right.”

(*editor’s note: this is a revised version of post originally published 10/15).

[dherzogblog]

songs/19

“I listen so you don't have to”

Hey everyone, we’re back! enjoy some music and musings from the last year

Make sure to click on there bold type for music links and extras!

Lizzo- Juice Lizzo burst into 2019 with a hit song, huge album and wildly successful tour. The “pudding in the proof “. Easily the catchiest tune of the year with an irresistible Bruno Mars 80′s funk vibe, She has the kind of star power and charisma that makes her appealing to just about everyone, including your aunt, who no doubt will be grooving to this on bar mitzvah dance floors for years to come. Blame it on her juice.

Jen Awad- Hungover

Big voiced, post Amy Winehouse soul singer blames it on the juice too. Maybe she was with Lizzo the night before?

Charley Crockett- How Low Can You Go?

Multi ethnic Americana singer/songwriter delivers one of my favorite albums of the year where he effortlessly moves from country to blues to soul. He also recorded one of my favorite country covers of the year (see bottom of this blog for more info on that). His girl is breaking his heart (blame it on the juice again?) on this R&B styled song from a non album single.

Durand Jones and The Indications-  Circles

More sweet 70′s soul, quiet storm style. The swirling strings and Delfonics harmonies would sound perfect coming out of the 8 Track player in your Pinto.

Dr.John- Such A Night (1941-2019)

A true music renaissance man. Starting as a teen in the studios of New Orleans, he learned his trade at the feet of the masters, playing R&B, jazz, and blues with equal skill and feel. The good doctor, (AKA Mac Rebbenack) went on to become an unlikely rock star in the early 70′s with his psychedelic and voodoo inspired Night Tripper alter ego. His long career found him playing several roles along the way, session man, producer, and The Big Easy’s unofficial funk ambassador. I picked this live version of the song because: A. He’s backed beautifully by The Band, B. It’s one of my favorite performances from The Last Waltz, and C. The live setting let’s you hear him stretch out a bit on the keyboards. I watched him perform many times, headlining or sitting in with others at Jazz Fest. No matter what the setting, he always fit right in and found the groove. Piano man, sideman, shaman, there was only one Dr.John.

Van Morrison - Early Days

Like Dr. John, Van’s been around long enough to recall the birth of rock and roll. Throughout his career he never stopped paying tribute to his roots and those who inspired him. You can hear it in his musical references, cover tunes and name checks. At The Hollywood Bowl in October I got to see an unusually joyous performance as he wistfully traced a lifetime of musical influences across R&B, jazz and blues. His latest release is an unabashed love letter to those good old days, three chords and the truth.

Spiral Stairs- Fingerprintz

Scott Kannberg is one of the co-founders of Indie rock legends Pavement. But truth is I never took much of an interest in them. I happened to read about his solo project where he mentioned listening to a lot of  Van Morrison and Nick Lowe while recording. That seemed like a  good enough reason for me to check it out. There are familiar ‘fingerprints” on this one, as you can definitely hear him channeling Van.

Vampire Weekend- This Life

Hardly anyone is ambivalent about Vampire Weekend. Their preppy east coast look, and sleeve wearing, dad rock influences make them polarizing at best. Doesn’t matter to me, I like their catchy hooks, bone dry lyrics, caribbean rhythms, and ringing guitars.This is easily the sunniest song about cheating I ever heard.

The English Beat- Whine and Grind/Stand Down Margaret Ranking Roger (1953-2019)

in January of 1980 England was in the grips of 2 Tone mania, the pop music movement that came dancehall crashing out of the UK Midlands, and for a brief black and white checkered moment, dominated the British charts. At the center of the scene were The Specials whose founder Jerry Dammers launched the 2 Tone label and created the blueprint for it’s sound, inspired by the Jamaican music he heard as a kid. These bands (including The Selecter and Madness), combined ska, reggae and punk that launched a brief music and fashion movement. They dressed in a mod black and white style making the look nearly as important as their sound. For most of these bi-racial bands, the goal was to make you dance AND think, with lyrics focusing on social and political issues affecting young people in Thatcher’s Britain. The track here is a good example of that.

I arrived in London on a traveling seminar ready to check it all out, as a college radio DJ I was already a fan of The Clash’s punky reggae. and I had read several dispatches from the British music tabloids like NME and Melody Maker. First chance I got, I was off to a record store where I stood at a listening station to hear The Special’s debut LP.  I was instantly transformed into a card carrying 2 Tone fan boy. As a student, without much money with a long trip ahead, I couldn't afford The Specials album, but I did buy a 45 by the label’s latest signing, The Beat.

