Check your Defiance, You Can Scream & You Can Cry But Here’s Little Richard, Mick Smith, Host of The Doctor of Digital Podcast on Maniacal Music Musings!
Episode Description
Welcome back to another amazing show with your musers and we are talking about three legends in this episode. We are joined by Mick Smith, Host of the Doctor of Digital podcast, and I'm telling you this man is a music genius. So come join us as we celebrate three master musicians and singers.
YouTube
“Bring a music album you love on to defend it against two albums of our choice, light comedic fun. Check us out.”
Now, this looks like fun, eh?
YouTube channel of Maniacal Music Musings:
https://www.youtube.com/channel/UCE9cJArGwbtDTgH_OKBlt4g
Here is the process: as a panelist I need Top 5 songs off all 3 albums plus any honorable mentions.
I made my choices of the Top 5 on Defiance Part 1:
Top Five:
Defiance
The album opens in glorious style with the title track Defiance, as hard-rocking as anything Ian has recorded for many years. The song is about Hunter doing things his way and not giving in to current trends, noting "Got an 'F' for squanderin' those golden years". Now that's defiance! The picture is of an ordinary kid who is defiant and has lived a long life doing the same. The song features Slash from Guns N' Roses who had played with Hunter Ronson at the Hollywood Palace on 13 November 1989. They played White Light/White Heat and proved to be an awakening for Hunter. He and Ronson wanted to rock as hard as newer players such as Slash.
Bed of Roses
In Bed of Roses Hunter states “what went on behind the scenes was beyond your wildest dreams” while the band “played all night long.” “People rave about ‘54” a reference to the groundbreaking rock ’n’ roll created at Sun Studios in Memphis. Ian says: “I can still feel it like yesterday.” “The Silver Bugs (get it, The Beatles, who were called the Silver Beatles at one time) ’n Sheridan” (Tony Sheridan), were there while Roy stayed “forever young” (Roy Young) and in the video for the single the Beatles and the Star Club are featured.
Ian experienced a similar apprenticeship to the Beatles in Germany. Comparable to the Beatles, Ian gigged in Germany to practice his craft, although not as successful as the Fab Four when they finally hit it big in England. Ian didn’t get a chance until 1969, close to when the Beatles were at their nadir, when Mott The Hoople released their first LP.
Ian establishes his credentials as that one early rocker who has aged well with the ability to mix the everyday with literary references and Bed is no exception. He refers to what “we used to call it Camelot with all them ladies of Shalott the people like to Lancelot.” "The Lady of Shalott" is a lyrical ballad by the 19th-century English poet Alfred Tennyson and one of his best-known works. He references Lancelot as the couple notices each other.
For the pop references The Silver Beetles were a short-lived cover band featuring 3 future members of The Beatles. John Lennon initially wanted to be called The Crickets, but Paul McCartney said, "I think that's already taken". It was Stuart Sutcliffe who suggested they call themselves The Beetles. The group often performed short 20 minute sets comprised entirely of top 40 hit covers. Anthony Esmond Sheridan McGinnity, known professionally as Tony Sheridan, was an English rock and roll guitarist who spent much of his adult life in Germany. He was best known as an early collaborator of the Beatles (though the record was labelled as being with "The Beat Brothers"), one of two non-Beatles (the other being Billy Preston) to receive label performance credit on a record with the group, and the only non-Beatle to appear as lead singer on a Beatles recording which charted as a single. Roy Frederick Young was a British rock and roll singer, pianist and keyboard player. He first recorded in the late 1950s before performing in Hamburg with the Beatles. After a stint with Cliff Bennett and the Rabble Rousers, he released several albums with his own band as well as recording with Chuck Berry and David Bowie, among others. Most importantly, Young toured the US in the 1980s with Hunter Ronson.
Hunter has kept alive the ground breaking music associated with Sun Records as the longest contributor first to rock 'n' roll, then classic rock, as well as his more innovative recent works.
Ian Hunter On Track for Sonicbond Publishing, TheDoctorOfDigital@pm.me
It is fitting that “Bed of Roses” with so many early rock ‘n’ references is the first single from Ian’s “Defiance Part 1” available at the legendary Sun Records:
In a short clip Ian verifies the apprenticeship he experienced in Germany.
