As we approach these last weeks of 2021 I wanted to let my readers know about some of the best albums released this past year; the albums to be released here at year’s end! Misfits have a healthy selection of records to choose from long running classic groups like Cheap Trick and Iron Maiden to more recent offerings from Mastadon and Dark Throne.
Music has been such a wonderful way to relieve the daily worries concerning the ongoing Corona virus pandemic. Despite the worldwide shortages contributing to changing release timelines for records things have been getting better.
Life here in New York City has been much more back to normal with the re-opening of Broadway shows and Movies. Concert venues also came back to life; proof of vaccinations required.
Best of 2021
Here is a list of some of the best rock/metal albums released in 2021….not definitive in any form…just my opinion alone. This year has 8 weeks to go. ABBA just released its first new studio album in 40 years! Here are my faves so far:
Alice Cooper’s Detroit Stories marks the veteran rocker’s 21st solo release. Proudly made in Detroit this collection features classic hard rock from the motor city where this genre of music was birthed. This recording hails the long awaited reunion the surviving members of The Alice Cooper Band! A solid heavy rock record from old black eyes.
Iron Maiden’s Senjutsu is another double album from the British heavy metal legends continuing their journey into progressive territory. Single “The Writing On The Wall” has a southern flavor never heard before on any previous Maiden record. The music video for this track and second single “Stratego” are both animated in the style of the 1981 cult film, Heavy Metal, and are both amazing visually, musically, and sound like nothing else in this expanding catalog of now 17 releases! The last 3 songs on this extremely satisfying platter are all written by bassist/founder Steve Harris–“The Parchment”, “The Death of the Celts”, and “Hell On Earth” all run 10 plus minutes. Maiden are the most epic band in all of Heavy Metal. In my opinion this record is probably the band’s best to date. Incredible for a band whose current line-up reunited back in 2000 and is proving to be its best.
Cheap Trick’s In Another World was ready for 2020 but delayed until now. It was worth the wait. The power pop legends’ 20th album is their best to date. Hard rocking like 1977 in 2021 is no cheap trick but a delightful treat to listen to track after amazing track. “Light Up The Fire” is a scorcher; “Another World” envisions how bright the future could be in that ballsy balladry Robin Zander still delivers like he is only 20, in this world he is in his 70’s! Their cover of John Lennon’s “Gimme Some Truth” closes out the set. Strongly recommended.
AC/DC’s PWR UP gave us all hope upon its release. Dedicated to the late Malcolm Young who co-wrote every track and whose rhythm playing gave the band’s sound its backbone is all over this great album. For decades they have been rock’s diehard battery. This remains true here. Featuring the smash single “A Shot In The Dark” it never lets up. You will feel energized until the final notes are played. Arguably the band’s best promo videos have been created for this album. “Demon Driver”, “Witch’s Spell”, and “Mists of Time” are for my money the best trifecta in their glorious history. Let there be rock!
Helloween’s eponymous release that features the reunited German power metaller’s best work of the past decade will get you of of any doldrums transporting you into heavy metal revelry. From the opener “Out For The Glory” to “Indestructible” you will be amazed.
Mastadon’s Hushed and Grim is just another solid outing from these metallers from Georgia. Their blend of brooding dark themes and strong melody flows well here. “Pain With An Anchor” sets the tone followed by “The Crux” which just pulses away giving the proceedings a vitality it never loses. Following a concept record about Moby Dick and their prog breakthrough “Crack The Skye” this is their epic Tool inspired masterpiece.
Greta Van Fleet’s The Battle At Garden’s Gate is a great prog rock album. “My Way Soon”, “Heat Above”, “Age Of Machine” and “Broken Bells” are epic tracks. Recorded in Nashville this sophmore effort suffers no jinx. Great follow-up to their debut.
Weezer’s Van Weezer brings the world River Cuomo’s long gestating metal record with a strong tribute to late great Edward Van Halen!
Accept’s Too Mean Too Die was released back in January and remains one of the year’s crowning metal achievements. Featuring the track and video “The Undertaker” brings back all the reasons we still love Accept.
The records on this list are among the best of 2021. In the New Year records are coming from Scorpions, Saxon, JohnSix & The Creatures, and Ghost. 2022 will hopefully be the return of concerts/tours.
Thank you my dear readers for visiting Evan’s Gate!
The year was 1979. A pre-adolescent boy who was collecting his first records discovered a mail-order music club. Offering 14 LP’s for a penny as their introductory hook was too good to pass up. When the records arrived I opened up the albums with great anticipation.
I was always eclectic in my tastes for music. There was Waylon Jennings, Aerosmith, Jackson 5, and Queen among the selections. The record with the biggest impact was Queen Live Killers, a gatefold 2 LP package with a collage of full color images from their European and North American Tour in support of their Jazz record.
There on full display was Freddie Mercury in tight black PVC pants and jacket (shiny like leather) with his jacket open to reveal a bare chest. Unknown to me at the time was the cabaret style he was doing. This was a new image for him in 1978/9.
All I know is the first time I saw an image of Freddie Mercury was a poster from their ‘Opera’ Tour. His penchant for stripping onstage thrilled me to no end. Onstage in candy stripe shorts and red suspenders with the band’s logo in the center of the poster. My eyes popped out of my head like a cartoon wolf.
Although years later I heard how much the band disliked the mix of the record I felt strongly it was a great representation of their live sound. I loved how they played a medley of hits too.
I was taken aback by how different the songs sounded in a live setting. Nothing like the studio engineered layers of over dubs or multi-tracked vocals.
Except for a brief spell following the release of their bio-picture, “Bohemian Rhapsody”, I have never lost interest in them. That brief interlude was caused by too many kids finding them based on their parent’s tastes. Hey, that’s life!
For many years it was hard to find any Queen memorabilia in the states. I know this sounds crazy to the listeners of today. There are websites. Obviously there is the Queen Online Store which always has a great selection of Queen everything.
Back in the 1980s in America after their popularity fell away we had record stores and rock t shirt stores. Freddie Mercury’s most dramatic transformation into gay clone in 1980 was not appreciated by a largely straight audience.
Despite the huge success of The Game in ’80, the band ended their decade long relationship with Elektra records. The label released a Greatest Hits album in 1981. At the time it felt like rock fans were putting Queen out to pasture. Their Elektra years were ending.
‘Another One Bites The Dust’ by bassist John Deacon borrowed heavily from Chic. Becoming the best-selling single in Elektra’s history it topped The Doors’ ‘Light My Fire’, which gave the band an idea that funk rock was gaining traction in America.
The fact that Queen were in Munich, Germany enjoying the nightlife a bit too much influenced the next platter a lot. Freddie Mercury without stating it officially was out to anyone with two eyes, especially if you were gay.
What happened next was a mix of bad timing and trends that would exile Queen from the USA until well after Mercury’s death in 1991. In fact when he died I remember a news anchor stating there was bad news for fans of Queens. Queens? That was how out of touch our media were with Mercury’s death.
Rolling Stone magazine was never particularly kind to Queen. Freddie’s Obit was a single page in an issue with Michael Jackson on the cover. He was not an American star. I felt that kept the band’s mystique intact.
‘Hot Space’ was the final record owed to Elektra. The band never conformed to what their label wanted especially when it came to album covers. The label’s demand for a band photo was ignored for years. Greatest Hits has a portrait of the band taken by Lord Snowden. It has become an iconic image. The label got their wish granted by contractual obligation.
Freddie Mercury had a brief friendship with Michael Jackson. Mr. Jackson was a huge Queen fan. He was the impetous for releasing ‘Another One Bites The Dust’ as a single. Queen had a #1 hit with it. The new direction was clear for at least Freddie Mercury and John Deacon.
Freddie and John developed a friendship over the years based upon a mutual love for Motown music. The divide in Queen was clear. Brian loved heavy guitar driven music. Roger was into Punk then New Wave. Swaying him into drum techniques outside of traditional rock was done.
In the early days when they were in college the members of Queen were united in their dreams of rock stardom. As they grew in stature with the the rock audience experimenting with different sounds became a reality. Roger Taylor’s ‘Fun It’ was funky and danceable. This song in particular made me think it was not such a big deal for the band to express more of a funk beat in 1982.
Freddie’s single, ‘Bicycle Race’ actually incorporated rap within the track. Both songs were on Jazz. That title was a huge deal. A band that mixed every musical element in its music now titled a record for a specific genre. However, being the academically minded nerds that they were the name also meant calling the collection by a moniker that had many facets to it. Like the name Queen itself.
Change is inevitable. Every band faces it. Fortunately for Queen they were a big band by the time they grew out of their excessive 1970s persona. They could not be pigeonholed. Freddie Mercury never believed in doing anything by half-measure. He took every idea to its maximum. This attitude created amazing songs and music videos. The latter would compound their loss of popularity in America.
As a gay kid Queen were my idols. I bought every album as they were released starting with the #1 Game record. The video for the song, ‘Play The Game’, revealed a cropped haircut and mustache for the first time. I loved it. American fans hated it.
When ‘Hot Space’ came there was no doubt in the band’s new look and direction. Funk, dance, and disco were now emphasized. Even Brian May’s guitar was absent on some tracks, most notably the single ‘Body Language’ by Freddie Mercury. Pushing sexual boundaries the explicit video got banned by MTV. The sales dropped from the prior ‘Game’ LP and the tour proved to be the last in America with Freddie and John.
Throughout the 1980s I knew it was uncool to love Queen. I could understand why they lost their mojo with America. Homophobia was rampant. Conservatism was in power. New Wave and Heavy Metal dominated. Pop music developed new icons Madonna, Prince, and Duran Duran. Queen were the past, a relic of the 1970s. Despite releasing more records that hit #1 throughout the world, the USA would never allow them back into the Top 10. From Hot Space, ‘Body Language’ was the highest charting single in the US at #11.