The A side was a cover of Smokey Robinson & The Miracle’s “Tears Of A Clown”. It took a minute to get used to hearing the Motown classic played in their energetic ska sound. The tune ends with Ranking Roger “toasting” over the track reggae DJ style, not something heard much outside of Jamaica back then. Side B featured Roger taking lead and riding over a bouncy stop and start rhythm titled “Ranking Full Stop”. It was an instant 2 Tone classic, and I now had a new favorite band.

The Beat (AKA The English Beat) after just one 2 Tone single, were given their own Go-Feet label and releasing a full length album later that year. Their songs seemed to have a slightly more authentic Jamaican sound than the others, dubbier, upbeat and fun. In addition they dabbled in world music and afropop long before it became chic. I saw them perform on their first US tour in Boston later that year.

As the 2 Tone moment waned back home, the group quickly focused on the American audience, touring constantly in the process. The Beat were definitely the band most committed to breaking in the states and nearly did. By the third album, they gained some traction at US radio (particularly here in LA at KROQ) and played the US Festival, but it was too late. The band was already fracturing. Lead singer Dave Wakeling and Roger left unceremoniously in 1983 to form the short lived and mildly successful General Public, while bandmates Andy Cox and David Steele formed the much more successful Fine Young Cannibals. despite some huge hits, they too were short lived.

The original band never reunited. Roger and Wakeling performed together as The Beat for awhile, later each forming his own version. Roger in the UK and Dave in the US. Dave’s version tours constantly to this day. The 2 Tone label didn't last long and the music never truly caught on here. Ultimately suffering the same fate as other short lived UK music fads like Glam Rock or The New Romatics. Their impact was strong enough though to fuel the much maligned ska third wave of the 90′s, and bring Jamaican music a bit farther into the mainstream. All that really remains are the three great studio albums and the memory of their exciting live shows.

I booked the band on a CNN talk show in 1982. I remember they seemed frustrated and were already hinting at a challenged future for the group. Less than a year later they were done for good. I recall desperately wanting them to succeed, bringing my favorite band and the 2 Tone music to the masses. It’s hard to imagine there was a ever a time in your life when a pop group could break your heart like that. 

Foe me and other recovering rude boys/rude girls, the music endures, as does the message.  And today when I hear them streaming into my ear buds, I still want to “move my likkle feet and dance to the beat”, which for the dearly departed Roger I have to think, was always the point.  #loveandunity

The Special- Vote For Me

Politics and social issues remain front and center as the 2 Tone founders return with their first album since the 80′s. Reunited for many years now, this current version of the band boasts more original members of The Fun Boy Three than the original The Specials. That did not stop them from delivering a totally respectable and relevant effort. You can hear dark echos of their classic "Ghost Town” on this dubby tune no doubt inspired by Brexit.

Eddie And The Hot Rods- Do Anything You Wanna Do Barrie Masters (1956-2019)

in 1976/77 Eddie and the Hot Rods stood at the intersection of pub rock and punk as one scene fizzled, and the other burned down everything in its path. The Hot Rods had the classic straight ahead sound of the pub bands plus an attitude that leaned forward into the energy punk would embrace. They enjoyed a brief moment of UK chart success before literally falling into the cracks of the pop music scene. This song, one of my all time favorite singles, sum them up perfectly. Drawing a straight line from Graham Parker to The Clash with a touch of a classic Springsteen working class anthem. In other words....perfect.

Beach Slang- Tommy In The 80′s

When I first saw the title of this song immediately assumed it was a Beach Slang’s tribute to The  Replacements guitarist Tommy Stinson . And even though Tommy himself plays on the track, it is not about him! In fact, it’s actually a tribute to obscure 80′s power popper Tommy Keene. I remembered the name from my MTV days, but honestly had to wiki him for clarification. Despite all these references, the whole thing sounds more inspired by “Jessie’s Girl” than either Tommy. 

