The Arts Page 8, the Retriever, April 28, 1975 / Cummings Laments on a Decade of 'Guess Who'

Total Page:16

File Type:pdf, Size:1020Kb

The Arts Page 8, the Retriever, April 28, 1975 / Cummings Laments on a Decade of 'Guess Who' ,.. The Arts Page 8, The Retriever, April 28, 1975 / Cummings laments on a decade of 'Guess Who' BY NEAL McGARITY Burton Cummings is the last original member writing better, more honest songs; of The Guess Who which began in the early whereas before we were writing songs 1960's. The band first came to prominence geared to the market more specifically. in 1965, when their song "Shakin' All Over" RETRIEVER: When the band first hit the Billboard top 20, Unable to follow formed, were there any intended goals? the latter songs' success, the band under· CUMMINGS: Well, I joined this group went some personnel changes, and toured when I was seventeen, and all I wanted throughout Canada widely, tightening them­ selves in the process_ The group re-appeared was a gold recoFd. Now I have a whole at the top of the charts in 1967 when house full of them. But I like going on the Cummings teamed with guitarist Rand~ Bach­ road and playing. There's a buzz that you man to write "These Eyes". After the success get from playing a really good gig that you of "These Eyes". Cummings found that every can't buy; and you can't get it from chicks song he touched turned to gold. "American or drugs or alcohol. Woman", "No Sugar Tonight", "No Time", RETRIEVER: Did you get a good buzz "Share the Land" and "Laughing" were just tonight? a few of the hits that followed. CUMMINGS: Oh yeah, definitely. We The band chugged easily "7Ilong on the played to twice as many as this last night, combination of Cummings' driving vocals and and they were just as receptive here Bachman) searing guitar work. In 1970, Bach­ tonight. man left the group, bitterly claiming that RETRIEVER: Was there any point in Cummings had held back his development. the band's careeI: . .thatyou considered Despite numerous personnel changes that fol- • dissolving the,, ~~up and, going off into lowed Bachman's departure, Cummings held another direction? ' the band together singlehandedly. In the last CUMMINGS: Oh yeah, I almost left four years, Cummings has written all but a about a year ago to do movies. And I still handful of the groups' material. may do it someday. I've had a lot of offers, After the UMBC show, Cummings made but movies .are a weird busineSS. Until a a beeline for a dry towel; his face and hair film is finished shooting, it's not for real, were drenched with sweat. After drying himself, he holds up a' thin joint for examination. because it can easily fall th'l'ough because "Whew, 'what kinda audiences are we getting of money problems. So, I'm gonna wait on 'nowadays? If they like us, they throw joints that. But I almost left about a year ago at u.s! This is a long haul from the days of because there was no enthusiasm left. We BURTON CUMMINGS playing bar mitzphahs". got rid of Kurt Winter 'and Don McDougall ... the~e eyes Pleasant and instantly likeable, he assures and we got Dom Triano, arid now it's like a me he will chat in just a few minutes. He new band, but not o~e ' that is starting at the bottom, if you know what I mean. signs an autograph thusly: "To the girls in don't know, I was with this chick in LA and RETRIEVER: Well, how does that Dorm III-Use it before you lose ito-Burton RETRIEVER: Do you dislike it when critics refer to The Guess Who as a she was cutting it and cutting it and I attitude relate to y~ut personal life Cummings". When he sits down to talk, he is didn't like the way it looked so I just said, philosophy? very polite and answers any and all questions. "singles band"? At the end of the interview, he thanked me CUMMINGS: I really don't care what Fuck, cut it all off. CUMMINGS: It relates because I spend they refer to us as, we've cut 14'albums for RETRIEVER: I have yet to figure out a lot of my time just listening to records. God's sake! Critics don't mean anything. why "Star Baby" did not hit as big as some Really a lot. That's when I'm happiest-­ RETRIEVER: How does The Guess' Some of them love you for all the wrong of the others. In my opinion, I thought it when I sit in my basement with my big Who