Tag Archives: Rolling Stones

Book review: ‘Undercover – 500 Rolling Stones Cover Versions That You Must Hear!’ by Peter Checksfield

Following his two recent books cataloguing the glory years of Top Of The Pops, music wrier, Peter Checksfield, has turned his attention to those perennial rock gods, the Rolling Stones. More accurately, those artists who have chosen at some point in their careers to cover songs by the Rolling Stones. This bumper tome takes an in depth look at five hundred cover versions of Rolling Stones songs recorded by a vastly varied selection of artists.

‘Undercover’ not only includes the obvious Stones standards, like ‘Brown Sugar’ (covered by everyone from Little Richard to Ken Boothe to Thunder); ‘Honky Tonk Women’ (Ike & Tina Turner, Waylon Jennings, Elton John) and ‘Satisfaction’ (Otis Redding, The Supremes, Devo); but the book also covers many lesser-known songs and some lesser-known artists, too. Coventry band, The Mighty Avengers, recorded three (as then) unreleased Jagger-Richards compositions which resulted in some minor, albeit fleeting, chart success.

It could be argued that in these days of ever-expanding Wikipedia entries there’s less of a need for weighty rock encyclopaedias of this type. However, where ‘Undercover’ really comes into its own is in the 130 exclusive interviews that Checksfield carried out with many of those artists recording the cover versions featured in the book. We get fascinating insights from musicians as varied as Justin Sullivan of New Model Army; Bob Bradbury of glam almost-heroes, Hello;  Gale Paridjanian of Turin Brakes; Steve ‘Lips’ Kudlow of Anvil; Dick Taylor of The Pretty Things, Marc Almond and Sandie Shaw.

‘Undercover: 500 Rolling Stones Cover Versions That You Must Hear!’ is a fascinating reference work on both the songwriting and the enduring influence of one of the world’s greatest rock and roll bands and will probably be something I’ll keep on dipping into.

Published: November 2022 – visit Peter Checksfield’s website here

Related posts:

Book review: ‘Top Of The Pops: The Punk & New Romantic Years 1976-1986’ by Peter Checksfield

Book review: ‘Top Of The Pops: The Lost Years Rediscovered 1964-1975’ by Peter Checksfield

‘Look Wot They Dun! – The ultimate guide to UK glam rock on TV in the 70s’ by Peter Checksfield

Review: The Rolling Stones ‘Exhibitionism’ at The Saatchi Gallery

Live review: the Rolling Stones at Hyde Park 3/7/22

2022 in Darren’s music blog – the ten most popular posts of the year

I wish everyone a happy New Year. My thanks to everyone who has visited Darren’s music blog during 2022. As usual an eclectic mix of classic rock, folk and glam and a mixture of live reviews, album reviews, tour news and a plug for my own book appearing amongst the ten most viewed posts of the year.

1. Live review: the final ever Giants of Rock, Minehead 21-23 January 2022

Barring the gap due to Covid I’d been going to Butlins at Minehead each January since 2015 for the Giants Of Rock festival. But now the festival is no more, replaced by a tribute weekend, so I’ll be heading to Skegness in January for the Rock & Blues festival instead (although, sadly, that is coming to and end, too). Relive the last ever Giants of Rock weekend here with my review covering the likes of Ten Years After, Geordie, Atomic Rooster and Nazareth.

Read full review here

2. Live review: Suzi Quatro at the Royal Albert Hall 20/4/22

2022 was the year of all things Suzi Quatro for me. Not only did my book for Sonicbond’s Decades series, Suzi Quatro In The 1970s, come out in July but earlier in the year I could celebrate getting it finished, proofread and finally off to the publishers with a trip to London for Suzi’s incredible performance at the Royal Albert Hall. Photo credit (above): Gary Cosby

Read full review here

3. Live review: the Eagles at Hyde Park 26/6/22

I was back over to London a couple of times in the Summer, too, with two separate trips to Hyde Park for the British Summertime series of concerts. The first of these was for the Eagles. Long on my bucket-list of must-see bands I finally got to see them. Even without the late, great Glenn Frey, it was still an incredible experience and just magical being in Hyde Park late on a summer evening as the sun started set watching them perform ‘Hotel California’.