No Hard Feelings
With No Hard Feelings Hunter situates himself historically, first the World Wars, then Elvis, then Ian! He says: "A pre-war gift, a post war pest" since he was born in June 1939 before the invasion of Poland on 1 September. Most importantly, if ever there was a song that could be filled with rant and rage this is it. However, Hunter brilliantly dissects his relationship with his father Walter along the lines of Ships, Following In Your Footsteps, and as extended in 23A Swan Hill. Ian has come full circle; first, he left home at a young age, detailed the distance he felt, now no hard feelings after his parents passing. Hunter is at peace but the song is not simply introspective but Ian expresses a life lesson similar to a song by Mick Ronson, Hard Life. Here is the key line which reminds me of the humorous song by Johnny Cash, A Boy Named Sue:
When I was down, out on the skids
You were there with your obnoxious kid
I will always remember what you did
Trying to make a man out of me
Belatedly, his father's harshness led to Ian's survival instinct and rejection prompted his ability to be someone someday; now at a mature age it is clear to his musical peers that he attained legendary status in particular with the release of Defiance Part. 1.
I Hate Hate
I Hate Hate is a rocker about "man's inhumanity to man." Hate is out of date. It's a great message for troubled times and Ian's line is "Wouldn't it be great if we ran out of hate." And he adds you can wear the slogan on a T-shirt and wear it at a job or church. The tune is a diatribe against social institutions that encourage, enhance, or allow hate to flourish. There are two versions: the main version is piano-led, while the bonus track is guitar-led.
This Is What I’m Here For
This Is What I'm Here For (featuring Taylor Hawkins and Joe Elliott) is a terrific summation for the career of Mr. 'Unter and is the earthy counterpoint to Salvation. It is Hunter's declaration of how he is ordinary but he is here on earth to create music. And, we know Defiance Vol. 2 is on the way. Ian is still doing exactly what he has enjoyed doing for decades and although he got into the game later than he would like he is in his element making music. Early on he struggled to make it in music from his youth as chronicled in Have Guitars Will Travel: A journey through the beat music scene in Northampton 1957-1966 and this song is the companion to the theme of Defiance. He was over the hill at 30 but now 50 years later he is still here and when he's through he will let us know. Might as well enjoy it: here he is!
My Honorable Mentions are the remainder of the release.
Here is the process: as a panelist I need Top 5 songs off all 3 albums plus any honorable mentions.
The hosts offered their two choices.
First, Scream, is the eleventh studio album by English heavy metal singer Ozzy Osbourne, released in the United Kingdom on 14 June 2010.[10]
Ozzy Osbourne recorded the song “All the Young Dudes” by Ian Hunter and David Bowie. This track appears on Ozzy’s “Under Cover” album released in 200512. Ian Hunter’s vocals feature prominently on this cover version.
Ian Hunter & Ozzy Osbourne:
Collaboration: Ian Hunter and Ozzy Osbourne worked together on the song “All the Young Dudes.” Their collaboration bridged their musical worlds, with Hunter’s influence from Mott the Hoople and Ozzy’s iconic status in heavy metal.
Shared Influence: Both artists have left significant marks on rock music. Ian Hunter’s work with Mott the Hoople and his solo career influenced generations of musicians. Ozzy Osbourne, as the frontman of Black Sabbath and a successful solo artist, shaped the heavy metal genre.
Mutual Respect: Ian Hunter has expressed admiration for Ozzy Osbourne. Having Ozzy on one of his records fulfilled a dream for him3.
These connections highlight the interwoven tapestry of rock music, where artists from different backgrounds come together to create memorable moments. 🎶🤘
On this release, Ozzy at least to me doesn’t really sound like Black Sabbath or the early Sabbath that I prefer. After about 1975 until the Oz was fired in 1979 was a down period for me and I rarely listened to the band after that.
Black Sabbath (1970)
Paranoid (1970)
Master of Reality (1971)
Vol. 4 (1972)
Sabbath Bloody Sabbath (1973) I still like the release although featuring keyboards it marked a departure from the earlier first four classic Sabbath records; it also is the last Sabbath record that I really enjoyed.