The Cars- My Best Friends Girl Ric Ocasek (1941-2019)

Truthfully. I was never a big Cars fan. But in my college days before digital music, you listened to whatever the radio played. And in Boston, they played The Cars a lot. It wasn’t long before they rose from local heroes to national charts toppers. They didn't have the bluesy street cred or swagger of hometown legends Aerosmith or The J Geils Band, but they were our very own neighborhood rock stars. Drummer David Robinson lived in the building next door to Noreen on Comm Ave, and it was always kinda cool to see them strolling around Back Bay or hanging out at a club. Their sound was little cold and metallic for me, but you couldn't deny they crafted pretty great pop and new wave singles. They were omnipresent sound of my college days. The hits literally followed me to MTV and NYC in the 80′s where I often spotted Ric and Paulina strolling hand in hand in Chelsea. This classic love triangle was always my favorite with it’s Tommy James like guitar at the top, handclaps, and unforgettable hook. The band disbanded long ago, but like the classic American automobiles, these songs were built to last.

The Neighborhoods- Don’t Look Down

The Cars were the only Boston group of the era to truly make it big, but that late 70′s scene boasted several other talented bands who scored label deals including: The Nervous Eaters, The Rings, The Paley Brothers, Robin Lane and the Chartbusters, The Fools, The Real Kids, The Stompers, and Mission Of Burma. Later on, The Lyres, The Neats The Del Fuegos, The Mighty Mighty Bosstones, and Murphy’s Law  all managed to find the big time. It was a great time for local music back then. A city filled with students, plenty of clubs to pack on weekends, and college and commercial radio stations willing to play local bands. There were many good acts around town then, and my favorite, without a doubt, were The Neighborhoods. A young, brash power trio led by charismatic lead singer David Minehan. They played a ferocious brand of power pop/punk that would leave their audience breathless. I was certain they were destined for stardom. In the spring of 1979 they released their debut single “Prettiest Girl” on a local label and massive airplay on both college and commercial radio followed. They instantly became the hottest band in town, poised to become the next band from Boston to make it big. But it never happened. Bad luck, poor management and infighting derailed all the momentum. Before you knew it, the gritty street quality that was The ‘Hoods trademark was pushed aside by the synthesized sound of MTV. Over the course of the 80′s and into the 90′s they managed to release some pretty good albums on a variety of indie labels, but it never came together for them. The band reunited and gigs occasionally but hadn’t recorded for many years until right now. Forty years later, the neighborhood may not look the same, but their sound and spirit somehow survive. I suppose there’s something tragic and romantic about a great band lost to time, remembered only by the few who saw them way back when. They really were great, but I guess you had to be there.

Jesse Mailn - Meet Me At The End Of The World Again

New York’s favorite son, soul survivor, and street poet Jesse Malin is back. He’s been around long enough to understand that “When it all blows up, when it all goes down, when it makes you sick, but you’re still around” is victory in itself.  It’s the only life he knows, so what can a poor boy do? 

Brittany Howard- Stay High

This is from Alabama Shakes lead singer's excellent solo debut, unselfconsciously celebrating private moments spent with a lover on this  rootsy and gentle ballad. Her soulful falsetto conveys the kind of lustful bliss you might expect from Al Green or Prince. 

Mississippi All Stars- Mean Old World

Bear with me. This one is tangled up in the roots of several southern rock legacies and is going to take a minute to unpack. The All Stars are led by Luther and Cody Dickinson, sons of legendary Memphis musician and wild man Jim Dickinson. They decided to cover T Bone Walker’s Mean Old World,  a blues number once recorded by Eric Clapton and Duane Allman as part of the historic Derek And The Dominos sessions. The track, featuring their dad Jim, did not make the original release but was later unearthed on an expanded reissue. Still with me?  So, as a bit of a tribute, the guys recorded their own version of the tune and invited Duane Betts, son of Allman Brothers guitarist Dickey Betts to record an Eat a Peach inspired guitar run at the end.

And oh yeah, Jason Isbell is on it as well.

Got all that? 

Samantha Fish- Kill Or Be Kind

Have seen Samantha live several times over the past few years. She’s a very good blues/rock guitarist, vocalist and an exciting live performer. On the sultry “Kill or be Kind” she gives her lover an ultimatum. Fun fact: One of my son’s best friends from high school (Kate Pearlman) wrote two tracks on the album!

Jade Jackson- Bottle It Up

Second album from this promising up and coming alt country artist. She’s on the super cool Anti label which providing immediate credibility and her albums are produced by Social D frontman Mike Ness. And when she’s not on the road she waitress’s at her parent’s restaurant in central California. I’m not sure you can get any more country than that.

The Highwomen- Redesigninig Women

Inspired by The Highwaymen of Willie, Waylon, Johnny and Kris, this all female country “supergroup” quartet is out to break the stereotypes in country music with some really fine songs. While the male Highwaymen banded together to rescue careers in decline, these women (Brandi Carlisle, Amanda Shires, Marren Morris, and Natalie Hemby), are all on the rise. This song is lot of fun.