Read full review here

4. Live review: the Rolling Stones at Hyde Park 3/7/22

Just a week after the Eagles I was back in Hyde Park for the Rolling Stones. It’s been over thirty years since attending my first and only previous Rolling Stones gig, when I went with my dad to Manchester’s Maine Road back in 1990. My dad’s thinking back then was that if I wanted to see them live then 1990’s Urban Jungle tour might be my last chance. It wasn’t quite! Thirty years later I’m back for more and what a memorable evening it was.

Read full review here

5. Live review: Fairport’s Cropredy Convention August 2022

After a two-year gap due to Covid restrictions it was nice to be back in Oxfordshire in August for Fairport Convention’s annual Cropredy festival. Both tickets and line-up had been carried over from the event initially planned for 2020 but the passage of time had necessitated some tweaks to the line-up and in my case (due to a change in domestic circumstances), the reallocation of my second ticket to a Cropredy newcomer. Highlights included Clannad, Trevor Horn, Turin Brakes, Richard Thompson – and Fairport, of course!

Read full review here

6. New book: ‘Suzi Quatro In The 1970s’ by Darren Johnson coming in July 2022

Definitely, one of the highlights of 2022 for me was the publication of my book on Suzi Quatro for Sonicbond’s Decades series, which followed on from the book on The Sweet I had written the previous year for the same series. As Suzi herself says: “If you talk about the ‘70s, I was a hardworking artist. I did nothing but tour – recording, touring, TV, you know. I had constant jetlag. Constant black shadows under my eyes but, oh, what a ride! What a wonderful ride. And I’m still doing it now.”

Read original post here

7. Album review – Graham Bonnet Band ‘Day Out In Nowhere’

My most popular album review of the year, I wrote that Graham Bonnet is “clearly on something of a roll at this late stage in his career. Whether you are the more casual fan of his most celebrated albums from the late 70s and early 80s or a dedicated fan who’s loyally followed each and every stage of his long career, there’s lots to like in Day Out In Nowhere. It deserves to do well.”

Read full review here

8. Album reviews: four recent solo releases from the extended Uriah Heep family

Going online to treat myself to the newly-released CD from former Uriah Heep singer, Pete Goalby, I ended up having one of those “customers who viewed this also viewed these” impulse purchase experiences. Before I knew it I had, not one, but four recently-released CDs from the extended Uriah Heep family popping through my letterbox, three of these being released posthumously.

Read full review here

9. Bowie and Iggy Pop icon, Tony Fox Sales, celebrates 45 years of Lust For Life

One of the things I am really looking forward to in 2023 is the tour by Iggy Pop / Bowie bass legend, Tony Fox Sales.  With an all-star line-up, Tony is joined by legendary Blondie drummer, Clem Burke; vocalist, renowned broadcaster and Pet Shop Boys dancer, Katie Puckrik; Iggy Pop and David Bowie guitarist, Kevin Armstrong;  guitarist, Luis Correia, who’s toured internationally with Earl Slick; and classical pianist, composer, and touring member of Heaven 17, Florence Sabeva.

Read original post here

10. Gaelic singer Kim Carnie – debut album ‘And So We Gather’

Gaelic singer, Kim Carnie, launched her solo career in 2018 with the release of her EP, In Her Company. Since then she’s worked with the bands, Mànran and Staran, been much in demand as a session vocalist and in 2021 won the Gaelic Singer of The Year prize at the MG Alba Trad Awards. In June this year she released her debut album, And So We Gather.

Read original post here

2021 in Darren’s music blog

2020 in Darren’s music blog

2019 in Darren’s music blog

Live review: the Rolling Stones at Hyde Park 3/7/22

It’s been over thirty years since attending my first and only previous Rolling Stones gig, when I went with my dad to Manchester’s Maine Road back in 1990. My dad’s thinking back then was that if I wanted to see them live then 1990’s Urban Jungle tour might be my last chance.

Thirty-two years later and they are still at it, well Mick Jagger, Keith Richards and Ronnie Wood anyway. The set opened with a poignant tribute to Charlie Watts up on the huge screens and Jagger dedicating the concert to him.

Opening up with a wonderfully energetic version of ‘Get Off My Cloud’ to get us all instantly in the mood, the hits keep rolling. Timeless classics all, I was particularly moved by a poignant rendition of ‘Angie’ and a beautiful ‘You Can’t Always Get What You Want’, a song we played at my dad’s funeral back in 2007 so it has special meaning for me.