Scream seems more of a response to rather than pushing thrash metal forward as a genre. Black Sabbath's 1975 song "Symptom of the Universe," and the follow-up from Sabbath Bloody Sabbath, is often referred to as a compelling early influence on thrash, and was a direct inspiration for Diamond Head's pioneering song "Am I Evil?".[20].
Some of the promotional efforts I think work against the release. It’s almost a disappointment to acknowledge that music from the album ended up as filler to video games, for a film, or on TV. To promote the album, an Ozzy Osbourne track pack had been released as downloadable content for the Rock Band video game series, containing three Scream songs. "Let Me Hear You Scream" hit number 1 on the US Mainstream Rock Tracks chart, which is Osbourne's second single to achieve such a feat. The song was featured along with "Crazy Train" in the video game Madden NFL 11. "Life Won't Wait" was announced in the Production Notes, and played during the end credits for the horror film Saw 3D.[20] CBS had also promoted the song "Let Me Hear You Scream" in their television show CSI: NY and it was also featured in the 6th-season episode "Redemption".
I would have cut numerous songs as filler and either came up with stronger songs or simply a shorter release. For example, I could have lived with an eight tune release rather than the actual eleven on the record. There is just too much fluff on this release.
Time
Time is also quite strong with the glance towards those early more mellow songs that I enjoy from Sabbath. I also like the vocal mix of Ozzy. It’s a highlight.
Diggin’ Me Down
Diggin’ Me Down has a nice mellow introduction then some crunchy guitar similar to early Sabbath and I like how Oz’s vocals are mixed better so you can understand the interesting lyrics.
Life Won’t Wait
Life Won’t Wait started out mellow as Sabbath always had an acoustic song on albums but I liked it more too because Ozzy sounded more like he had in the early days. I enjoyed the variety of the song with faster and slower parts.
Let Me Hear You Scream
Let Me Hear You Scream is shorter and is catchier so I think it’s a better tune.
Soul Sucker Soul Sucker had me bopping to it so I favor it as well. It had a bit more variety to it both lyrically and musically.
Honorable Mentions:
Crucify
I liked Crucify also and it takes the Biblical word but as applied to a worldly friend and how people can hurt you.
Fearless
Fearless is ok and rocks pretty well.
I Love You All
As indicated by my general comments I enjoy the mellow Ozzy on the release and this short, little song is pleasant enough.
In fact, I would have produced this record to end with this as the last and eighth song.
Here is my reaction to Scream track by track and in order.
Let It Die is too long and doesn’t really go anywhere.
Let Me Hear You Scream is shorter and is catchier so I think it’s a better tune.
Soul Sucker had me bopping to it so I favor it as well. It had a bit more variety to it both lyrically and musically.
Life Won’t Wait started out mellow as Sabbath always had an acoustic song on albums but I liked it more too because Ozzy sounded more like he had in the early days. I enjoyed the variety of the song with faster and slower parts.
Here is a list of some of those enjoyable early Sabbath songs:
Planet Caravan, Paranoid; Solitude and Orchid, Master of Reality; Changes, Laguna Sunrise, Vol. 4; Fluff, Spiral Architect, Who Are You? Looking For Today, "Sabbath Bloody Sabbath."
Diggin’ Me Down has a nice mellow introduction then some crunchy guitar similar to early Sabbath and I like how Oz’s vocals are mixed better so you can understand the interesting lyrics.
You're saving the saved,
Men and women enslaved,
Propagating the messiah conception
The rich getting richer,
Paint you into the picture,
Give the poor immaculate deception
Where are you Father?
Why don't you save us?
The fallen are dying alone
How can you shut off their cries?
Ignore a new genocide?
So come on, Jesus,
We're all here waiting just for you
How long must we keep on waiting?
The faithful and blind are keepin' me, keepin' me down
How long? Cause my faith is breaking,
The pure and divine are diggin' me, diggin' me down
Do you live in the light
Or in the dead of the night?
Sanctimonious promises broken
Hypocritical sin,
Dying slowly within,
Is the sacred truth forever unspoken?
Life ever after,
Bohemian rapture,
Beware the dark side of the sun.
You're just a self-made messiah,
Selling brimstone and fire
So come on, Jesus,
Don't keep us waiting just for you
How long must we keep on waiting?