John Prine- Unwed Fathers

John Prine is back with a remake of his heartbreaking tale of teenage pregnancy. He’s joined this time Margo Price. I got to see Prine live this fall at the beautiful Anson Ford Amphitheater here in LA. His simple, plain spoken lyrics and songs are timeless. I attended the show with my pal David Kissinger who observed that despite health issues, “Prine remains an national songwriting treasure and his performance was as life affirming as you’ll ever see.” Can’t say it any better than that.

Shovels And Rope- Mississippi “Nuthin

Ever wonder whatever happened to that perfect couple from high school? You know, the high school quarterback and the prom queen? This one ain’t “Glory Days”. Our QB peaked in high school and never makes it back to the end zone again, plus he's tortured by the success his old flame enjoys. His anguish and desperation are palpable in this barn burner of a song whose vocals draw inspiration from June & Johnny and John & Exene.

The Delines- Eddie and Polly

Eddie and Polly are young and in love, and doomed. Vocalist Amy Boone’s world weary vocals always sound like it’s 3AM. This one won’t do much for your holiday spirit, but it’s haunting melody might stay with you throughout it.

Yola - Love all Night (Work All Day)

Love the one your with is (at least after work) is the basic idea on this track from this UK performer’s debut long player. Produced by Dan Auerbach of The Black Keys, the collection is full of excellent retro soul-folk. There was a fair amount of buzz in front of the release and she more than lives up to it including a nomination for a Best New Artist Grammy. 

Mavis Staples + Norah Jones- I’ll Be Gone

First recorded effort form this duo. A bittersweet ballad that softly and soulfully looks ahead to a final salvation. But Mavis ain’t done yet. She’s still going strong, recording and touring constantly. She knows she may be running out of time, but there’s still work to do. And whenever she’s finally ready, you can be sure she’ll take us there.

Hope you and yours are well.  The Herzog’s wish you the best and look forward to seeing you in the new year.  For those of you who made it this far, thank you. I’ve got a bonus playlist for you. Artists you like playing songs you love:  covers/19 Enjoy.

peace,

Doug

Los Angeles, December 2019 

[dherzogblog]

GARDEN PARTY 9/22/79

In late summer 1979 Jackson Browne and a group of like minded LA musicians announced a series of “No Nukes” concerts at Madison Square Garden for September. Like any self respecting young person at the time I was well aware of the dangers posed by nuclear energy after the incident at Three Mile Island. It became a big issue, particularly on college campuses, I was concerned about it but wasn’t ready to hit the streets in protest. The initial concert line up had a distinctly ‘El Lay’ feel. Headliners and performers included The Doobies, CSN, James Taylor, Carly Simon, Poco, Orleans, and of course Jackson Browne. The post Woodstock Hollywood hippy vibe surrounding the event left me a bit cold. Back then my eclectic college radio tastes were leaning hard into punk, new wave, and reggae. But then the organizers announced Bruce Springsteen would perform, and that quickly got my attention. Up till then Bruce had avoided affiliation with any and all political or social movements. His participation was seen as a big deal. I had seen him live for the first time on a year earlier The Darkness Tour and became an immediate convert. I was couldn’t wait to see him again.

Bruce had agreed to headline two nights, including a Saturday night show on the eve of his 30th birthday, on a bill that included Peter Tosh, Tom Petty & The Heartbreakers, Gil Scott Heron, and Bonnie Raitt. It was amazing line up that seemed to spring directly from my record collection so I convinced some Emerson College classmates to join me and we took a train from Boston to NYC the day of the show.

After dropping our bags at a friends small studio apartment where we all slept on the floor, we headed to Washington Square Park in search of “loose joints”. What we purchased was closer to oregano than Panama Red, but undeterred and a bit lighter in our wallet, we headed back uptown to MSG for the big show. We had tickets in the Garden’s top deck. The infamous blue seats where the NY Ranger’s faithful reigned supreme. They were nosebleeds, just to the side of the Clarence Clemons end of the stage. Our vantage point decidedly higher than we were, but we were ready for an epic night.

It turned out to be was an unforgettable evening of music. Gil Scott Heron in peak form with his conscious brand of jazz funk (before he would ultimately succumb to a spiral of heroin addiction), wowed the crowd with his No Nukes themed “We Almost Lost Detroit”. 