of 1975 differ from say, The Guess reasons and some of them hate you for all was a dynamite rock n' roll song, what stereo and my 11 or 12 thousand albums. Who of 1967? the wrong reasons. It's only one, man's happened? And as far as me personally, as a writer CUMMINGS: We're all C! little older, a opinion, so it doesn't bother me. CUMMINGS: It was big, but not singer, or just as a person who cu~ little more tired, I don't know. There's RETRIEVER: I am curious, why did nationally. It was a huge hit record, but in records to eat, the people that are sort of different guys in the band and we're all you get that drastic haircut about a year different cities at different times. It was like me are the people I'm most concerned playing different kind of stuff. We spend so and a half ago? number one in Philadelphia, but it was with. What I mean to say is, the people who much time in the recording studio now that CUMMINGS: Well, it was getting in my number one in Chicago two months before. really scrutinize the .records, the people the records are getting better. We're food, and it was down to my elbows ... I But it was a very big record, it was on who r~ally peruse the material, they're my Billboard for 27 weeks, which is half a favorIte people to make records for. year. RETRIEVER: I hate to resort to stock RETRIEVER: Have you ever come questions, but what do you think was the across a bootleg Guess Who album? CUMMINGS: No live. Not anything that band~s best recorded, effort? CUMMINGS: Hmmm, that's hard. wasn't recorded already. But I've run There are certain albums I like listening to across a lot of 8-track tapes that were now. One ofthem is "No. 10", although it is probably recorded in some guy's garage. a very depressed album it's not a very There may be'some live bootlegs, because happy album. Certain things on "Flavors" I've seen a lot of guys recording us while onstage, but I've never heard one. I like too.,. But we finished a new one called "The Power and the Music" which RETRIEVER: What did you think of is much better. It'll make a lot of people Junior Walker's hit version of "These forget most of what we've done, I think. Eyes?" RETRIEVER: Are you ' and Randy CUMMINGS: I didn't like it at first, but I Bachman on speaking terms? was very flattered. I met Junior Walker at CUMMINGS: No. I haven't spoken to a great big festival gig that had about ten Randy in four and a half years. We both acts. They were on the show with us, and hate each other, there's no doubt about it. so was The Union Gap, The Bob Seger It just didn't work out between us. I'd System--that was the late 1960's. I went up rather not go into it, since it's all been said to him with Randy and said 'Hi, we wrote in the press already; Randy doesn't do 'These Eyes', and he seemed very pleased anything for me, and I don't do anything to talk with us. I listened a lot to his for him, . records. I liked his singing and sax playing RETRIEVER: It has been contended a lot. So, I was very flattered because I that the importance of music as a social always dug the stuff on Motown. tool has diminished considerably in the RETRIEVER: Going back to what you last five years. What is your opinion? said before, does it upset you when critics CUMMINGS: I never even wanted pan the group, or do you totally ignore music to become a social tool. I don't think reviews? that's its place. I think its place is to be a CUMMINGS: If you base all of your kind of safe form of escapism. The rougher emotion or your career on album reviews, times are, the more we need radio and you'd be in an asylum within six months. movies and music. Music should be a Because I've read things that said I was recreational kind of thing, where it takes the greatest thing since water, and I've you away from what problems you have read other things that said I .should be temporarily. Now, as far as some of the so­ driving a bus on the praries of Manitoba. called 'crusaders' in the rock world, I don't If I believed everything that I read about really go along with all that nonsense. I myself, I would've been dead years ago. write about what I see, and if it sounds like Reviews are just one person's opinion, and I'm inferring things politically, then that's that's what people tend to forget.