There was quite a lot of banter with the crowd, a playful Jagger welcoming us to the “American Express British Summer Time Covid super-spreader event” at one point. This is the fifth time the Stones have played Hyde Park, the vocalist reminds us. “The first one was free,” he says, recalling that legendary Hyde Park concert back in July 1969 following the tragic death of Brian Jones. “The following ones were not free,”  he says with a wry grin, acknowledging the hefty wads of cash that most of us had forked out for the privilege of being here tonight.

Keith Richards is in his element, taking lead vocals for a couple of songs,  ‘You Got The Silver’ (from Let It Bleed) and ‘Happy’ (from Exile On Main Street). It also gave Jagger a short rest back stage. But for the rest of the concert he’s bopping and preening and dashing out into the crowd on the famed ‘ego-ramp’, the same as he’s always done in a way that’s just impossible to believe he’s now almost 79.

As Matt, my gig partner for the day points out, it’s not a massive entourage of a backing band. Jagger, Richards and Wood are joined by the ever-present Darryl Jones, who took over from Bill Wyman back in 1994, and Steve Jordan filling in for Charlie Watts since the latter’s shock demise last year. Alongside them are Chuck Leavell and Matt Clifford on keyboards, Bernard Fowler on backing vocals and percussion, Tim Ries and Karl Denson on saxophone, and Sasha Allen on backing vocals. Both the sound and on-stage vibe is perfection.

Jagger’s soon back on stage and the band launch into an extended, super-funked-up version of ‘Miss You’, an opportunity for a mass boogie by the Hyde Park crowd and communal “ooh-ooh ooh-ooh ooh-ooh-ooh” backing vocals before we move straight into a deliciously laid-back ‘Midnight Rambler’, with bags of harmonica from Jagger and Richards and Woods trading country-flavoured guitar licks.

And there’s still time to pack a whole more classics in: ‘Paint It Black’, ‘Start Me Up’, ‘Gimme Shelter’, ‘Jumping Jack Flash’. Another poignant moment comes as the big screens depict an eery tableau of bombed-out buildings during ‘Gimme Shelter’ as the band’s tribute to Ukraine, with backing singer, Sasha Allen, duetting with Jagger on this one and demonstrating what a fantastically soulful voice she’s got as she joins him on the ramp out into the crowd.

Unlike the Eagles last week, who launched straight into their encore set without the hassle of going off stage and coming back on again, we did have to wait a couple minutes for the band to return and conclude with ‘Sympathy For The Devil’ and riotous, life-affirming ‘Satisfaction’.

I probably won’t get to see them again, regardless of the band’s future plans as they reach their sixtieth anniversary milestone. But this was special and something I’ll remember forever.

Set-list:

Get Off My Cloud

19th Nervous Breakdown

Tumbling Dice

Out of Time

Angie

You Can’t Always Get What You Want

Like a Rolling Stone

You Got Me Rocking

Honky Tonk Women

You Got the Silver

Happy

Miss You

Midnight Rambler

Paint It Black

Start Me Up

Gimme Shelter

Jumping Jack Flash

Sympathy for the Devil

(I Can’t Get No) Satisfaction

Related posts:

Review: The Rolling Stones ‘Exhibitionism’ at The Saatchi Gallery

Live review: the Eagles at Hyde Park 26/6/22

From AC/DC to ABBA: five classic glam rock singles by non-glam bands

In the early 70s the likes of Bolan, Bowie and Slade were pioneering both the sounds and the looks that would come to define glam rock. Emerging in 1971, building momentum in 1972 and absolutely dominating the UK charts by 1973, glam was everywhere by 1974. Even non-glam bands were at it.

Here we look at five bands who managed to release great glam rock singles in 1974.

1. AC/DC – Can I Sit Next To You Girl

Released as their debut single in July 1974 the original version of ‘Can I Sit Next to You Girl’ is the only AC/DC release to feature Dave Evans on lead vocals, prior to Bon Scott taking over. The band would re-record the track with Scott but here you can see and hear the original. Angus is in his schoolboy uniform, of course, but the rest of the band are looking spectacularly glammed up. And it’s not just the image that’s glam either. The vocal delivery, arrangements and guitar riff all have far more of a glam rock than a hard rock feel to them. Now I love the sleazy hard-rocking Bon Scott-era of AC/DC and wouldn’t want to change a thing – but this debut single gives a delicious glimpse of how things might have been in some parallel universe.