Then there was the always entertaining Peter Tosh. At the time, Bob Marley, was still alive and the world’s biggest reggae star, but Tosh was arguably the coolest. Signed to Rolling Stone records, he was hanging and touring with Mick and Keith and the “World’s Greatest Rock and Roll Band”. I vividly remember him prowling the stage in his Japanese robe and middle eastern Keffiyeh smoking a giant spliff backed by the legendary Sly and Robbie. Bonnie Raitt was next, she was nearing the end of the first chapter of her storied career. Not long after, she would enter a tough stretch, ultimately dropped from her label before triumphantly re-emerging 10 years later with her platinum selling, Grammy winning “Nick Of Time”. 

The big question mark was Tom Petty and The Heartbreakers. We weren’t sure what to make of him at the time. Were they a new wave band like their name seem to indicate? Petty and his crew were two albums and a couple of cult singles in at that point. In those pre MTV days you didn’t have much to go on without seeing the band live. You could only judge an artist by what radio played, what Rolling Stone wrote, or what the album cover looked like. The band’s breakthrough “Damn The Torpedoes” would be released a month later. Petty and his band delivered a confident and strong set that night hinting of big things to come.

Finally it was time for the main event. This was a home town crowd and they were ready for Bruce, who would be playing a shorter set than usual. He and The E Street Band hit the stage and the place nearly exploded. I had only seen him live once before and was blown away by his energy and intensity. But just seeing him for the second time that night night I sensed a slightly different vibe. A shorter more urgent set played with the wild abandon of man at odds with himself. He was a house on fire. 

Bruce has grown up in a 60′s culture that believed “Don’t trust anyone over 30” while listening to The Who proclaim “Hope I die before I get old”. Some of those sentiments had to be in the back of his mind that night.

During the show Bruce was presented with a birthday cake that he weirdly, in a rare moment of petulant behavior, tossed into the audience. Later, he had a young woman (later identified as his former girlfriend, photographer Lynn Goldsmith) dragged up to the stage by security only to be immediately escorted out of the building. Even having only seen him once, I knew this was all a bit odd. But the crowd did not seem to mind at all. He blasted through an abbreviated set that had the upper deck bouncing and rolling like an LA earthquake. I have only felt a crowd that frenzied a few times in my life. 

It’s 40 years on and he’s still at it. I’m sure he couldn’t imagine it then, but he would ultimately navigate the challenge of “growing up” in the music business, redefining what it means to mature in the rock world. A few months after this show, he would release “The River” a double album with themes and lyrics pointing to a rapidly maturing songwriter grappling with the issues of getting older.

That night, on the verge of turning 30, performing alongside his peers, playing like the slipper was about to come off his foot when the clock struck twelve, he stood exhausted and triumphant in front of an adoring crowd, diving defiantly headfirst into his thirties and rock and roll adulthood. He really had no choice, because as revealed that night , he’s “just a prisoner of rock and roll” and he’d already been issued a life sentence.

Happy 70th Birthday Bruce.

#brucespringsteen tompetty petertosh bonnieraitt gilscottheron

[dherzogblog]

songs/18

The Vaccines- I Can’t Quit

Welcome back folks. Don’t forget to click on the BOLD type for extras!

This first song was released early in 2018 and was the first add to the my year long working list. Almost a year later, it remains in the pole position. Got to see them on a steamy Sunday afternoon at Lollapalooza in August. Enjoy some rousing power pop from west London.

Hinds- The Club

My daughter Lizzy spent a semester in Madrid last year. In addition to all the sights, I was hoping to catch a Real Madrid soccer match, as well as these  young ladies of Spain. Alas, while I got to see the great Ronaldo, these energetic garage rockers, were out on the road. I love this band and the guilty “day after” sentiment of this fuzzed out track.

Belle Adair- Marooned

Shimmering guitars and breezy harmonies and a jangly 60′s vibe have me thinking I’d be happy marooned with this tune for awhile.

Aretha Franklin- My Song

I was devastated by Aretha’a passing. She is maybe my single favorite artist. I decided to choose a lesser know tracker the playlist. Maybe something you haven’t heard. This is a great cover of a late, great Johnny Ace tune from 1968. It is as good as anything she’s ever recorded.A tune featuring her great piano playing and soaring vocals. Like the lover she loses, we too are left with only a song. 2019 will bring the long awaited release of her Gospel “Amazing Grace “ film. So there is that to look forward too.