Everywhere else in the world Queen kept selling records and tours. This was painful to me because I knew I missed my only chance to see them in concert with Freddie and John.
Back tracking here. In the 1970s I was a kid. Every Sunday I read the Times’ Arts section. There were ads for Broadway shows, movies, and rock concerts. I noticed that Queen played the Garden practically every year.
Then one fateful day following the debut of ‘Hot Space’ the Arts section had a full page ad for QUEEN Live In Concert with Special Guest Billy Squier at Madison Square Garden! Their faces appeared across the page in the Warhol—inspired, Freddie designed graphics of the album.
I begged my parents to let me go see them. Nobody would take me. Back in the early 80’s tickets were like $12! Still in that time parents were not keen on their kids’ love of rock music. I have never gotten over the disappointment of missing this tour.
The opener was Billy Squier! I still love his music. Back in 1982 I was mental for both Squier and Queen. In the 1970s, Thin Lizzy, Styx, and Journey opened for Queen.
It proved to be their last here until Paul Rodgers joined them decades later in the naughts.
America ignored A Kind Of Magic and The Miracle. Both albums were enormous sellers around the globe even hitting # 1 in several countries like the UK, Japan, France, New Zealand, Australia, and Netherlands. The Magic Tour of 1986 became a record called Live Magic. The Tour and record followed Live Aid in 1985.
‘Magic’ was also partly the soundtrack for the fantasy film “Highlander”. Like “Flash Gordon” before it loved by Queen fans, loathed by others. The American sitcom “The Goldbergs” actually did an episode that featured Highlander and one of its stars, Clancy Brown who was now a regular on the series.
I never lost my love for music, especially Queen. They were misfits. Remaining so throughout the 1980s and 1990s. The critics never really appreciated them. Only after the death of Freddie Mercury from bronchial pneumonia brought on by HIV/AIDS in November 1991 had the press expressed any love for him. Freddie was a Jimi Hendrix fan. He understood how much an artist’s value increases upon death. He lived life his way. A true rocker.
Being a gay kid in the 70s was amazing and scary. There were so many great looking boys. And the hippie 60’s had a lot of left over guys who sported long-hair. And going shirtless was part of street style. And rock stars were no exception.
Mick Jagger of Rolling Stones, Roger Daltrey of The Who, Robert Plant of Led Zeppelin, and every other frontman have appeared shirtless on stage. Then along came South African born Freddie Mercury! He took the image to a completely different level. He performed a striptease!
Loving Queen was difficult. I had my first rock music tee featuring the band from 1977. Wearing it to camp one day I got called a faggot. The group had become stigmatized by straight kids who hated Mercury’s effeminate posturing. The rock press had a field day with his sexual escapades. The worst magazine coverage for any artist I have ever seen was Creem, a rock rag from the 1970s and ’80s.
They did a story on Queen that was not a story. It was just the magazine hating Freddie and Queen. Anti—gay comments filled their coverage. Truly shocking to me.
Queen made their only appearance on American TV live on SNL’s Season Premiere with Host Chevy Chase. He hosted remotely from LA as a joke. Today this would be protocol. Danny DeVito introduced Queen. Performing 2 songs: “Crazy Little Thing Called Love” a #1 hit in America and “Under Pressure”. Freddie’s voice was in the low register only. Years later I read he was recovering from a cold when the band appeared on the show. This was not a good time for them.
Back to their transformation from 1970s glam to 1980s pop. Following the commercial failure of Hot Space which still went Gold in America, the band signed to Capitol Records in North America. They even recorded for the first time in Los Angeles. ‘The Works’ album featured all the trademarks of their sound with Brian’s guitar blaring and Roger’s drums more upfront. Then another music video did them more cultural harm.
John Deacon’s ‘I Want To Break Free’ was made into a video that parodied the British soap opera Coronation Street. It featured the band in drag! Not Freddie’s idea. In the USA once again MTV banned them. Momentum killed.
Although the album was a return to form with hard rockers like Brian May’s ‘Hammer To Fall’ the top ten eluded them in America. Roger’s anthem ‘Radio GaGa’ peaked outside the top ten stalling at #16.
I still believe Queen were ignored. Punished for Freddie’s unapologetic gay image. Other British bands from the 1970s did not suffer this fate—Genesis released pop music—Pink Floyd went pop—and The Who also went pop. Rolling Stones released a cover of the song ‘Harlem Shuffle’ which was totally their worst.
Why was Queen singled out? Strong expressions of gay sexuality were taboo in the states. Despite being multi–faceted Queen had only the one face in America. Flamboyant is code for gay. Liberace had the straight audience believing what they wanted to believe. Freddie did not suffer fools.
I went to Giants Stadium to see Pink Floyd, Genesis , The Who, and Rolling Stones on separate tours during the ’80’s. Their music was not very good at the time. It was crazy to me that Queen did not tour here. My theory was that Freddie’s HIV status prevented them from playing here. Sad but true.
In my teenage years I knew many people who were either indifferent to my love of their music or could not get into it. And a lot of the time gay people fit their stereotype with a love for disposable pop or dance tracks. I can tell you the Hot Space CD was on a jukebox in a gay bar.
The Queen album most likely to be on any jukebox was Greatest Hits. Unfortunate since I always thought they had great songs that were never going to be hits. No doubt about the high number of singles/hits in their catalog. Later in this blog post I have listed my all–time favourite Queen songs.
Guns N Roses, Motley Crue, and Twisted Sisted were all influenced by Queen. The lead vocalists of those groups wore even more make-up than Freddie! Yet since they were hard rock/metal Americans accepted them. The make-up bands of the period were largely from America. Paradoxically this is also when the biggest make-up band ever, KISS, took their make-up off!
Unknown at the time that Dee Snider (Twisted Sister) and Nikki Sixx (Motley Crue) were in the crowd that saw Queen open for Mott the Hoople at New York’s Uris theater on Broadway, it makes perfect sense.
Until the Freddie Mercury tribute concert at Wembley stadium few Americans understood just how much Queen had influenced the heavy bands of the 80’s. The line-up featured England’s Def Leppard, America’s Guns N Roses and Extreme alongside Elton John, George Michael, and David Bowie. Eclectic to the end Queen also invited Freddie’s main influence, Liza Minnelli to the proceedings. He got so much ridicule from the press for loving Liza as well as Hendrix.
I believe today that Queen got into my marrow, my DNA because their image and music were original. Upsetting the status quo was part of their appeal. Decades after his death the film of his life was a blockbuster. He kept the mystique. Proving that no other rock performer could rival him, Queen became paragons of rock music. Today their legacy has grown in leaps and bounds.
Taking them into my heart has kept me alive too. Queen have a few explicit anti—suicide songs. Mercury admitted in his final days that the image he worked so hard to build became somewhat of a monster to his personal life. Becoming less active, meeting a man named Jim Hutton who became his partner until the end was his ultimate goal.
For the first time since reading several biographies about Freddie I understand why ‘Somebody To Love’ was a personal favorite. Love is what we all need to survive. Take a listen to the many tortured love ballads he wrote and performed. His delivery is genuine. That’s also why it touched me so deeply.
I think it’s why I met my beloved husband Brian. I love him more than anything. He has made my life the best possible. Our mutual love of music with great singers has created a bond.
Here for the first time I have compiled my list of personal favourite Queen tracks. B-Sides and rarities are not included here. They are taken from the 15 studio albums released from 1973—1995.