The faithful and blind are bringin' me, bringin' me down
How long? Cause my faith is breaking,
The pure and divine are diggin' me, diggin' me down
How will I know you, Mr. Jesus Christ?
Have you already been here once or twice?
The son of man are obsolete facade,
How will I know that you're the son of God?
Yeah
He sounds frustrated by the length of time it has been for the Second Coming and even more so by the claimants of some unspecified Messiah wanna-bees. Based on the Bible there will be no doubt of who the Son of God is but I think Ozzy is just expressing ordinary human anguish.
I liked Crucify also and it takes the Biblical word but as applied to a worldly friend and how people can hurt you.
Fearless is ok and rocks pretty well.
Time is also quite strong with the glance towards those early more mellow songs that I enjoy from Sabbath. I also like the vocal mix of Ozzy. It’s a highlight.
I Want It More
I don’t think it’s distinctive enough. It could be any band and sounds like filler that you might hear in a movie that required a hard rock sound. It’s very cliche-ish. There was a decent piano part for some reason but it is wasted in this song.
Latimer’s Mercy
I don’t care for the weird vocals; it doesn’t sound like Ozzy to me at all.
I Love You All
As indicated by my general comments I enjoy the mellow Ozzy on the release and this short, little song is pleasant enough.
Hand of the Enemy
Similar to other tunes on the release it seems like fluff and cliche-ridden.
One More Time
Ditto on this song, seems superfluous and doesn’t add anything to the release.
Jump the Moon
The song sounds pretty much the same and the release doesn’t end on a high note.
Here's Little Richard is the debut album by American musician Little Richard, released on March 4, 1957.[1]Promoted as "six of Little Richard's hits and six brand new songs of hit calibre", the album compiles many of the A-sides and B-sides from Richard's hit singles including the Billboard top 40 entries "Tutti Frutti", "Long Tall Sally", "Slippin' and Slidin'", "Rip It Up" and "Jenny, Jenny" and the top 10 Rhythm and Blues Best-Sellers hits "Ready Teddy", "She's Got It" and "Miss Ann".[2]
The album's twelve tracks were produced by Robert "Bumps" Blackwell and recorded in New Orleans and Los Angeles in a highly collaborative process. Several of the songs included have been characterised as innovative and important in the development of rock and roll. Here's Little Richard was Richard's highest charting album, peaking at 13 on the Billboard Pop Albums chart.
Top 5
"Ready Teddy" is a song written by John Marascalco and Robert Blackwell, and first made popular by Little Richardin 1956.[1] It has since been covered by Buddy Holly, The Tornados, Elvis Presley, Tony Sheridan and others,[2] making it something of a rock and roll standard. The composition, an uptempo rock and roll song, received its largest ever recognition on the evening of September 9, 1956, as Presley sang it in front of some 60 million television viewers during his first appearance on The Ed Sullivan Show on CBS, a broadcast which received a Trendex percentage share of 82.6, the largest ever obtained in the history of U.S. television.
"Rip It Up" is a rock and roll song written by Robert Blackwell and John Marascalco. In June 1956, Specialty Records released it as a single by Little Richard with "Ready Teddy" as the B-side. The song reached the top position on the Billboard Rhythm & Blues Records chart as well as number 17 on the magazine's broader Billboard Hot 100.[1] The version peaked at number 30 in the UK Singles Chart.[2]
The tenor saxophone solo is by Lee Allen.[3]
Also in 1956, Bill Haley & His Cometsreleased a version of the song which reached number 25 on the Hot 100, and number four in the UK Singles Chart.[2]
"Tutti Frutti" (Italian for "all fruits") is a song written by Little Richard and Dorothy LaBostrie, recorded in 1955, which was his first major hit. With its energetic refrain, often transcribed as "A-wop-bop-a-loo-mop-a-lop-bam-boom!" (a verbal rendition of a drum pattern that Little Richard had imagined),[2] and its hard-driving sound and wild lyrics, it became not only a model for many future Little Richard songs, but also for rock and roll itself.[3]The song introduced several of rock music's most characteristic musical features, including its loud volume, powerful vocal style, and distinctive beat and rhythm.[4]
"Jenny, Jenny" is a 1957 song written by American musician Little Richardand Enotris Johnson and recorded and released by Little Richard. It was featured on Penniman's debut album, Here's Little Richard and peaked at number ten on the US Billboard Hot 100 and reached number two on the Hot Rhythm and Blues Singles chart.[1]
Long Tall Sally", also known as "Long Tall Sally (The Thing)",[1][2] is a rock and roll song written by Robert "Bumps" Blackwell, Enotris Johnson, and Little Richard. Richard recorded it for Specialty Records, which released it as a single in March 1956, backed with "Slippin' and Slidin'".