You can read about my literal “busk with greatness” HERE, and check out my favorite Aretha tracks HERE

Leon Bridges (w/Luke Combs)- Beyond

I saw Leon on his first major tour. While his talent was undeniable, I was suspect about his self consciously mannered retro look and sound. Feels like he is slipping more comfortably into his own skin this time around. On this (live) duet with country rocker Luke Combs he thinks he my have found the one. A great pop soul ballad.

Shelby Lynne- Off My Mind

Lost track of Shelby for awhile. She came back on the radar with her excellent album recorded along side her sister Allison Moorer last year. Off My Mind is a smokey country soul ballad that remains her specialty.

Natalie Prass- Short Court Style This 90′s R&B styled track from this talented singer songwriter took my by surprise. But it shouldn't have as it comes out of Mathew E White’s Spacebomb crew.

Temptations- Can’t Get Next To You Dennis Edwards 1943-2018 David Ruffin, the raspy Tenor of the original 5 Tempts, left the group in 1967. He was replaced by the gritty, husky vocals of Dennis Edwards. They didn't miss a beat. Dennis stepped in right along side falsetto Eddie Kendricks as producer Norman Whitfield brought his distinctive hit making style to the band’s sound.  Influenced by the street wise funk of Sly Stone as well as the late 60′s rock scene, the lyrics were ripped from the days headlines and went straight to the top the charts. The hits include classics like, “Runaway Child”, “Cloud Nine”, Psychedelic Shack”, “Ball of Confudsion”, “Papa Was A Rolling Stone” as well as the track included here. More so than the original 5, these were very much my Temptations. It was an amazing run of smash singles that matches anyone’s.

Janelle Monae- I Like That  (Reggae Remix)

The enormously talented Janelle Monae is back. This time she leaves the sci-fi trappings behind (but not her Prince influence), and stakes out some new ground. She is joined on this reggae remix by the dubby and roosty Easy All Stars. Reminds me of the 2003.Alicia Keys reggae remix of  “You Don’t Know My Name”.

Amara La Negra- What A Bam Bam

Straight outta Love and Hip Hop: Miami (who knew?) comes this irresistible  dance hall banger. Amara La Negra reboots the Sister Nancy classic with a heavy Miami dose of pan Caribbean beats and spice. I love everything about this.

Cardi B- I lLke It

Material Girl 2018. My single favorite song of the year. How can you resist the classic Fania boogaloo sample and all that hilarious boogie down attitude? She was easily the breakout star of the year, and runs this shit like cardio.

Sntigold- Coo Coo Coo The new age dance hall vibes continue with the always evolving and interesting Santigold.

David Byrne- It’s Not DarkUp Here

I generally approach David’s solo outings carefully. Sometimes they sound and feel like homework to me. I wasn’t sure what to expect when I saw him live at this year’s Jazz Fest. Turned out I was completely blown away the performance by him and his band. One of the freshest and most original productions I have ever seen. Simple, imaginative and full of so much fun and joy. He mixed Heads classics with his solo stuff and some of the new tunes. No homework required. I loved it so much that I went to see it again when he came through LA this summer. I wanted to see it with lights and proper staging (he didn't have that on a daylight stage in New Orleans). This track definitely feels like it could have taken it’s place on some of his former bands African influenced outings. 

On a related note African artist Angelique Kidjo brought Remain in Light back home for a fascinating reincarnation.

Hugh Masakela- Grazing In The Grass 1939-2018 

Long before The Talking Heads and Paul Simon imported African rhythms into their music and the mainstream, my mom was listening to Hugh and Miriam Makeba. While this one is more straight ahead soul jazz than anything else, it’s a favorite of mine, instantly conjuring up the memory of the soft summer days of my childhood.

Anderson Paak (w/Kendrick Lamar)- Tints

His future’s so bright he gotta keep it low key with “tints”.

Tuxedo (w/Zapp)- Shy

These guys love 70′s disco and 80′s electro street jams as much as I do. The surviving members of Zapp are aboard to add that unmistakable bounce. I definitely fux with the tux.

The Suffers- Do Whatever

EWF style horns and a jaunty R&B groove reminding you to relax in 2018. You can hear a group of kids singing to kick off the track, and at the end you hear one exclaim...”’That was fun”. Sums it up perfectly.

St.Paul & The Broken Bones- Apollo

Catchy, modern R&B with lead singer Paul Janeway showing off his impressive falsetto.