My Favourite Queen songs of all-time
My Fairy King by Freddie Mercury on Queen
Great King Rat by Freddie Mercury on Queen
Liar by Freddie Mercury on Queen
Nevermore by Freddie Mercury on II
The Fairy—Feller’s Master Stroke by Freddie Mercury on II
Ogre Battle by Freddie Mercury on II
The March of the Black Queen by Freddie Mercury on II
Seven Seas Of Rhye by Freddie Mercury on II
Doing Alright by Brian May & Tim Staffell on Queen
Lily of the Valley by Freddie Mercury on II
Now I’m Here by Brian May on Sheer Heart Attack
Brighton Rock by Brian May on Sheer Heart Attack
Killer Queen by Freddie Mercury on Sheer Heart Attack
Bring Back That Leroy Brown by Freddie Mercury on Sheer Heart Attack
Stone Cold Crazy by Mercury, Deacon, Taylor, & May on Sheer Heart Attack
Flick of the Wrist by Freddie Mercury on Sheer Heart Attack
Misfire by John Deacon on Sheer Heart Attack
Bohemian Rhapsody by Freddie Mercury on A Night At The Opera
‘39 by Brian May on A Night At The Opera
The Prophet’s Song by Brian May on A Night At The Opera
You’re My Best Friend by John Deacon on A Night At The Opera
The Millionaire Waltz by Freddie Mercury on A Day At The Races
White Man by Freddie Mercury on A Day At The Races
You and I by John Deacon on A Day At The Races
We Will Rock You by Brian May on News Of The World
We Are The Champions by Freddie Mercury on News Of The World
Sheer Heart Attack by Roger Taylor on News Of The World
Fight From The Inside by Roger Taylor on News Of The World
Spread Your Wings by John Deaconon News Of The World
It’s Late by Brian May on News Of The World
My Melancholy Blues by Freddie Mercury on News Of The World
Jealousy by Freddie Mercury on Jazz
In Only Seven Days byJohn Deacon on Jazz
Dead On Time by Brian May on Jazz
Dreamer’s Ball by Brian May on Jazz
Don’t Stop Me Now by Freddie Mercury on Jazz
Dragon Attack by Brian May on The Game
Play The Game by Freddie Mercury on The Game
Rock It (Prime Jive) by Roger Taylor on The Game
Don’t Try Suicide by Freddie Mercury on The Game
Another One Bites The Dust by John Deacon on The Game
Flash by Brian May on Flash Gordon soundtrack
The Hero by Freddie Mercury on Flash Gordon soundtrack
Football Fight by Freddie Mercury (Instrumental) on Flash Gordon soundtrack
Battle Theme by Brian May (Instrumental) on Flash Gordon soundtrack
Staying Power by Freddie Mercury on Hot Space
Dancer by Brian May on Hot Space
Back Chat by John Deacon on Hot Space
Action This Day by Roger Taylor on Hot Space
Put Out The Fire by Brian May on Hot Space
Under Pressure by Queen & David Bowie on Hot Space
Las Palabras De Amor (The Words Of Love) by Brian May on Hot Space
Machines (or Back To Humans) by Brian May & Roger Taylor on The Works
Radio GaGa by Roger Taylor on The Works
Keep Passing The Open Windows by Freddie Mercury on The Works
I Want To Break Free by John Deacon on The Works
Hammer To Fall by Brian May on The Works
Is This The World We Created…? by Brian May & Freddie Mercury on The Works
Man On The Prowl by Freddie Mercury on The Works
One Vision by Queen on A Kind Of Magic
A Kind Of Magic by Roger Taylor on A Kind Of Magic
One Year Of Love by John Deacon on A Kind Of Magic
Pain Is So Close To Pleasure by John Deacon & Freddie Mercury on A Kind Of Magic
Friends Wil Be Friends by Freddie Mercury & John Deacon on A Kind Of Magic
Don’t Lose Your Head by Roger Taylor on A Kind Of Magic
Princes Of The Universe by Freddie Mercury on A Kind Of Magic
Breakthru by Queen on The Miracle
The Invisible Man by Queen on The Miracle
Rain Must Fall by Queen on The Miracle
Scandal by Queen on The Miracle
Was It All Worth It by Queen on The Miracle
Innuendo by Queen on Innuendo
I’m Going Slightly Mad by Queen on Innuendo
I Can’t Live With You by Queen on Innuendo
Ride The Wild Wind by Queen on Innuendo
The Show Must Go On by Queen on Innuendo
In 1995 Queen released Made In Heaven which re-worked some of Freddie’s songs from his solo debut Mr. Bad Guy. The record featured Mercury’s final songs. “A Winter’s Tale” was his last composition. The lyrics described Montreaux, Switzerland in his final days. The list of my all-time Queen songs continues below with the band’s posthumous release.
Mother Love by Freddie Mercury & Brian May on Made In Heaven —This was the last track he recorded.
A Winter’s Tale by Freddie Mercury on Made In Heaven
Queen Retired—Legacy Grew
My least favorite Queen album, Made in Heaven, was followed by years of inactivity. Then in America TV commercials began licensing their hits. LA Gear used We Will Rock You; Diet Coke used I Want To Break Free; Mountain Dew used Bohemian Rhapsody even copying the now iconic promo clip. These are just a few examples.
From 2004—2009 Queen added Paul Rodgers of Bad Company to their line-up. He was one of Freddie’s favorite singers. In the 1960’s he fronted Free. In the 1980’s he fronted The Firm with Led Zep’s Jimmy Page.
The Queen+Paul Rodgers tours would return Queen to North America for the first time in 20 years! I never missed a show in New York. However, this line-up never played The Garden.
American Idol, a talent search reality series would enable a meeting that was pure fate. Adam Lambert, an American youth who was also out auditioned by singing ‘Bohemian Rhapsody’. Queen are his favorite group. Idol invited Brian May and Roger Taylor to perform with the show’s 3 finalists for its season finale. Adam came in second but in my opinion he really won.
Eventually Queen would announce touring with Adam Lambert fronting the group. It was made explicit that he would never replace Freddie Mercury. For the past decade now known as Queen+Adam Lambert touring the globe again.
And this line-up brought Queen back to Madison Square Garden for the first time since Hot Space! The setlist celebrated the band’s live at the Rainbow concert in support of Sheer Heart Attack. They opened with II’s ‘Procession’ and Sheer Heart Attack’s ‘Now I’m Here’.
Adam Lambert has released new solo records while touring with Queen. He sang ‘Believe’ at the Kennedy Center Honors bringing Cher to tears!
His presence on stage is truly a sight to behold. Bringing back the flamboyance of Mercury without mimicking his moves. Adam’s voice is his own unique stamp. He can sing any Queen tune. He has a new album out now called Velvet.
The shows proved so successful that Queen returned to celebrate their News of the World album next time around. Complete with Frank the Robot in full mascot mode. Opening their shows with ‘We Will Rock You’ like they did in 1977. Brian May performed his solo against a backdrop of stars fitting for an astrophysicist.
Their current tour is centered around the global success of the film “Bohemian Rhapsody” which tells Freddie’s story. Albeit with a completely incorrect timeline of events to create a cohesive cinema narrative.
In Freddie’s brilliant words it has been no bed of roses for Queen. For 20 years, 1971—1991, they reigned with the same line—up of 4 creative songwriters with extremely different personalities. Fans felt proud of their achievements.
Then the untimely death of Mercury from AIDS in November 1991. Queen ended. I always thought they could continue if the right elements fell into place.
Elton John performed with them during a final concert as Queen. Mr. John sang ‘The Show Must Go On”. He encouraged Brian and Roger to find a way. He said of their catalog of hits: ‘it must be like having a Rolls-Royce in the garage that you cannot drive anymore.”
Having them back today means so much to me. I want Queen to go on forever…
In my lifetime I have not played another artists music as often as Queen. They have rescued me many times with their life affirming works.
I have many other favourite music groups: Iron Maiden, Black Sabbath, Rolling Stones, Bob Dylan, The Beatles, Judas Priest, Styx, and Elton John.
The Queen sound is unique and original. Their music is not rock nor disco nor black nor white. It’s Queen music.
The Queen catalog has sold over 300 million records worldwide. They are tied with The Allman Brothers Band at #52 on Rolling Stone’s list of Best Artists.
In England Queen Greatest Hits is the top selling record in British music history. Greatest Hits II is #10.
The Queen studio album catalog seen below does not include The Cosmos Rocks. That album featured Paul Rodgers.
Today the world is quite different then the early 1970’s. The band’s legacy has become it’s own cottage industry. The Queen Online website is updated every day. The Online Store has a line of goods that any fan would enjoy.
The Royal Mint in the U.K. has issued Queen coins in sterling; The Royal Mail will issue Queen stamps on July 9th, 2020 featuring 8 album covers including The Game and News Of The World and a set of 4 concert images from their world tours plus a proper band portrait as seen below.
Queen become the third British band to receive this honour following The Beatles and Pink Floyd.
Queen have a star on the Hollywood Walk of Fame. They were inducted into the songwriters hall of fame and most recently were given a Lifetime Achievement Grammy.
“Bohemian Rhapsody” became the highest grossing bio picture of all–time. Rami Malek won the Best Actor Oscar for his portrayal of Freddie Mercury.
The film won a Golden Globe for Best Picture.
On YouTube Queen+Adam Lambert released a new version of their classic “We Are The Champions” called “You Are The Champions” to help raise funds for Covid—19 relief workers via The World Health Organization and U.N.
Drummer and Vocalist Roger Taylor’s daughter appears in the video. She is a nurse!
“Endless unfolding of words of ages! And mine a word of the modern, the word En-Masse.
“I Contain Multitudes” opens the record with a reference to another epic poet whose work, “Song Of Myself”, celebrates every living creature on the planet. The title of this track is a Whitman quote. The ‘I’ is used here inclusively. Evoking the value in all living things.
The songs speaks to the experience of life. Loving and hating in equal measure. Composing, painting, eating, drinking, and our bodies as vessels that contain a universe.
I love Mr. Dylan’s end to this track. You can accept this line as just playing recordings of the classical giants or perhaps it is an expression that his final chapter maybe spent composing classical pieces:
“I’ll play Beethoven’s sonatas, and Chopin’s preludes…”
The cover image for this record is important. Presented in a cinematic letter-box format, anonymous couples are dancing. They are people of color. A solitary figure is hunched over the juke trying to decide what to play or in anguish over lost love or any number of reasons you could imagine.
For the first time Bob Dylan’s name does not appear on the cover! We listeners are to focus only on the image of a juke joint interior. The name of the record seems to pop-up from the floor in vivid technicolor. The color scheme applied is simply the best ever used in his catalog of 42 records.
Once again he is creating a mythic eden seeded in the past but brought into our present. A secret place where people of color went to actually express their humanity. The Queer folk also went to these type of places to do the same. Evoking Whitman’s celebration of humanity and non-humanity alike within the dark spaces of the juke joint where all can be free together.
American Folklore’s Rough and RowdyWays
His choice of title reference classic folk music by way of Jimmie Rodgers. The adjectives of Rough and Rowdy are masculine in nature. Playful but potentially dangerous like people themselves. A Dylanesque wink to the underlying violence packed within the culture. Dylan loves to use folklore and tall tales for referents to his lyrics. This album is more than worthy of his best works. His mystique is intact; here now his innermost troubles are laid bare.
A 10 stanza poem that could have been a part of Whitman’s “Leaves of Grass.” In the sixth stanza he invokes the ‘I’ in repetition:
“I searched the world over, for the holy grail, I sing songs of love, I sing songs of betrayal. Don’t care what I drink, I don’t care what I eat, I climb the mountain of swords On my bare feet.”