Recommended publications
  • FOR IMMEDIATE RELEASE the Guess Who
    FOR IMMEDIATE RELEASE The Guess Who will rock Tulalip Resort Casino in May 2019 TULALIP, WA – (January 25, 2019) – The Canadian rock band, The Guess Who, will be performing live in Tulalip Resort Casino’s Orca Ballroom on Friday, May 10. Formed in Winnipeg, The Guess Who initially gained recognition throughout Canada before becoming an international success in the late 1960s and 1970s. The Guess Who has enjoyed 14 Top 40 hits, including "These Eyes," "Clap For the Wolfman," "Hand Me Down World," "No Time," "Star Baby" and "Share the Land.” Additional classics include their number one rock anthem, "American Woman" and "No Sugar Tonight," plus "Laughing" and "Undun." The Guess Who are amongst music's most enduring bands and are eternally etched within the very fabric of pop culture history. Get up-close seating in the Orca Ballroom, an intimate 1,200-seat entertainment venue at Tulalip Resort Casino. Tickets go on sale Friday, March 15, at 10AM PST and start at $50. Tickets will be available for purchase on Ticketmaster.com or service charge free at the Tulalip Box Office. Must be 21+ to attend. About Tulalip Resort Casino Award-winning Tulalip Resort Casino is the most distinctive gaming, dining, meeting, entertainment and shopping destination in Washington State. The AAA Four-Diamond resort’s world-class amenities have ensured its place on the Condé Nast Traveler Gold and Traveler Top 100 Resorts lists. The property includes 192,000 square feet of gaming excitement; a luxury hotel featuring 370 guest rooms and suites; 30,000 square feet of premier meeting, convention and wedding space; the full-service T Spa; and eight dining venues.
    [Show full text]
  • FOR COLORED BOYZ on the Verge of Nervous Breakdown/ When Freedom Aint Enuff
    FOR COLORED BOYZ on the verge of nervous breakdown/ when freedom aint enuff __________________ A choreopoem in 2 Acts by Bryan-Keyth Wilson © April 30, 2020 (979) 877-1040 ​ P.O. Box 374 La Marque, TX 77568 [email protected] FOR COLORED BOYZ ACT I Lights fade up on a bare stage with five silhouetted figures scattered in space. Lights come up at different times with the actors dancing reflecting movement from different time periods. “DNA” by Kendrick Lamar begins to play. man in black in the beginning there was me running barefoot on the ivory coast man in orange skin black as onyx/ hair soft as lambs wool a careless disposition… man in blue free from judgment/ labels and phylums my likeness is described in the holy book but its my true identity you took man in green i am here in the present 2 FOR COLORED BOYZ looking back theres resentment pride and strength whipped outta me man in red your slave training and brainwashing affects us today in the present i draw strength from the ancestors so here i am man in green outside baltimore man in red outside north charleston man in black outside ferguson man in orange im in sanford man in blue im in houston man in green im your son man in blue your father 3 FOR COLORED BOYZ man in red your brother man in orange your husband man in black your lover all your friend The dancers walk aggressively in a circle. Each actor runs off one by one. Two actors remain on stage.
    [Show full text]
  • Songs by Title Karaoke Night with the Patman
    Songs By Title Karaoke Night with the Patman Title Versions Title Versions 10 Years 3 Libras Wasteland SC Perfect Circle SI 10,000 Maniacs 3 Of Hearts Because The Night SC Love Is Enough SC Candy Everybody Wants DK 30 Seconds To Mars More Than This SC Kill SC These Are The Days SC 311 Trouble Me SC All Mixed Up SC 100 Proof Aged In Soul Don't Tread On Me SC Somebody's Been Sleeping SC Down SC 10CC Love Song SC I'm Not In Love DK You Wouldn't Believe SC Things We Do For Love SC 38 Special 112 Back Where You Belong SI Come See Me SC Caught Up In You SC Dance With Me SC Hold On Loosely AH It's Over Now SC If I'd Been The One SC Only You SC Rockin' Onto The Night SC Peaches And Cream SC Second Chance SC U Already Know SC Teacher, Teacher SC 12 Gauge Wild Eyed Southern Boys SC Dunkie Butt SC 3LW 1910 Fruitgum Co. No More (Baby I'm A Do Right) SC 1, 2, 3 Redlight SC 3T Simon Says DK Anything SC 1975 Tease Me SC The Sound SI 4 Non Blondes 2 Live Crew What's Up DK Doo Wah Diddy SC 4 P.M. Me So Horny SC Lay Down Your Love SC We Want Some Pussy SC Sukiyaki DK 2 Pac 4 Runner California Love (Original Version) SC Ripples SC Changes SC That Was Him SC Thugz Mansion SC 42nd Street 20 Fingers 42nd Street Song SC Short Dick Man SC We're In The Money SC 3 Doors Down 5 Seconds Of Summer Away From The Sun SC Amnesia SI Be Like That SC She Looks So Perfect SI Behind Those Eyes SC 5 Stairsteps Duck & Run SC Ooh Child SC Here By Me CB 50 Cent Here Without You CB Disco Inferno SC Kryptonite SC If I Can't SC Let Me Go SC In Da Club HT Live For Today SC P.I.M.P.