Tom Petty &The Heartbreakers- Keep A Little Soul

Hard to believe by the time you read this, Petty will have been gone almost a year and a half. This previously unreleased track surfaced on a posthumous box set. It sounds like something that could have been a follow up to “Don’t Do Me Like That” and may have been a hit in its own righty. It’s pretty great and a another reminder of Petty’s inestimable songwriting talent. Not unlike the Suffers track earlier...at the end of the song Petty proclaims...”That was fun”. Indeed it is.

Courtney Barnett-  City Look Pretty

if you aren’t t aware of Courtney Barnett, you haven’t been paying attention. After last year’s adventure with Kurt Vile, she’s back to solo business. On this track she’s arrived back home after being on the road awhile and trying to enter her home town orbit of relationships and friends.

Lucero- For The Only Ones

My favorite roots rockers are back playing a grungy rave up for the lonely ones. Turn it up and dance like no one is watching.

Kelly Willis- Back Being Blue

Country soul heartbreak produced in a style that reminds of the early 80′s pop/country and songs like Roseanne Cash’s “Seven Year Itch”

Nathaniel Rateliff &The Night Sweats- Babe I Know

Have seen these guys perform live a few times, and it’s always a rousing good time set. This Ray Charles inspired ballad shows their ability to beautifully take it down a notch. If you listen closely you can here Lucius on backing vocals

John Prine- Knockin’ on Your Screen Door

 Back with his first album in over 10 years and a bout with throat cancer, John Prine reminds us why he remains a true American song writing treasure. One of his earliest, best known, and most covered songs is “Hello In There”. where as a 25 year old songwriter he was able to inhabit the life of an elderly person facing the solitude of their twilight years. On this track he’s actually reached the age of the person he wrote about in 1971. He’s on the other side of that screen doors now. The upbeat music on this somewhat obscures the feeling of loneliness, and I’m guessing that’s no mistake. Prine has fought hard to stay healthy active. No sense in getting too gloomy about it, it doesn’t suit him.

Charles Lloyd & The Marvells + Lucinda Williams

An exciting and unexpected musical pairing that really meets expectations. I saw them perform this beautiful Jimi Hendrix ballad live at JazzFest and I have been unable to get it out of my head since  Lucinda joins Lloyd’s incredible band as they float musically and spiritually through jazz and Americana. Bill Frisell’s  guitar, and Greg Leisz on pedal steel add to LLoyd’s atmospheric playing to create something truly sublime. Well, if you made it this far, I really appreciate it.

All The Herzog’s are well, and we wish you and yours a happy and healthy holiday and new year. Look forward to seeing you all in 2019.

peace, Doug 

Los Angeles, December 2018

[dherzogblog]

Voice of my generation

I grew up 13 miles from New York City. As close as it was, it often felt like a world away. As an aspiring teenage hipster I became obsessed with it’s simmering cultural cauldron and I eagerly devoured The Village Voice reports from the front. The rise of punk downtown, the incredible explosion of disco and Studio 54 midtown, and ultimately the emergence of hip hop uptown. I read every Robert Christgau review with the kind of focus that had I devoted to school work I may have gone to Harvard. I scoured the music listings obsessively, and searched the revival movie house ads for Marx Brother double features. I was transported to the coolest clubs, breakthrough art exhibits, smoky jazz clubs, and educated in lefty politics. I can still feel the inky newsprint on my fingers. I checked it out weekly for many years even while living in Boston or LA. I always needed to know what was happening back in the city. Long before the internet, Time Out NY, and in a different way than @nymag and @newyorkermag the Voice was the last word on music, film, art, fashion, lefty politics and everything that mattered in Gotham.

[dherzogblog]