2. Mungo Jerry – Long Legged Woman Dressed In Black

When ‘In The Summertime’ became the band’s first big hit in 1970 Mungo Jerry’s laid-back jug-band sound couldn’t be further away from glam rock if you tried. By 1974, however, it’s blindingly clear that glam was having an influence. It’s not just lead singer Ray Dorset’s studded white leather sleeveless jacket over his bare chest, we have a drum beat that wouldn’t be out of place on a Glitter Band release and a sing-along chorus that just screams pure unadulterated glam. My particular memory of this song was at my 8th birthday party when my dad crammed me and half the kids down the street into the back of his Ford Anglia to take us to the park. On the way back this came on the radio at full volume and we had all the widows open, screaming along to it at the top of our voices.

3. The Wombles – Remember You’re A Womble

Although their first single and (the theme tune from the BBC series) epitomises the lush orchestral pop that creator Mike Batt has been associated with much of his career, for the Wombles’ second single they went down a much rockier route. Joining Mike Batt (vocals/keyboards) were session musicians Chris Spedding (guitars), Les Hurdle (bass), Clem Cattini (drums), Ray Cooper (percussion), Rex Morris (saxophone), Eddie Mordue (saxophone) and Jack Rothstein (violin). Not only was the single a brilliantly bouncy slice of glam rock but, thanks to the glorious fiddle solo, it’s a brilliant slice of folk rock, too. As such it remains the greatest glam-folk single ever made. Tim Hart of Steeleye Span kind of agreed. In his book ‘Electric Eden’ Rob Young recounts that Hart “bought a triple LP of Wombles tunes and was impressed with the clarity of it’s sub glam power pop”. Batt was hired by the band and the result was Steeleye Span’s own glam-folk smash ‘All Around My Hat’.

4. The Rolling Stones – I Know It’s Only Rock n Roll

This July 1974 single and title track of the Stones’ album later that year originally emerged out of a jam session Mick Jagger had with Ronnie Wood and Kenney Jones of the Faces, along with David Bowie and bass player Willie Weeks. The track was polished up, some guitar licks were added by Richards and a Rolling Stones classic was born. Easily the most glam-influence song the Stones produced it really reminds me of T.Rex. And, of course, if you are going to release a glam rock single you need a glam rock video to go with it. Directed by Michael Lindsay-Hogg the video shows the band dressed in sailor suits and playing in a tent which eventually fills up with bubbles. According to Keith Richards, the idea for the sailor suits came about at the last minute because none of the Stones wanted to get their own clothes ruined with detergent bubbles.

5. ABBA – Waterloo

Waterloo was written specifically as ABBA’s bid for the 1974 Eurovision Song Contest, after the group finished third with ‘Ring Ring’ in the contest for Sweden’s entry the previous year. With a driving guitar riff and a rocking upbeat tempo the song was quite a departure from the romantic ballads of previous European winners and, indeed, of ABBA’s later releases. Throw in the knee-high silver platforms, the glittery costumes and the star-shaped guitar and ‘Waterloo’ is a glam rock classic in all but name. Indeed, Abba themselves had cited ‘See My Baby Jive’ by English glam rockers Wizzard as a major influence at the time. My Nana, who was babysitting for us that night, let us stay up to watch them win Eurovision.

Related posts:

‘The Sweet in the 1970s’ by Darren Johnson – published 30th July 2021

Before glam: the debut 60s singles of Bowie, Bolan, Slade, Mud and Sweet

The Sweet versus Bowie: the riff in Blockbuster and Jean Genie – origins and influences

Slade, strikes and the three-day week: the story of the greatest Christmas record ever made

Review: ‘Their Mortal Remains’ Pink Floyd Exhibition at the V&A

I was raving about the Rolling Stones exhibition last year, saying they have utterly rewritten the template for what a successful rock memorabilia exhibition should look like and set a new global standard. So when a Pink Floyd exhibition was announced at the V&A I was expecting something really creative. Surely, an arty band like Floyd, and one that has always loved spectacle and grand statements, wouldn’t allow themselves to be outdone by the Stones?

The Pink Floyd exhibition is meticulously curated and a fascinating insight into the band’s history but for the most part I found it very, very traditional. Whereas, the Stones went for breathtaking recreations of their squalid Edith Grove flat, of the studio where many Jagger/Richards classics were laid down and of the very private world of the Stones’ backstage area, Floyd have gone for things displayed neatly in glass cases in chronological order. Don’t get me wrong I loved seeing these items but an exact recreation of the interior of the UFO Club in 1967 or a mock-up of the studio where Dark Side Of The Moon was recorded there was none.