    [Show full text]
  • THE GUESS WHO BIOGRAPHY As the House Lights Fade Down and The
    THE GUESS WHO BIOGRAPHY As the house lights fade down and the stage spots flair up, the sounds of rock and roll with classic sensibilities and progressive nuances permeate the crowd. At first a familiar chord strikes everyone's attention, then comes a catchy chorus followed by a memorable solo or remarkable moment of improvisation. Such an ear-pleasing arsenal carries into a non-stop evening of precise performance taking fans on a roller coaster ride of electric instrumentation, timeless balladry, unpredictable Jamming and the ultimate sing-a-long experience. It's a position held by a troupe of true musical luminaries who through over five decades in show business have been loaded with more hits than members can count, record sales well into the multi- millions and more drama than a VH1 "Behind the Music" episode and an E! "True Hollywood Story" documentary combined. The name is none other than The Guess Who, a group that's connected with the masses throughout a exultant hit parade spanning fourteen Top 40 hits, including "These Eyes," "Clap For the Wolfman," "Hand Me Down World," "No Time," "Star Baby" and "Share the Land." Add in fellow classics and double sided singles like their #1 rock anthem "American Woman" and "No Sugar Tonight," plus "Laughing" and "Undun," and the Canadian bred stateside conquerors are amongst music's most indelible treasures who are eternally etched within the very fabric of pop culture history. "You're going to see an excellent version of the songs and hear exactly how they should sound or be played," verifies founding member and original drummer/songwriter Garry Peterson.
    [Show full text]
  • Burton Cummings Mccallum Theatre Monday – February 24 – 7:00Pm
    FOR IMMEDIATE RELEASE January 29, 2020 CONTACT: DeAnn Lubell-Ames – (760) 831-3090 Note: Photos available at http://mccallumtheatre.com/index.php/media Burton Cummings McCallum Theatre Monday – February 24 – 7:00pm Palm Desert, CA – Burton Cummings, one of the most successful music artists in Canadian history, will head down south to the McCallum Theatre for a special performance at 7:00pm, Monday, Feb. 24. Cummings is best known as the former lead singer of and songwriter for The Guess Who. He is a member of the Canadian Music Hall of Fame, Canadian Songwriters Hall of Fame, Canadian Music Industry Hall of Fame, Canadian Walk of Fame, Canadian Music Industry Hall of Fame and the Prairie Music Hall of Fame. He’s won multiple Juno Awards, and is a recipient of the Order of Canada, the Order of Manitoba, the Governor- General’s Performance Arts Award, and several BMI (Broadcast Music Industry) awards for more than 1 million airplays of his songs. With Canada’s original rock ’n’ roll superstars The Guess Who, Burton scored an unprecedented string of international hit singles, including “These Eyes,” “Laughing,” “No Time,” “American Woman,” “Share the Land,” “Hang on to Your Life,” “Albert Flasher,” “Sour Suite,” “Glamour Boy,” “Star Baby,” “Clap for the Wolfman” and “Dancin’ Fool”—all written or co-written by Burton. By 1970, The Guess Who had sold more records than the entire Canadian music industry combined to that point, and the band’s achievements remain unparalleled. The group notched up a long list of firsts, including being the first Canadian group to reach No.