LONG LIVE THE QUEEN.
It was late afternoon in the early spring of 2012. I was following a large entourage as they navigated their way through the bowels of the Lexington Avenue Armory on the east side of Manhattan. We were escorting a legendary performer to a specially designed room backstage that had been constructed with one purpose in mind: That it be fit for a Queen. I had been part of similar celebrity entourages many times over the years, but I had never been as nervous as I was that day. Like a love struck school boy about to meet his crush, I anxiously followed the crowd. 
Throughout my career I was fortunate to havemet some of the world’s most famous people. Presidents, rock superstars, heavyweight champs, and Academy Award winners. But this was different, I was about to meet my very favorite artist. 
Aretha Franklin had been rehearsing for her appearance on the TV Land Awards where she would be honored the following night. Getting her there was no small feat. Executive Producer Casey Patterson had been trying to get her for years, but Aretha is a famously tough to book for anything. She travels only by bus, had been experiencing some recent health issues, and is notoriously…um….“prickly”. 
So I follow this group, consisting of Aretha’s handlers, TV Land staffers, and production crew as they made their way to a lovely makeshift salon. It had been meticulously decorated by Casey and her team. There was beautiful fruit and flowers all about, and some lavish gifts carefully chosen for the living legend in our midst. 
I was only part of all this because I was then President of The Viacom Entertainment Group. But on that day, I was there as unabashed Aretha Franklin fanboy. I arrived that afternoon with a canvas Amoeba Records tote bag stuffed with my favorite Aretha vinyl and a sharpie. I looked like someone who stands outside a Broadway theater late into the night, waiting for the star to come out and sign their program. In other words, VERY professional. 
Aretha sat down on a lush velvet couch, scented candles burning all around while Casey presented her with those extravagant gifts. We all watched as she opened them with the glum boredom only a true diva could muster. As she finished, Casey introduced me. “Aretha, I’d like you to meet my boss Doug Herzog….blah..blah…blah”. She looked up and eyed me suspiciously with cocked eyebrows. She could care less. I immediately began gushing, telling her what a big fan I was. And then I sheepishly asked her if she wouldn’t mind signing some albums? The look on her face told me she was neither amused or flattered. But quickly, and with a deep sigh and some resignation, she took my vinyl and started to sign. An uncomfortable quiet fell over the room as we all just stood around and watched her do this. I hate dead space moments like that and always feel compelled to break the ice. So impulsively, I decide to double down, and blurt out… “Hey Aretha, can I give you a kiss on the cheek?” I’m not entirely sure what I was thinking, and that awkward quiet turned instantly to an icy, stone cold silence. Time seemed to stand still, everything froze, and all the air left the room. Casey was so mortified she might pass out (If you want a truly accurate account, you should track her down).
And then “The Queen Of Soul”, global music superstar, Rock and Roll Hall of Famer, and “Diva of all Diva’s” glances up and shoots me a look that could kill. Maybe it was pity, maybe she just wanted to get the hell out of there, maybe she was just being a benevolent queen granting one of her loyal subjects their greatest wish, but for whatever reason, she kind of rolled her eyes and nodded yes. I heard several deep breaths as I leaned in and got my peck on the cheek.
I think she may have even smiled. At least that’s what I tell myself. In retrospect, I suppose I should have just knelt and kissed her hand like they do on “The Crown”. I had humiliated and humbled myself, but it was all worth it. She’s Aretha Franklin for crissake. I have been a fan for as long as I can remember.
I knew all the hits growing up. I have written often about how my mother turned me on to so much great music. Aretha was her favorite and soon became mine as well. It was albums like “Young, Gifted, and Black” and “Live At The Fillmore” from the dawn of the seventies where I heard mom wearing the grooves out.
I started to get deeply interested in her music digging back through her amazing Atlantic catalogue. I became obsessed not only with her, but the legendary producers and musicians who helped make all those early recordings. Unfortunately I never got to see her perform live during her heyday. Those early records with their soaring, soulful performances still give me chills. I get a thrill when I listen to them to this day. 
Much has been written about her amazing voice, but as an amateur music blogger I don’t feel qualified to explain it. I’m sure it’s something you can understand better by merely listening. Gospel, soul, jazz, or pop, Aretha is arguably one of the the great vocalists in popular music history. More than just The Queen of Soul, she is one of the greatest singers of this, or any generation. She sang about sin and salvation. Equal parts Saturday night and Sunday morning. embracing the blues and the night life on one tune and finding a spirit in the dark on the next. She might take you to the dark end of the street, or get lost in a daydream. Aretha could take one of Otis Redding’s signature songs and instantly make it all her own, or hijack a Simon and Garfunkel hit and take it to church. She demanded respect, made you think, reminded you she was a natural woman, yet still needed a do right man. She sang as passionately about the struggles that divided our country, as she did affairs of the heart, serenading you with soul and her amazing grace. A one of a kind voice and artist, that has never been equaled.
This is a heartbreaking and crushing loss for anyone who loves music. Over the years I was able to see her perform many times. The performances were generally uneven, and often downright disappointing. Her post Atlantic career on Clive Davis’s Arista as a full blown diva, was not for me. But I always had those glorious early recordings (and now Youtube) to go back to (not to mention the memory of that stolen kiss on the cheek).
In a beautiful song written by her sister Carolyn, Aretha sang of trying to find an angel to set her free. 
Today the angels came for Aretha. 
LONG LIVE THE QUEEN: Aretha Playlist on Spotify

#aretha #sayalittleprayer #respect