Mr. Dylan is baring his soul like never before throughout this record. In the verse quoted above you here his artistic declaration of mission. He once again invokes his religious beliefs too. Willing to climb a mountain of swords in bare feet is a form of stigmata.
“My Own Version Of You”
Expressing his heart’s desire to create his own Frankenstein—like creature in his image to be able to assign it the qualities he feels are required to balance the world. The lyrics here are macabre yet have a restless play about them:
“I’ll take the Scarface Pacino and The Godfather Brando Mix it up in a tank and get a robot commando “
Using fictional toughs from the 1970s in ‘The Godfather’ and 1980s in ‘Scarface’ as his character ingredients expresses the raw masculine imagination at work. A modern American ethos is applied here.
Dylan appeals to Julius Caesar, St. Peter, Mr. Freud, and Mr. Marx. As usual for the Ancients to connect to the Moderns as the basis for a new brain. Politics, Religion, and Philosophy—these are the areas of human endeavor forever swirling around in Mr. Dylan’s grey matter too.
“I wannabring someone to life, turn back the years Do it with laughter and do it with tears“
The strongest desire of all seems to be the return of older values and ideas. The masks of comedy and tragedy must always balance the equation of reality and fiction.
“I’ve Made Up My Mind To Give Myself To You“
The love poem of the album is addressed to an unknown woman (or perhaps every listener). A nice ballad delivered pretty straight and dry. In contrast to all of the other songs here this track stands out as the least grim.
“I’m giving myself to you, I am From Salt Lake City to Birmingham From East L.A. to San Antone I don’t think I can bear to live my life alone“
Mr. Dylan has had two marriages that produced 2 grown sons. His declaration here becomes clear. He wants to give up his lonely wandering.
A 5 verse poem that reinforces letting go of youthful recklessness. The doppelganger of violent intent is warned to release its grip or be hacked to pieces. The song is the simplest one here.
“Goodbye Jimmy Reed”
A 6 verse poem expressing Mr. Dylan’s goodbye to the blues. Mr. Reed is the most influential bluesman who passed back in 1976. He is the connective blood and tissue to Mr. Dylan’s other friends, Elvis and The Rolling Stones who covered Mr. Reed’s songs.
“Mother of Muses”
A poetic prayer expressed with a selfish desire to have the top muse all to himself.
Mother of Muses, wherever you are I’ve already outlived my life by far
In seeming desperation he lays his soul out for her to see. That life has now gone on too long. He needs her injection of spirit. Perhaps to fill the void if he lets go of his former life.
“Crossing The Rubicon”
Reinforcing his connection with the Ancients via Julius Caesar again, here to express a dedication to a new and risky course. This is a 9 verse poem that Dylanologists will love parsing among themselves. The densest work in this collection. Great poetic phrasing with just the right dose of abstraction.
“Key West (Pirate Philosopher)”
4 Verses of philosophy; 4 choruses describe Key West. This is the second longest track here. It serves as Prelude to Disc 2’s opus, “Murder Most Foul”.
In such simple verse Mr. Dylan crystallizes his ways. Key West is flat land where he can keep his feet planted firmly and listen closely to a pirate radio signal for inspiration and peace.
My favorite lines make up Chorus 4:
“Key West is the place to be If you’re looking for immortality Key West is paradise divine Key West is fine and fair If you lost your mind, you’ll find it there Key West is on the horizon line”
Throughout his years writing songs Bob Dylan embraces places real and imagined as Eden–like. Key West is now his present flashpoint in life. It represents his cohorts: Ginsberg, Corso, and Kerouac; his greatest influencers: Louis, Jimmy, and Buddy.
This song closes out Disc 1. Key West is defined by Dylan as a tonic for life. The epic track on Disc 2 acts as counterpoint to the divine.
“Murder Most Foul” is a nation’s fall from grace as well as an individual’s reckoning.
Due to the length and depths of that track I gave an entire blog entry over to it.
Bob Dylan is that rare artist who continues to be inspired by the myriad roads travelled and the places he has seen. At once worldly and still forever in deep love with his own country, he is able to imbue his work with just the right amount of ambiguity and self—worth. He has become a true Renaissance man. I am a grateful listener.
American Elegy—Our Nobel Laureate Publishes Another Masterpiece
In a career now spanning six decades Bob Dylan has been through numerous phases in a life that has itself become the stuff of living legend.
Now revealed that this song is the third side on his upcoming, Rough and Rowdy Ways, he continues to inspire and write brilliantly about history.
His ability to connect our ‘modern times’ with the ancient culture that brought it about, specifically the Romans, enabled his new life as a Nobel Prize recipient.
Murder Most Foul is Mr. Dylan’s longest song. if you take the time to listen to this track you will learn a lot about this wonderful country and its brutal past and present.
You will also discover an underlying feeling of hope in the soft accompaniment with its piano, light timpani, and strings.
Dylanologists are going to have another great track to explore for many years to come. There are a ton of deliberate references to all kinds of cultural arcana in this track. Too many in fact for a single blog entry.
But herein I will discuss some of my takes on this peerless work. The closest thing to a spoken word song or a revival of the beat poet in the vast Dylan catalog.
It was a dark day in Dallas, November ’63 A day that will live on in infamy President Kennedy was a-ridin’ high Good day to be livin’ and a good day to die Being led to the slaughter like a sacrificial lamb He said, “Wait a minute, boys, you know who I am?” “Of course we do, we know who you are!” Then they blew off his head while he was still in the car Shot down like a dog in broad daylight Was a matter of timing and the timing was right You got unpaid debts, we’ve come to collect We’re gonna kill you with hatred, without any respect We’ll mock you and shock you and we’ll put it in your face We’ve already got someone here to take your place The day they blew out the brains of the king Thousands were watching, no one saw a thing It happened so quickly, so quick, by surprise Right there in front of everyone’s eyes Greatest magic trick ever under the sun Perfectly executed, skillfully done Wolfman, oh Wolfman, oh Wolfman, howl Rub-a-dub-dub, it’s a murder most foul
Here in the beginning of the poem we are explicitly told how Mr. Dylan feels about the day President John F. Kennedy was murdered.
Using a phrase as his title, he frames the dreadful event as a Murder Most Foul. As the track continues there will be an evolution or rather a de-volution through the following decades as America’s culture and politics slowly decays.
The great hope of a young, handsome, and brilliant leader is cruelly blown off the face of the Earth. The promise of a new frontier delayed by his killing.
Mr. Dylan further frames the President’s murder as that of a lynching. Mr. Kennedy was white on the surface, but he was also the nation’s first Catholic elected to the Presidency. In Bob Dylan’s view he was ‘led like a lamb to the sacrificial slaughter’.
The first verses also make clear how this crime was such an American scene. Committed in broad daylight in front of the world; ‘greatest magic trick ever under the sun’.
The Second Section
Hush, little children, you’ll understand The Beatles are comin’, they’re gonna hold your hand Slide down the banister, go get your coat Ferry ‘cross the Mersey and go for the throat There’s three bums comin’ all dressed in rags Pick up the pieces and lower the flags I’m goin’ to Woodstock, it’s the Aquarian Age Then I’ll go over to Altamont and sit near the stage Put your head out the window, let the good times roll There’s a party going on behind the Grassy Knoll Stack up the bricks, pour the cement Don’t say Dallas don’t love you, Mr. President Put your foot in the tank and then step on the gas Try to make it to the triple underpass Blackface singer, whiteface clown Better not show your faces after the sun goes down Up in the red light district, they’ve got cop on the beat Living in a nightmare on Elm Street When you’re down on Deep Ellum, put your money in your shoe Don’t ask what your country can do for you Cash on the barrelhead, money to burn Dealey Plaza, make a left-hand turn I’m going down to the crossroads, gonna flag a ride The place where faith, hope, and charity died Shoot him while he runs, boy, shoot him while you can See if you can shoot the invisible man Goodbye, Charlie! Goodbye, Uncle Sam Frankly, Miss Scarlett, I don’t give a damn What is the truth, and where did it go? Ask Oswald and Ruby, they oughta know “Shut your mouth,” said a wise old owl Business is business, and it’s a murder most foul
The last lines of these first 2 sections of verse connect to reinforce this crime as foul cold-blooded murder. ‘Rub-a-dub-dub, it’s murder most foul; Business is business, and it’s a murder most foul’.
The actual neighborhood near the crime scene of Kennedy’s death is referenced following the pop culture explosion of The Beatles who became a salve for the real pain young people felt at the time. Deep Ellum, the arts and entertainment hub of Dallas, TX had a rise in crime too.
Referenced in the song’s second section above: ‘When you’re down on Deep Ellum, put your money on your shoe’.
‘Don’t ask what your country can do for you’, the famous Kennedy line to demand public service of youth is juxtaposed to remind people now trapped in poor communities not to expect any government assistance. The social contract was murdered too.
Explicitly calling out Woodstock and Altamont and the Age of Aquarius with the mythology of free love and the violence of Altamont. America has always created myths to soothe the wounds of very real crimes.
The reality of the made up summer of love is the real slaughter of men, women, and children in Vietnam. The daily death toll were surely murders most foul.
Mr. Dylan performs a conjuring trick as well raising the original sin of race hatred in a line that also references his hit “Hurricane”. Blackface singer, whiteface clown Better not show your faces after the sun goes down Up in the red light district, they’ve got cop on the beat Living in a nightmare on Elm Street
Also quite cleverly references a Wes Craven horror film released in the decade that followed his hit song about boxer Ruben ‘Hurricane’ Carter.