    [Show full text]
  • Marking 50 Years Since the Niverville Pop Festival
    LOCAL NEWS The Party of the Century: Marking 50 Years Since the Niverville Pop Festival May 07, 2020 @ 12:30am Brenda Sawatzky [email protected] Crowds gather for the infamous Niverville Pop Festival in May 1970. On stage: Dianne Heatherington. Photo: Hans Sipma The hippie movement was alive and well in 1970, riding on the waves of the 1967 Summer of Love where more than a hundred thousand hippies converged on San Francisco’s Haight-Ashbury district to celebrate counterculture music, drugs, free love, and anti-war sentiment. In 1969, Woodstock, New York became famous for its three days of peace and music. Nine months later, hippies would once again amass—this time at a setting much closer to home. This local music event would go down in history not just for the calibre of bands scheduled to play but the memorable events that followed. Sunday, May 24, 1970 was the day of the Niverville Pop Festival. Niverville’s Woodstock During the 1960s and 70s, Winnipeg was a hotbed of young musical talent. One of those bands, called Brother, was quickly rising in notoriety. Its members included Bill Wallace, Kurt Winter, and Vance Masters, and their talent established them as one of the city’s hottest supergroups. Harold Wiebe, formerly of the Niverville area, recalls a night spent in the pub of the Westminster Hotel. There, friend and band member Bill Wallace joined him for a drink between sets. Wallace shared with him an idea to recreate Woodstock right here at home. But unlike Woodstock, Wallace wanted this event to have a charitable purpose.
    [Show full text]
  • '69 Bryan Adams 2 New Orleans Is Sinking the Tragically Hip 3 Life Is
    1 Summer of '69 Bryan Adams 2 New Orleans Is Sinking The Tragically Hip 3 Life Is A Highway Tom Cochrane 4 Takin' Care of Business Bachman Turner Overdrive 5 Tom Sawyer Rush 6 Working For The Weekend Loverboy 7 American Woman The Guess Who 8 Bobcaygeon The Tragically Hip 9 Roll On Down the Highway Bachman Turner Overdrive 10 Heart Of Gold Neil Young 11 Rock and Roll Duty Kim Mitchell 12 38 Years Old The Tragically Hip 13 New World Man Rush 14 Wheat Kings The Tragically Hip 15 The Weight The Band 16 These Eyes The Guess Who 17 Everything I Do (I Do IT For You) Bryan Adams 18 Born To Be Wild Steppenwolf 19 Run To You Bryan Adams 20 Tonight is a Wonderful Time to Fall in Love April Wine 21 Turn Me Loose Loverboy 22 Rock You Helix 23 We're Here For A Good Time Trooper 24 Ahead By A Century The Tragically Hip 25 Go For Soda Kim Mitchell 26 Whatcha gonna Do (When I'm Gone) Chilliwack 27 Closer To The Heart Rush 28 Sweet City Woman The Stampeders 29 Chicks ‘N Cars (And the Third World War) Colin James 30 Rockin' In The Free World Neil Young 31 Black Velvet Alannah Myles 32 Heaven Bryan Adams 33 Feel it Again Honeymoon Suite 34 You Could Have Been A Lady April Wine 35 Gimme Good Lovin' Helix 36 The Spirit Of Radio Rush 37 Sundown Gordon Lightfoot 38 This Beat Goes on/ Switchin' To Glide The Kings 39 Sunny Days Lighthouse 40 Courage The Tragically Hip 41 At the Hundreth Meridian The Tragically Hip 42 The Kid Is Hot Tonite Loverboy 43 Life is a Carnival The Band 44 Don't It Make You Feel The Headpins 45 Eyes Of A Stranger Payolas 46 Big League
    [Show full text]
  • Burton Cummings Friday, June 3
    FOR IMMEDIATE RELEASE MARCH 1, 2011 RIVER ROCK CASINO RESORT & CLASSIC ROCK 101 PRESENT BURTON CUMMINGS FRIDAY, JUNE 3 Richmond, BC – Burton Cummings, one of Canada’s rock legends, first played with The Devrons before joining The Guess Who in 1965. Cummings, who was born in Winnipeg, spent ten years with the band where he wrote and with Randy Bachman, he co-wrote most of the band’s biggest hits including “These Eyes”, “Laughing” and “American Woman”. After leaving for a solo career, he released a self-titled album in 1976. The single, "Stand Tall" was an international hit reaching #2 on The Billboard Hot 100 and selling over a million copies. The album along with its follow-up the next year, My Own Way To Rock both reached Double Platinum. His third solo album, Dream Of A Child became the first Canadian album to achieve Triple Platinum. His numerous hits include “My Own Way To Rock”, “Break It To Them Gently” and “I Will Play A Rhapsody”. He has received several Juno Awards including “Most Promising Male Singer” in 1977 and “Best Male Singer” that same year as well as in 1980. Cummings has also ventured into acting having starred in the 1982 feature film, Melanie which co-starred Don Johnson, Glynnis O’Connor and Paul Sorvino. In recognition of his work with The Guess Who and under his own name, he was the recipient of the William Harold Moon Award for International Achievement in 1989. Although he now resides in Sherman Oaks, California, he still retains ties in Winnipeg appearing at several functions including the 1997 Flood Relief concert.