Towards the end of the tour we did get some 3D installations of images from The Wall and Battersea Power Station – and the room devoted to the sculpture from the Division Bell album cover was particularly poignant. Overall, however, while I felt with The Stones I was being taken on a very personal journey through the life of the band, with Pink Floyd I never really felt much more than a visitor to a museum looking at some artefacts, albeit very, very interesting ones.

https://www.vam.ac.uk/exhibitions/pink-floyd

20170629_151701

Have we been seeing a creative renaissance for our vintage rock and metal acts?

OK, so Black Sabbath may have played its last ever tour, we have seen one devastating rock star death after another and a number of acts are no more. But, in spite of all that, have we been witnessing a real renaissance for some of our classic rock and metal bands in recent years? I would contend we have.

After some difficult years in the late eighties and nineties for many of our much loved rock giants, one band after another have been releasing albums that stand up really well against their early classics. The aforementioned Black Sabbath released the brilliant 13 album in 2013, which in my view can happily sit alongside the first four Sabbath albums as a genuine bona fide classic. Uriah Heep’s Outsider released in 2014 can unashamedly sit alongside the David Byron-era material in terms of Heep’s unmistakable brand of melodic hard rock. Girlschool’s Guilty As Sin is every bit as good as their era-defining early albums, with lead track Come The Revolution a match for any of their well-known classic tunes. Saxon’s Battering Ram from 2015 and Judas Priest’s Redeemer Of Souls from 2014, each reviewed elsewhere here, both stand up well and offer everything you’d want to hear in a new album from either band. Even The Stones have got in on the act with their critically-acclaimed back-to-basics Lonesome & Blue album celebrating their R&B roots.

My theory is that all of these bands have reached a stage in their musical careers where, unlike some often painful attempts a decade or two ago, they have more than proved themselves. They now no longer feel obliged to sound contemporary or try to keep up with modern trends but can simply concentrate on sounding like themselves and producing the kind of music and the kind of albums that brought them to the public’s attention in the first place.

Of course, it doesn’t mean we shouldn’t be championing newer rock acts and none of the bands I’m talking about here are going to be around forever. However, I think we could still be seeing a few more classic releases yet from some of our favourite rock veterans over the next few years.

2017-01-21 15.38.55.jpg

 

Review: The Rolling Stones ‘Exhibitionism’ at The Saatchi Gallery

I’ve been to a few rock music archive exhibitions over the years and thought I knew the score. A room or two of old programmes, concert posters and record covers, a few old stage costumes here and there, perhaps a guitar or two and then you’re ushered into a room to watch an video that you could probably have found at home doing a quick search on Youtube.

With Exhibitionism, however, The Stones have set the bar extremely high and in the process of taking over The Saatchi Gallery have utterly rewritten the template for what a successful rock memorabilia exhibition should look like. At £24 per ticket it’s not exactly cheap but for any Stones fan, or indeed any follower of rock history, it represents excellent value for money. Room after room after room is laid out with absolutely fascinating archives that go way beyond the old “concert posters and record sleeves in glasses cases” approach. It’s beautifully themed and gives a fascinating insight into the life of one of the world’s most iconic rock n roll bands over the past five and a bit decades. There’s a recreation of the Edith Grove flat that Mick Jagger, Keith Richards and Brian Jones shared in the early days, gloriously capturing all the hideous squalor of sixties bedsit-land. There’s a recreation of the recording studio where they recorded some of their classics and there are huge and extensive displays of guitars and other instruments, meticulously archived original recording contracts and legal documentation and a fascinating display of stage costumes through the decades. I was struck by how pristine and smart the bands sixties suits still look compared to how bedraggled and tatty some of Mick Jagger’s nineties stage outfits now appear. Clearly, they don’t make em like they used to.

For me, however, one of the most poignant moments was walking into the room set out as an exact replica of the Stones backstage area: the admin, the technical gizmos, Mick Jagger’s make-up tent… For a minute it really felt like you had walked in on something very, very private that few get to see.

Allow at least ninety minutes to properly take in all of the exhibition. If you are so inclined you can then spend an exorbitant amount of money in the gift shop but I consoled myself with a £3.99 branded re-usable Exhibitionism shopping bag. A little souvenir of an exhibition that has set a new global standard in rock ‘n’ roll archives.

http://www.saatchigallery.com/current/rolling_stones.php

13151981_10154158050891449_5385573586757444581_n