The name covers Dallas’ real murder of a President and the fictional murders of teenagers in a genre called the slasher film. The cruelty on display in Dallas would continue to resonate for the decades that followed.
The Third Section
Tommy, can you hear me? I’m the Acid Queen I’m riding in a long, black Lincoln limousine Ridin’ in the back seat next to my wife Headed straight on in to the afterlife I’m leaning to the left, I got my head in her lap Hold on, I’ve been led into some kind of a trap Where we ask no quarter, and no quarter do we give We’re right down the street, from the street where you live They mutilated his body and they took out his brain What more could they do? They piled on the pain But his soul was not there where it was supposed to be at For the last fifty years they’ve been searchin’ for that Freedom, oh freedom, freedom over me I hate to tell you, mister, but only dead men are free Send me some lovin’, then tell me no lie Throw the gun in the gutter and walk on by Wake up, little Susie, let’s go for a drive Cross the Trinity River, let’s keep hope alive Turn the radio on, don’t touch the dials Parkland Hospital, only six more miles You got me dizzy, Miss Lizzy, you filled me with lead That magic bullet of yours has gone to my head I’m just a patsy like Patsy Cline Never shot anyone from in front or behind I’ve blood in my eye, got blood in my ear I’m never gonna make it to the new frontier Zapruder’s film I seen night before Seen it thirty-three times, maybe more It’s vile and deceitful, it’s cruel and it’s mean Ugliest thing that you ever have seen They killed him once and they killed him twice Killed him like a human sacrifice The day that they killed him, someone said to me, “Son The age of the Antichrist has just only begun” Air Force One comin’ in through the gate Johnson sworn in at 2:38 Let me know when you decide to throw in the towel It is what it is, and it’s murder most foul
I set the third section above in big bold type since at this point forward the song becomes full and explicit. Brimming with anger at President Kennedy’s demise, whom Mr. Dylan likens to a King as the Kennedy White House became Camelot, then in a blink ‘his eyes, nose, and ears were filled with blood.’
The Zapruder film in some way becomes America’s first slasher film, only it’s real.
Mr Dylan describes the piece which he claims to have seen over 30 times, as ‘vile and deceitful’.
That first piece of social media created an infinity of conspiracy theories. I see it as a reflection on his own youth. In his youth the repetition is easily performed. Now, at 79 Mr. Dylan only needs a single reading.
Freedom, oh freedom, freedom over me I hate to tell you, mister, but only dead men are free
This is my favorite line in the poem/song. Using Whitmanesque phrasing to connect Lincoln with Kennedy. Both men were after all the great hope of a wounded nation. Slavery in Lincoln’s era and Vietnam/Racism in Kennedy’s time. Both men were victims of murder most foul.
Mr. Dylan has undergone phases of life where he composed Christian influenced records. He has deep personal beliefs that crop up nicely here.
Declaring, ‘the Age of the Antichrist’ has just begun following the Kennedy assassination the nation saw a steep rise in cult activity, the crimes of Charles Manson, and satanic music also came into being in American culture.
Echoing the conventional wisdom that the nation had lost its soul are Mr. Dylan’s lyrics describing the Kennedy post mortem: ‘No soul was found where it should be.’
The Fourth Section
What’s new, pussycat? What’d I say? I said the soul of a nation been torn away And it’s beginning to go into a slow decay And that it’s thirty-six hours past Judgment Day Wolfman Jack, he’s speaking in tongues He’s going on and on at the top of his lungs Play me a song, Mr. Wolfman Jack Play it for me in my long Cadillac Play me that “Only the Good Die Young” Take me to the place Tom Dooley was hung Play “St. James Infirmary” and the Court of King James If you want to remember, you better write down the names Play Etta James, too, play “I’d Rather Go Blind” Play it for the man with the telepathic mind Play John Lee Hooker, play “Scratch My Back” Play it for that strip club owner named Jack Guitar Slim going down slow Play it for me and for Marilyn Monroe
It’s Mr. Wolfman Jack to you. Bob Dylan has reached a point in his career that he can compose a poem that includes 1970’s icon Wolfman Jack.
This is a reference to the alter—ego creation that he underwent in the 1960’s, Robert Zimmerman became Bob Dylan; Robert Weston Smith became Wolfman Jack.
Also in the new age of the antichrist men were literally becoming beasts. It’s in this section that Mr. Dylan begins to recommend recordings using the word ‘play’ as a command.
It references his 2 years as a D.J. himself on satellite radio. Using famous titles/lyrics from the era’s violent refelctions include “Only The Good Die Young”, published in 1977, the year of the Son of Sam killings in New York.
Bob Dylan makes his listeners do a lot of history homework. I strongly believe this is why his work ranks so high.
Playing up the description of President Kennedy’s car of choice, ‘a long black Cadillac’, itself a coffin on wheels.
Take me to the place Tom Dooley was hung Play “St. James Infirmary” and the Court of King James If you want to remember, you better write down the names
For my take these 3 lines set up why Bob Dylan has become such a master at connecting seemingly disparate ideas.
You see the ‘place where Tom Dooley was hung’ is in North Carolina, where the Wolfman took his last breath.
Being white, Wolfman Jack died of a heart attack not a lynching. Tom Dooley became the subject of many folk songs, a genre that gave artistic birth to Bob Dylan.
Tom Dooley is part of a sad American tradition known as Appalachian Murder Ballads. A murder most foul.
St. James Infirmary references blues music. An alternate title for the song was “The Young Man Cut Down in His Prime”) about a soldier who uses his money on prostitutes and then dies of venereal disease. The theme ties in with Kennedy’s death.
Then closing the section with a simple notation of why the name checking will continue unabated for the rest of the piece—to remember with clarity write down the names.
Only an artist of Bob Dylan’s caliber tells the listener his intent in writing this or any other song/poem is to preserve it for the ages to come beyond his mortal years.
The Fifth Section (Conclusion)
Play “Please Don’t Let Me Be Misunderstood” Play it for the First Lady, she ain’t feeling any good Play Don Henley, play Glenn Frey Take it to the limit and let it go by Play it for Carl Wilson, too Looking far, far away down Gower Avenue Play “Tragedy”, play “Twilight Time” Take me back to Tulsa to the scene of the crime Play another one and “Another One Bites the Dust” Play “The Old Rugged Cross” and “In God We Trust” Ride the pink horse down that long, lonesome road Stand there and wait for his head to explode Play “Mystery Train” for Mr. Mystery The man who fell down dead like a rootless tree Play it for the reverend, play it for the pastor Play it for the dog that got no master Play Oscar Peterson, play Stan Getz Play “Blue Sky,” play Dickey Betts Play Art Pepper, Thelonious Monk Charlie Parker and all that junk All that junk and “All That Jazz” Play something for the Birdman of Alcatraz Play Buster Keaton, play Harold Lloyd Play Bugsy Siegel, play Pretty Boy Floyd Play the numbers, play the odds Play “Cry Me a River” for the Lord of the gods Play Number nine, play Number six Play it for Lindsey and Stevie Nicks Play Nat King Cole, play “Nature Boy” Play “Down in the Boondocks” for Terry Malloy Play “It Happened One Night” and “One Night of Sin” There’s twelve million souls that are listening in Play “Merchant of Venice”, play “Merchants of Death” Play “Stella by Starlight” for Lady Macbeth Don’t worry, Mr. President, help’s on the way Your brothers are comin’, there’ll be hell to pay Brothers? What brothers? What’s this about hell? Tell them, “We’re waiting, keep coming,” we’ll get them as well Love Field is where his plane touched down But it never did get back up off the ground Was a hard act to follow, second to none They killed him on the altar of the rising sun Play “Misty” for me and “That Old Devil Moon” Play “Anything Goes” and “Memphis in June” Play “Lonely at the Top” and “Lonely Are the Brave” Play it for Houdini spinning around in his grave Play Jelly Roll Morton, play “Lucille” Play “Deep in a Dream”, and play “Driving Wheel” Play “Moonlight Sonata” in F-sharp And “A Key to the Highway” for the king on the harp Play “Marching Through Georgia” and “Dumbarton’s Drums” Play darkness and death will come when it comes Play “Love Me or Leave Me” by the great Bud Powell Play “The Blood-Stained Banner”, play “Murder Most Foul”
In this final section of this elegiac piece Mr. Dylan reminds us of the worst scene of racial violence in the nation’s history.
The Tulsa race massacre (also called the Tulsa race riot, the Greenwood Massacre, or the Black Wall Street Massacre) of 1921 took place on May 31 and June 1, 1921, when mobs of white residents attacked black residents and businesses of the Greenwood District in Tulsa, Oklahoma.
It has been called “the single worst incident of racial violence in American history.” The attack, carried out on the ground and from private aircraft, destroyed more than 35 square blocks of the district—at that time the wealthiest black community in the United States, known as “Black Wall Street”.
This awful history was dramatized on the Premiere of HBO’s ‘Watchmen’. Here the line takes us back to the scene of the original crime.
He connects it to the currents of hate/racism that from 1921 became a tsunami that killed another American President.
Then swirling through the American history of Jazz music and its iconic progenitors he adds crime figures like Bugsy Siegel who builds Las Vegas and on and on in a dizzying meter of names that arrives at “Love Me or Leave Me” by Bud Powell.
This is Dylan’s response to the hateful crowds that state, America love it or leave it.
The final line is perhaps the most stinging reminder of how far America needs to go to overcome its bloody past and present: Play The Blood Stained Banner , Play Murder Most Foul.
‘The Blood Stained Banner’ was a Confederate anthem and a version of the Confederate Flag presented in 1865. Bob Dylan is telling the nation to never forget this happened.
And to kindly play the song just ended, his American Elegy, Murder Most Foul.