    [Show full text]
  • California State University, Northridge Exploitation
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE EXPLOITATION, WOMEN AND WARHOL A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Kathleen Frances Burke May 1986 The Thesis of Kathleen Frances Burke is approved: Louise Leyis, M.A. Dianne E. Irwin, Ph.D. r<Iary/ Kenan Ph.D. , Chair California State. University, Northridge ii DEDICATION This thesis is dedicated to Dr. Mary Kenon Breazeale, whose tireless efforts have brought it to fruition. She taught me to "see" and interpret art history in a different way, as a feminist, proving that women's perspectives need not always agree with more traditional views. In addition, I've learned that personal politics does not have to be sacrificed, or compartmentalized in my life, but that it can be joined with a professional career and scholarly discipline. My time as a graduate student with Dr. Breazeale has had a profound effect on my personal life and career, and will continue to do so whatever paths my life travels. For this I will always be grateful. ACKNOWLEDGEMENTS In addition, I would like to acknowledge the other members of my committee: Louise Lewis and Dr. Dianne Irwin. They provided extensive editorial comments which helped me to express my ideas more clearly and succinctly. I would like to thank the six branches of the Glendale iii Public Library and their staffs, in particular: Virginia Barbieri, Claire Crandall, Fleur Osmanson, Nora Goldsmith, Cynthia Carr and Joseph Fuchs. They provided me with materials and research assistance for this project. I would also like to thank the members of my family.
    [Show full text]
  • Chapters in Canadian Popular Music
    UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA Katedra anglistiky a amerikanistiky Ilona Šoukalová Chapters in Canadian Popular Music Diplomová práce Vedoucí práce: Mgr. Jiří Flajšar, Ph.D. Olomouc 2015 Filozofická fakulta Univerzity Palackého Katedra anglistiky a amerikanistiky Chapters in Canadian Popular Music (Diplomová práce) Autor: Ilona Šoukalová Studijní obor: Anglická filologie Vedoucí práce: Mgr. Jiří Flajšar, Ph.D. Počet stran: 72 Počet znaků: 138 919 Olomouc 2015 Prohlašuji, že jsem diplomovou práci na téma "Chapters in Canadian Popular Music" vypracovala samostatně pod odborným dohledem vedoucího práce a uvedla jsem všechny použité podklady a literaturu. V Olomouci dne 3.5.2015 Ilona Šoukalová Děkuji vedoucímu mé diplomové práce panu Mgr. Jiřímu Flajšarovi, Ph.D. za odborné vedení práce, poskytování rad a materiálových podkladů k práci. Poděkování patří také pracovníkům Ústřední knihovny Univerzity Palackého v Olomouci za pomoc při obstarávání pramenů a literatury nezbytné k vypracování diplomové práce. Děkuji také své rodině a kamarádům za veškerou podporu v době mého studia. Abstract The diploma thesis deals with the emergence of Canadian popular music and the development of music genres that enjoyed the greatest popularity in Canada. A significant part of the thesis is devoted to an investigation of conditions connected to the relation of Canadian music and Canadian sense of identity and uniqueness. Further, an account of Canadian radio broadcasting and induction of regulating acts which influenced music production in Canada in the second half of the twentieth century are given. Moreover, the effectiveness and contributions of these regulating acts are summarized and evaluated. Last but not least, the main characteristics of the music style of a female singer songwriter Joni Mitchell are examined.