The single reached number one on the Billboard rhythm and blues chart, staying at the top for six of 19 weeks,[3]while peaking at number six on the pop chart. It received the Cash Box Triple Crown Award in 1956. The song as sung by Little Richard is listed at number 55 on Rolling Stone's list of The 500 Greatest Songs of All Time.[4]It also ranked at number 45 on Billboard's year-end singles of 1956.[5]
It became one of the singer's best-known hits and has become a rock and roll standard covered by hundreds of artists,[6] including Elvis Presley, Fleetwood Mac, the Kinks and the Beatles.
Honorable Mention
"Slippin' and Slidin' (Peepin' and Hidin')" is an R&B/rock 'n' roll song performed by Little Richard. The song is credited to Little Richard, Edwin Bocage (Eddie Bo), Al Collins, and James Smith.[1]
True Fine Mama
All of the songs on Here's Little Richard were recorded in New Orleans with the exception of "True, Fine Mama" and "She's Got It", both made in Los Angeles.[21]
"She's Got It" is a 1956 song by Little Richard, written by John Marascalco and Little Richard.[1] It was originally called "I Got It" (and Richard had also recorded a version with that title), but the lyrics were rewritten for the film The Girl Can't Help It.[2] The song was first issued as single in October, reaching No. 9 on Billboard's R&B chart, and was then included on Richard's debut album on Specialty Records Here's Little Richard.[3] The number was sung on film by Little Richard while Jayne Mansfield's character went to the powder room in The Girl Can't Help It.[4]
Ian Hunter & Little Richard
In several interviews, Hunter has spoken about his admiration for Little Richard as an early influence and inspiration.
In a 2012 interview with the Huffington Post, Hunter said: "Little Richard was the first real rock 'n' roll star. He had everything. He could sing, he could play, he could perform. And he had the moves. You had to see him to believe it. I saw him in the '50s in England, and it was like the world stopped. It was like, 'What the f*** was that?' It was like an explosion. It was unbelievable."
Ian Hunter, frontman of Mott the Hoople, listed "The Girl Can't Help It" by Little Richard as one of the songs that influenced him https://www.loudersound.com/features/ian-hunter-the-10-songs-that-changed-my-life. While he didn't say it was his absolute favorite, he did acknowledge the overall impact Little Richard had on him, calling him "the guv'nor" (the governor, meaning the leader) for his influence on rock and roll.
"The Girl Can't Help It," written by Bobby Troup but a hit by Little Richard was recorded by Mick Ronson and the song appeared on Mick Ronson's second solo album, titled "Play Don't Worry," released in 1975. Ronson, known for his work as a guitarist and collaborator with David Bowie, wrote and recorded the song for his own release. Ian Hunter sang backing vocals on "Girl Can't Help It."
In a heartfelt tribute, Ian Hunter stated, “I truly loved Little Richard. Condolences to his family and friends. Heaven will be Rockin’ tonight” 1.
When asked about a specific Little Richard song, he mentioned that “Keep a Knockin’” was one of his favorites. He described it as an uplifting track, perfect for a pick-me-up 2. "Keep a Knockin'" was recorded live at Fairfield Halls, Croydon, 13 September 1970, written by (Richard Penniman) – 9:50 and released on Mott The Hoople’s Wildlife record.
Ian Hunter shared a wildness and arrogance for rock ‘n’ roll legends like Jerry Lee Lewis, Little Richard, and Gene Vincent. These artists resonated with him more than regular people, whose musical tastes left something to be desired 3.
While we don’t have a single definitive favorite, it’s clear that Ian Hunter holds Little Richard in high regard, celebrating the energy and impact of his music. 🎶🎸
https://www.amazon.com/dp/1789523044?ref_=cm_sw_r_cp_ud_dp_A559X6RGXD0YRBNNY66D