Rainy day activities we used to call them. When there was nothing else to do kids had their favorite stock phrase, I’m bored! Then our parents would reply with their stock phrase, “use your imagination.”
We came up with games, fantastic worlds, and kept ourselves occupied for hours on end. All without the tech of today. It was never present. Our minds would become stronger in the process of inventing. You cannot miss things that were not invented yet.
Finding discarded refrigerator boxes was common during the 1970’s. We used them to build forts, roll down hills, and pretend just about anything our minds could invent!
A carboard box became a spaceship or a time machine. Adventures got played out complete with hand to hand melees to overcome villains. Then on our television sets came perhaps some of the most imaginative television programs on Saturday mornings to compliment our rainy day adventures.
There were 3 commercially supported networks, CBS, ABC, and NBC. New York City also had 3 locally based independent channels: WNEW–5, WOR–9, and WPIX–11.
These independent channels picked up the first ever re-runs in TV history. Network execs did not think people would watch repeats of old shows.
But to the children of that era every single re-run was a first time viewing. Every series from the 1950’s and 1960’s would get aired again. More on this topic in a future entry.
This week I want to talk about the programming of the 1970’s, my childhood. Saturday mornings became a special time of the week for millions of us.
Sid & Marty Krofft
Network TV in the 1970s programmed Saturday mornings just for kids. Cartoons, live-action space operas/adventures, and the brothers Krofft who had series on all 3 networks! At the top of their game there was a variety show based in Atlanta in 1978 called The Krofft Supershow. Hosted first by the Scottish hitmakers Bay City Rollers then the made up Captain Kool & The Kongs, featured 3 series: Dr. Shrinker, Wonderbug, and Magic Mongo.
When their first series originally aired on NBC in 1969 no one knew their everlasting impact. H.R. Pufnstuf was that first show. A fantasy adventure starring Jack Wild as Jimmy (Oscar Nominee for “Oliver!”), Billie Hayes as Witchiepoo, and Lennie Weinrib as H.R. Pufnstuf (he starred later as the Genie Mongo).
How the Krofft Brothers Named Pufnstuf
Of course the famous Mayor of Living island was named after Puff The Magic Dragon, a folk tune that at the time was a popular hit.
In their interview for TV Archive, Sid and Marty Krofft talked about the naming of their now iconic series. There are fun facts brought up as well.
My favorite fact was that The Beatles watched it every week. In England Pufnstuf was broadcast at 6 in the evening. Manager Brian Epstein asked for a 16mm copy of each week’s show!
At the end of every episode Pufnstuf and Jimmy tell viewers to keep those letters and postcards coming. Their fan mail was on average 10,000 letters per week!
Many college kids were watching the show. A lot of them thought the name Pufnstuf was drug related. Naturally the network’s standard and practices would have never allowed it.
A lad named Jimmy and his golden flute, Freddie, are lured away in Witchiepoo’s boat. The vessel attacks Jimmy sending him into the water. He finds himself washed ashore on the Oz-like Living Island. Its Mayor, the friendly dragon H.R . Pufnstuf, and his staff Cling and Clang rescue Jimmy. The rest of the series’ 16 episodes are Jimmy’s attempts to escape the island and various other adventures.
The Krofft shows featured musical numbers too. On Pufnstuf Jack Wild’s character Jimmy sang on several episodes. ‘Walking, Talking Boy’ and ‘Mechanical Boy’ are examples.
“The Magic Path” episode had the discovery of a special walkway that could lead Jimmy off the island! Then there was the scheme of using a box kite to fly him home.
Another big hit was “Sigmund and The Sea Monsters”. Star Johnny Whitaker sang the theme song, ‘You Gotta Have Friends’. He also sang on many episodes.
Sigmund was a misfit. Brothers Burp and Slurp were genuine monsters. Big Daddy and Big Mama were their parents, modeled after Hollywood gangsters of the 1930’s.
Johnny and Scott find Sigmund. They take him in to their clubhouse. Each episode has the boys protecting him from his awful family.
The popularity of these shows propelled stars Jack Wild and Johnny Whitaker to teen idol status. They performed beside the costumed Krofft characters at the Hollywood Bowl in L.A.
Krofft Series Roundup
H. R. Pufnstuf________________________16 Episodes (1969)
Land Of The Lost___________________43 Episodes (1974–76)
Sigmund and The Sea Monsters____29 Episodes (1973–74)
The Lost Saucer____________________16 Episodes (1975)
The Krofft Supershow________________16 Episodes (1976)
I watched all of these programs when they aired. The Krofft brothers had some star power too. “Lidsville” featured Butch Patrick of “Munsters” fame, he played Eddie! Charles Nelson Reilly also starred on the show as villain Hoodoo and with Phyllis Diller on “Croc’s Block.” “The Lost Saucer” starred Ruth Buzzie and Jim Nabors as androids named Fi and Fum. Richard Pryor starred on “Pryor’s Place”. Bob Denver of “Gilligan’s Island” starred in the “Far Out Space Nuts”. Martha Raye was Benita Bizzare on “The Bugaloos”.
The cost of producing so many live-action fantasy shows took its toll. Pufnstuf had 16 episodes that were reran throughout the 1970’s. To widen their audience, Sid and Marty Krofft produced a 98 minute feature film, Pufnstuf”, that featured Martha Raye as The Boss Witch and Cass Elliott as Witch Hazel and the original featured series cast.
“Land of the Lost” ran the longest. Eventual re–boots were produced in the 1990’s and 2000’s and a really bad feature film Starring Will Ferrell.
In 1978, Sid and Marty Krofft opened an indoor amusement park that took up 5 floors of Atlanta’s Omni Center, now home to CNN. It featured a giant sized pinball machine that people could ride through on specially designed vehicles.
Visitors rode the escalators to the top floor that featured a carousel. Then working their way down through the other floors and attractions. Upon exiting there was the familiar Krofft TV Productions logo.
Despite the financial failure of the Atlanta park, the brothers designed Krofft show themed rides for Six Flags in Georgia and in other theme parks across the U.S.
Krofft Gallery: (L–R): The movie ‘Pufnstuf’ (1970), Atlanta based indoor Amusement Park, the book ‘Pufnstuf & Other Stuff’ by David Martindale, and the Krofft TV Production logo seen at the end of each series’ episode.
The Stone Age and Future Age Enable The Scooby Age!
“The Flintstones” appeared in primetime a decade before its debut followed by “Jonny Quest” by Hanna–Barbera in the 1960s. At the dawn of the seventies ABC put Scooby Doo on the air. A group of teenagers along with their pooch and hippie owner Shaggy took on investigations of mysterious happenings in spooky houses and other nefarious schemes.
The series was an instant smash. Unheard of in TV Land that a cartoon would become such a cultural touchstone that a repeated phrase at the end of each episode would ring down through the decades: ‘we would have gotten away with it too if it hadn’t been for those meddling kids!’.
The program portrayed teenagers as responsible, caring, and ultimately wiser than the adult villains they would apprehend each week. There were ghosts and ghouls aplenty. Shaggy was always scared to death but with the help of Scooby Doo would overcome his fears usually by accident to win the day. Fred, Velma, and Dafney were the trio of calm and cool. Many viewers later stated that Velma was Lesbian. The series had plenty of camp value in it.
As seen in the gallery below, Shaggy and Scooby were often the first to face each week’s featured ghoul. The ‘NEW’ Movies series brought a lot of guest stars to the show including Laurel & Hardy and Batman & Robin. Campy 1970s fun!
I woke up with my sibs every week to tune in for their latest adventure. You learned how to overcome adversity in a way. Scooby and Shaggy despite being scared out of their wits somehow rose to the challenge of catching crooks disguised as ghosts and monsters.
The show became the longest-running of that era. It spawned numerous spin-offs. ‘Scrappy-Doo’ also got his own series! As seen in the gallery below, Scooby’s offspring Scrappy proved so popular there was a spin-off.
I admit by the time I hit my pre-teens the magic of Scooby had waned. There were a lot of spin-offs too. I was hitting those pre–teen years when Saturday morning early wake-ups had lost their magic.
Today the streaming services like Amazon Prime premiered “Scoob!” a brand new animated movie. And of course there were the live action Scooby Doo movies. Puppy power indeed!
Public Television Introduced Sesame Street
PBS Introduces Zoom & The Electric Company
We’re Gonna Zooma Zooma Zooma Zoom! was sung by a group of children who were not professional performers. Each week they scripted the show! This included creating a made-up language called Ubby Dubby.
Skits were performed. Games were invented. And there was a Zoom Guest too. The Guest segment was a real kid who had a hobby/interest to share.
At the end of each show the kids invited the viewers to write in on a postcard to request a Zoom Card. On the front was a color photo of a Zoom kid and on the back was instructions on how to do a craft featured on the show at home.
I sent in for a card once. I got the instructions on how to make a calendar with drawers using matchsticks.
The Zoom kids would sing the address Boston, Mass 0-2-1-3-4….send it to ZOOM! at the end of the show.
Channel Thirteen (PBS) is the flagship station for Public Television in the U.S. Zoom and The Electric Company were produced following the enormous success of Sesame Street which premiered in 1969. Although these shows aired every weekday I always felt like they were part of my Saturday morning media diet.
“Hey you guys!” would be yelled loudly at the top of every episode of The Electric Company. This program taught reading comprehension to kids. Proper sentences, grammar, punctuation, and the rest would be featured in silly skits.
Fargo North was a detective character who used a decoder machine to put words in their proper order to form a sentence.
Rita Moreno (Emmy, Grammy, Oscar, Tony winning actress) was a featured player. Morgan Freeman played Easy Reader, a hip guy who read a lot.