    [Show full text]
  • Top500 Final
    1. MICHAEL JACKSON Billie Jean 2. EAGLES Hotel California 3. BON JOVI Livin’ On A Prayer 4. ROLLING STONES Satisfaction 5. POLICE Every Breath You Take 6. ARETHA FRANKIN Respect 7. JOURNEY Don’t Stop Believin’ 8. BEATLES Hey Jude 9. GUESS WHO American Woman 10. QUEEN Bohemian Rhapsody 11. MARVIN GAYE I Heard It Through The Grapevine 12. JOAN JETT I Love Rock And Roll 13. BEE GEES Night Fever 14. BEACH BOYS Good Vibrations 15. BLONDIE Call Me 16. FOUR SEASONS December 1963 (Oh, What A Night) 17. BRYAN ADAMS Summer Of 69 18. SURVIVOR Eye Of The Tiger 19. LED ZEPPELIN Stairway To Heaven 20. ROY ORBISON Pretty Woman 21. OLIVIA NEWTON JOHN Physical 22. B.T.O. Takin’ Care Of Business 23. NEIL DIAMOND Sweet Caroline 24. DON McLEAN American Pie 25. TOM COCHRANE Life Is A Highway 26. BOSTON More Than A Feeling 27. MICHAEL JACKSON Rock With You 28. ROD STEWART Maggie May 29. VAN HALEN Jump 30. ELTON JOHN/ KIKI DEE Don’t Go Breaking My Heart 31. FOUR SEASONS Big Girls Don’t Cry 32. FLEETWOOD MAC Dreams 33. FIFTH DIMENSION Aquarius/Let The Sunshine In 34. HALL AND OATES Maneater 35. NEIL YOUNG Heart Of Gold 36. PRINCE When Doves Cry 37. EAGLES Lyin’ Eyes 38. ARCHIES Sugar, Sugar 39. THE KNACK My Sharona 40. BEE GEES Stayin’ Alive 41. BOB DYLAN Like A Rolling Stone 42. AMERICA Sister Golden Hair 43. ALANNAH MYLES Black Velvet 44. FRANKI VALLI Grease 45. PAT BENATAR Hit Me With Your Best Shot 46. EMOTIONS Best Of My Love 47.
    [Show full text]
  • Welcome to the CD Series That Has Now Lived Nine Lives, Rock 'N Roll Roots Volume 9! with Your Help, We've Assembled Another
    Welcome to the CD series that has now lived nine lives, Rock ’N Roll Roots Volume 9! With your help, we’ve assembled another dozen dazzlers with a savory shot of hometown heroes. This year we’re proud to partner with Children’s Home + Aid. This 124-year- old organization is involved in every aspect of helping children’s lives, especially in the education arena where music classes are just one of the many programs offered to those families who need the help. For more information on this outstanding agency, log onto www.childrenshomeandaid.org. As I go kicking and screaming into the future refusing to download music as a source of entertainment, I say long live the CD and our record collections! Thank you once again for coming along on this ride of keeping our music alive and giving a little help along the way to those who need it. Viva la You! Bob Stroud BLACK BACK 1 THE RASPBERRIES – GO ALL THE WAY At approximately 1:30 into The Buckinghams’ sixth hit their first. Chicago was a captive audience for this east 8 CLASSICS IV – SPOOKY From the ashes of Spirit came this quartet who took Taking what had been a charming Drifters release (CARMEN) of 1967, something happens that stunned the band coast quartet who scored a second smash with this (BUIE/COBB/MIDDLEBROOK/SHAPIRO) their name from a Chuck Berry song. Lead by Jay and rearranging it into something truly unique and Published by Universal–Songs Of Polygram o/b/o the first time they heard the finished product at a slick, jazzy tale of two streetwise misfits.
    [Show full text]