There was animation too. The Adventures of Letter Man showed a superhero who had a letter on his chest he would use to spell the correct word to save someone from peril.
There was also a special appearance of a popular superhero—Spidey Adventure Stories! Spider-Man in live action!
The 1970’s made for a great childhood. The influence of the previous hippie days showed up in the various series featured this week. Commercial TV began to exploit the popularity of rock music, had kids who were not always show-biz types, boys with Red hair became idols, and there was a sense of escape from adult authority.
The following years Cable TV replaced Saturday Morning TV with Nickelodeon, the first Network for Kids. And MTV became the channel for rock music.
As you can see from this blog entry I treasure the memories I have in front of our black and white TV during those groovy times. They had a big influence on me.
For the full 5 minute interview with Sid & Marty Krofft regarding the naming of their Pufnstuf series just click here: https://youtu.be/MPW-8Db0LFI
http://www.BillieHayes.com is the website of the actress famous for playing Witchiepoo, she raises money for her animal rescue charity!Check it out!
Arthur Miller’s “All My Sons” is a critically acclaimed play that keeps getting revived on Broadway. I saw the most recent production Starring Annette Bening and Tracey Letts.
It tells the story of an American defense contractor who knowingly sold defective plane parts that led to the deaths of 21 pilots during the war.
Vocalist Tyler Joseph took the name for his band from this play. He is the principal songwriter for the duo. His childhood friend Josh Dun is the drummer.
I loved the play. Arthur Miller became one of my favorite playwrights. Consequently, Twenty One Pilots are now one of my favorite artists in music.
The duo from Akron, Ohio did not try to sell themselves. Playing low key gigs in their home state until one fateful show with 1,200 local fans and 12 record label reps in the crowd took them by surprise.
They have recorded 4 studio albums. The third album”Blurryface” was their breakthrough to the commercial mainstream. The song “Stressed Out” went triple platinum.
I found them on SNL. Then I went to hear all of their music online. I could not stop listening. Their sound was unique. How could a rock duo seemingly reinvent the genre?
Tyler Joseph discovered for himself how to express personal struggles with depression, doubt, and survival using his voice. He plays keyboards/synth. The music has no guitar. This became revelatory to their success.
I felt strongly that no other artist reflected these times better. Exploring themes of faith, mental illness, death, insecurity and suicide on their eponymous debut, “Vessels”, and “Blurryface”, the duo took a year off to write a story focusing on the painful end of an order based on faith.
Their recent offering, “Trench”, was a concept record well received by fans and critics alike. Set in the fictional city of Dema, in a world known as Trench. Clancy, the main protagonist, takes a personal journey into this decaying culture to discover Nine Bishops control this crumbling society.
Trench Album & Josh Dun with Tyler Joseph seen above.
Dema means Towers of Silence. In Zoroastrianism the dead are placed inside of towers made of stone. Black Vultures feed on them. Ecology falters leading to the disappearance of these sentries to the eternal.
The songs tell the story well. Tyler Joseph and Paul Meaney of indie band Mutemath wrote all 14 tracks and produced the album.
‘Jumpsuit’ opens the record. A protective article of clothing needed to survive in Trench. ‘Levitate’ & ‘Morph’ describe the actions required to move around dangerous sections of the city.
The vocals vary from soft to outcries; falsetto to baritone; sometimes in the span of a single song.
‘My Blood’, ‘Chlorine’, ‘Smithereens’, and ‘Neon Gravestones’ cover more ground. The joining together to fend off enemies, cleansing away dark thoughts, and sacrificing for your community are expressed in these tracks. The music insists on our resisting old thoughts to operate in a discovery of improved life.
‘The Hype’, ‘Nico and the Niners’, ‘Cut My Lip’, ‘Bandito’ and ‘Pet Cheetah’ follow in quick order. The action moves fast; the thoughts need time to be absorbed.
This album takes more than a few spins but rewards its listener with catchy beats and introspective lyrics. The pop elements repeat a lot. I found it more soothing than irritant.
‘Legend’ and ‘Leave The City’ are about survival. Coping with new circumstances becomes the salve.
If you have not listened to this music yet start with Blurryface or Vessels. While Trench is satisfying to the duo’s now established following, it may not grab a novice.
For thousands of years humanity has been seeking methods to restore a sense of peace among peoples.
Despite my non-belief, I think religion is still the source of our greatest imagined narrative. Despite the reality of suffering on a terrible scale people still strive for universal peace.
I think to understand why Woodstock is important today we must look at the culture that preceded the hippie youth movement.
Let’s begin with a rough review of the 1950’s and 1960’s as they relate to the rise of a New Left and Hippie rebellion in America.
The American Experiment
The seeds of a new nation were planted on soil enriched by slaves. A democratic system evolved to include, to assimilate, and to uplift.
The democratic model of Ancient Greece led the founders to forge a centralized government. There was immense suffering and bloodshed to make this happen. Many were excluded from the possibilities of America.
North America’s native population was decimated. Minority peoples were outsiders. Women could not vote; seek higher education.
A fractured society led to our civil war. Following the Lincoln Era, the newly freed slaves were murdered on a regular basis. Cultural resentment continued in America through WWII.
Americans of every race, creed, and class fought alongside their allies to defeat anti-democratic forces. Unfortunately, the strains of hateful ideology that threatened the world continued to infect our democracy.
The aftermath would bring an era of conservative value making. Discrimination was visible in segregation. Queers of any type were invisible. Any deviation from the straight and narrow was mocked and punished.
If you were white there were many rewards. Good jobs, new homes, and college educations were granted to this newly minted modern middle-class.
Father Knows Best
The 1950’s reinforced a culture where straight white males were the dominant cultural force.
Children were to be seen and not heard. Adults were the authority. Obey rules. Listen to your parents, go to school, and always work hard.
This separate and unequal society had a post-war baby boom that produced 70 million teenagers.
The new technology of TV provided people with a new way of viewing the world .
Chuck Berry and Elvis Presley reflected a new musical expression.
A strata of white middle-class kids rejected the materialistic path they were educated to value. The silver screen rebel arrived in the form of Marlon Brando & James Dean.
White kids started to hang with black kids outside of the Jim Crow Codes. Black leather jackets, rock n roll music, and drugs punched a hole in the wall of conservative white male hierarchy.
Then the 1960’s dawned with America at a cultural divide. The Korean War was followed by Vietnam.
Our politicians put the Cold War with Russia above our domestic problems. Communism was cast as the great threat.
Then a new generation helped elect our youngest President. The Civil Rights movement pressured elected officials to take apart systemic racism.
Amidst all of this cultural change came a youth quake seen and heard around the world.
The Beatles arrival in America in 1964 changed everything. Teenagers wanted to gather in large numbers. The message was heard in stereophonic sound: All You Need Is Love.
Tune In. Turn On. Drop Out.
In contrast to the previous decade in which the teenage rebel was portrayed as aimless, the Vietnam War gave the kids a cause.
The great disillusionment arrived with young people organizing against registering for war. Vietnam was televised every night.
American teenagers did not want to obey. The war was immoral. Racism was immoral. Promoting hate was immoral.
The Woodstock Festival became the visible embodiment of what the kids had fought for all decade long. This generation had a style, moral code, and vision that rejected the path of inequality, racism, and war their elders had enacted.
Harvard Prof Timothy Leary told kids to tune in, turn on and drop out. Forget the crap you were told; a new way is needed.
Kids dressed in jeans, colorful vests, and sandals. They took drugs to open their minds and dropped out of straight society to protest the government.
Boys grew their hair long, went shirtless and/or barefoot. Girls went bra less and joined with boys to form new communities beyond the white picket fence.
Many burned draft cards. They marched in solidarity with blacks. The authorities were quite shaken by the rebellion. Then at decade’s end came the big event.
Billed as 3 days of Peace, Music…and Love. On farm land in upstate New York where the Bethel Woods concert pavilion now stands, the festival took place.
The organizers of the Woodstock Festival were four young men: John Roberts, Joel Rosenman, Artie Kornfeld, and Mike Lang. The oldest of the four was only 27 years old at the time of the Woodstock Festival.
The concert was envisioned to be a fundraiser for a proposed recording studio in Woodstock where many musicians lived at the time. Mr. Roberts was heir to the Polydent fortune. He bankrolled Woodstock.
The original proposed site in Watkill, NY was rejected. The town’s people passed a law against mass concerts. The hippies were not desirable to their town.
The hippie movement was influenced by Eastern religion, rock music, and experimentation with drugs. The youth of this era rose up in mass to protest the Vietnam War.
Those American values formed in the 1950’s resulted in Michael Lang scrambling to find a new place for his festival. The township of the first proposal did not want hippies overtaking their community. Several towns declined to host.
He discovered a tract of land on the farm of Max Yasgur that had the right sort of shape for his concert vision.
The logistics got messy.
Tickets were $7 for one day and $18 for 3 days ($26 today) per day.
Fences surrounding the concert were not completed in time.
The promoters expected around 30,000 people. Over 400,000 came on the day closing down the NY state Thruway.
Instead of charging people the festival turned into a free “be in” the size and scale nobody could have predicted. Attendees created a community including makeshift playgrounds and camping areas.
On Day 2 of the festival thunderstorms shut down the music for hours. Chip Monck, the master of ceremonies for the fest, told people to come down from the towers. The monsoon like rains that came forced people to improvise sheltering in place.
Some of the concert goers stripped down, placing their clothes under tarps, and made the best of a tough situation. The temperature dropped quite a bit after the storms. Keeping clothes dry was essential to prevent hypothermia.
Goldmine magazine’s coverage of Woodstock provided an excerpt from Chapter 8 of the book “Back To Yasgur’s Farm” by Mike Greenblatt (Krause Books). Local police made a statement about the festival. Sullivan County Sheriff Louis Ratner said “I never met a nicer bunch of kids in my life.”
Ritchie Havens performed his song, “Freedom”, to open the show. On Monday morning, with only about 30,000 people left, Jimi Hendrix took the stage with his new band, Gypsy Sun & Rainbows. His rendition of our National Anthem is now rock culture’s preferred version.
In between there were The Who, Santana, Creedence Clearwater Revival, Janis Joplin, Joan Baez, Joe Cocker, Crosby Stills Nash & Young, Canned Heat, Grateful Dead, Country Joe MacDonald, and Sha Na Na.
The concert on a hill became an expression of hope for millions of people around the US and the world. Unfortunately the backlash against freedom (free love) followed.
When I was a kid people used to say if you remember Woodstock then you were not there. The wink and nod was due to the use of drugs.
However, in 1969 only 4% of Americans were smoking marijuana. Today more than 50% of people support legalization of the drug.
Woodstock’s organizers had debt of $1 million and faced many lawsuits following the festival.
The documentary film released by Warner Brothers was a hit. The box office receipts helped pay their debts down.
1969 was an exceptional year. Stonewall, The Moon Landing, Civil Rights Law, and nearly half a million teenagers/young adults gathered on a farm upstate to express their joys, sorrows, and hopes for a peaceful tomorrow.
50 Year Anniversary
Here in New York City a photographic exhibition will celebrate this milestone at The Morrison Hotel gallery.
To commemorate the performances at the festival there are some notable records being issued. The original triple LP Woodstock soundtrack album has been re-issued on vinyl.
Rhino, a subsidiary of Warner, will release Woodstock 50: Back To The Garden in separate vinyl and CD box sets.
Jimi Hendrix, Creedence Clearwater Revival and Jefferson Airplane’s Woodstock sets have been released on vinyl.
History should not repeat. The proposed Anniversary Festival was cancelled. I think people need to live in the present. Dwelling too much in the past is not only depressing but bears no fruit.
What I do know about the 1969 festival and the culture that fostered it is you cannot copy the past.
We can remember why this event became important to us; there is no repeating it. The emergence of the hippie movement for peace was a flash point in America’s story.
In Mike Greenblatt’s book “Woodstock” he notes a press conference following the festival in which Max Yasgur stated:
“The kids were wonderful, honest, sincere, good kids who said, ‘here we are. This is what we are. This is the way we dress. These are our morals.’ There wasn’t one incident the whole time. The kids were polite, shared everything with everyone, and they forced me to open my eyes.
In my opinion, we must remember that Woodstock remains in the social fabric because it was a successful event.
Nobody was patted down to enter the grounds. The promise of music, peace, and love was fulfilled.
In the ensuing 50 years we have grown militant, selfish, and distracted.
Uncertainty is the word we hear a lot today to describe how people are feeling about society.
The five decades since the Aquarian cultural awakening of free love has seen horrors we could not have imagined.
Cultural shifts have moved our society far away from those of the counterculture. We lost the surplus; Gained record debt.
The ruling political class has been more representative of a shrinking geographical minority than of the actual new demographic reality of 21st century America.
Without a military draft the country has become disconnected in the face of unending wars in Syria and Afghanistan.
Advanced technology allows our government to strike targets a world away. The population suffers under crumbling infrastructure; the military gets billions.
Smart phones enable never ending surveillance. We have become more paranoid as a people. Heads are bent down to the perpetual glow of a portable screen.
I know it all sounds dire. Today we face a lot of adversity. We must overcome…again.
Several movements have started to respond to this litany of potential disaster. The issues today include: Gun Reform, Women’s Equality, Prison Reform, LGBTQ Rights, and Election Reforms.
We serve each other. The people are more powerful than any group or political party. We can assemble and make something positive happen.
Always keep in mind that something special blossomed over 3 days in those grassroots on a farm in upstate New York.
This blog is dedicated to all of the people who made Woodstock happen in 1969.
Bad Religion, a band formed in 1980 in the midst of Southern California’s punk rock movement, has put forth a humanist view in the ever increasing hostile climate of organized religion, politics, and our greedy anti-intellectual establishment.
Punk rock is perhaps the best truth-teller music has to offer. I will talk about my other favorites of this genre in future blogs.
For now I want to discuss the new album from Bad Religion. 14 tracks brimming with melody, harmony, and brilliant dissent.
Going against the grain is at the heart of punk music. It can enlighten us, shake us, and bring energy into the deepening void of apathy and ignorance that engulfs most of our world.
After decades of listening to groups that are apolitical or have no critical point of view I decided to seek out more thoughtful groups. I found Bad Religion with their new record, “Age Of Unreason”.
The songs were inspired by America’s revival of nativism. The current attempts at governing are weakening our best intentions towards a more democratic society.
Below is the line-up that recorded this new record.
One of the qualities I love in punk is the ability to communicate directly with its audience. There are 14 tracks that clock in at 33 minutes. During the late 20th century the punks knew that attention spans were falling. They never faltered in the chords that made rock roll.
The band has a logo that shows a cross with a slash of prohibition through it. Greg Graffin explained: “we don’t like to subscribe to dogmatic ways of life and dogmatic views on life and that religion, in general, is founded in dogma and in restriction of ideas, restriction of thought and it’s these things that I feel are bad about religion, it’s also very bad about nationalistic views, it’s very bad … it’s something that mankind, as a group, is not going to benefit from; it’s only something that mankind will … it’s something mankind will … I’m sorry, it’s something that will instill violence, and it will instill fighting, and it will instill non-cooperation of different groups of humans.”
Chaos From Within opens with a quick tempo that reminds us that our current state results from the constant churning of madness within our body politic. The chorus goes like this:
Threat is urgent, existential With patience wearing thin But the danger’s elemental It’s chaos from within
In this mad country our cockeyed optimism is always on display. The track “My Sanity” is a plea to hold on to this misguided belief system. At song’s end the following is declared: Sometimes there’s no sane reason for optimism.
Oh my sanity, my sanity I’ve nothing to lose, so please let me be My life is a song, a short melody Harmonizing with reality I’ve got it real bad, there’s no remedy My world picture is exemplary I won’t let you go, what else can there be You’re all I have, my dear sanity
Do The Paranoid Style smartly mocks disposable dance crazes that have reinforced our march towards ignorance over reason. Make up your own truth without a care.
Hey kids on the right and left Do you feel dispossessed If you’re on the left or right I feel your pain tonight So shake off reality It’s easy as you please Soon everyone is dancing Con-spir-a-tor-i-a-lly
It’s the paranoid style in American politics Casey Jones you better watch your apocalypse All kinds of wild interpretation Are open to the paranoid imagination
Do The Paranoid Style is the catchiest track here. Then a galloping melody kicks in with ‘The Approach’. A reminder that despite the nonsense people are fed via social media we are still approaching the end. Be optimistic if you wish. The seeming rush to our destruction is ongoing.
There’s a moral and intellectual vacuum and you’re right to be lookin’ askance Philosophically moribund, revolution hasn’t a chance
As the light fades, the shadows dance in silhouette .
Then a beautiful respite in “Lose Your Head”. A real punk statement of not going off the deep end because of our stupid system. My favorite lyric is: There’s an accident waiting to happen at all times anyway And maybe we’d all benefit from some epistemic humility .
Without this humility how will any of us be remembered? The sixth track, “End Of History” asks the most of us. Are we really okay with letting maniacs lead us to our demise?
Halcyon days are not a thing Nostalgia is no excuse for stupidity I don’t believe in golden ages Or presidents that put kids in cages America awaits on bended knee Can’t you see
Sweet children, Locke’s burden Why did mother draw the curtains Free will is your dilemma, (what will the dust remember) Tell me where do you really want to be? At the end of history?
At the midpoint we receive the title track. The song pleads with us that many cannot see the country’s heart is bleeding because of the man who brought back tyranny.
The mass is unrepentant in this age of unreason. The environment is being poisoned. Dogmatic systems are promoting over population, consumerism, and waste.
I feel strongly this record is one of the finest of 2019. A remarkable dissent in a culture that retreats from empathy.
The second half has good tracks. I will not go deep into them like I did with the first 7 tracks. Listeners should have their own thoughts about this work.
What follows is a brief description of the second half of the record:
'The Candidate' denounces our current clown. He is a fraud. A Pied Piper type demanding that you (rats like you) should follow his populist tune. Nothing but a conjurer of violence and despair. Yet still promises to make all your worries disappear.
"Faces of Grief" is a short, sweet punk riff about the dangerous tribalism religion bestows upon all.
"Old Regime" shreds with protest fury. The track reminds us that today's aristocracy is just the old non-democratic regime with a different name.
"Big Black Dog" is one of my favorite songs. Calling out the President as a traitor in chief. The song is groove driven.
"Downfall" has a new wave thread that allows the hook to take hold of the listener. The lyrics describe a society that has turned away from science in favor of dogma. The wave that is surely to come will destroy us.
"Since Now" poses that we are living in the upside down. Our new bizarre reality is that everything we thought was true is being ripped apart. The punkish answer is to say since when... Structured as a list of grievances sure to wake up the apathetic hordes.
The closing track is "What Tomorrow Brings". A note of hopeful finality to the proceedings, more than sociological or technological, it's what tomorrow brings. The changes we need are what may come.
Punk is protest. Punk is relevant. Punk is open. The form embraces the misfit in all of us. Please give this record a listen. You may just find you are not alone in the crucible of our current mad state.