November 3, 2025 • 20 mins
Join podcast host Buzz Knight and Harry Jacobs for a look at this week in music history for the week of 11-3. The conversation covers music milestones from classic artists of all shapes and sizes like AC/DC, Michael Jackson and The Jackson 5, The Police, Eric Clapton, Bruce Springsteen and more icons.. Takinawalk celebrates the fine art of storytelling and is part of The IHeart Podcast Network.
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Episode Transcript
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Speaker 1 (00:04):
This is buzz Night, and welcome to the Taken a
Walk Podcast, and welcome to another edition of This Week
in Music History for the week of November the third,
and we go to the Master of music Mayhem. That's
still my favorite, Harry Jacobs, The Master of music Mayhem.
I think it fits. It has a good rhyme.
Speaker 2 (00:22):
I like being associated with Mayhem. There's no question about that.
That's right Mayhem. Had you've had your share of Mayhem
in my life? Indeed I have. Bus You're correct, sir.
Speaker 1 (00:33):
We don't have to go down this path.
Speaker 2 (00:35):
No, that's a rabbit hole. We don't need to go
down any rabbit holes. Maybe I give the time, Yeah,
I do you know. I do have a rabbit hole
for us to go down. And unfortunately one of us
can really participate in this. You were given an assignment
during our last podcasts, a couple of assignments. Which which
assignment would you like to discuss? Would you like to
(00:55):
discuss the song remains the same movie or would you
like to discussed the one that's really really super timely,
and that's the Bruce Springsteen movie which opened on the
twenty third.
Speaker 1 (01:08):
I don't, Harry, I don't want to get my knuckles wrapped,
even though I didn't go to Catholic school, and that
wouldn't relate to you Catholic school either.
Speaker 2 (01:17):
But so I don't want to.
Speaker 1 (01:17):
Get my knuckles wrapped for not only one, but two misfires.
Speaker 2 (01:23):
So lead us through.
Speaker 1 (01:25):
The mayhem and I'll miraculously follow along, pretend I'm worrying.
Speaker 2 (01:31):
What do they call that a habit before they whack
you with the rule of the habits on? Oh? That
sounds so, that sounds so wonderful. Yeah, the Springsteen movie,
let's let's talk about this. Let's I want to you know,
I want to know what you've been reading, what the
critics are saying, because I haven't. I haven't looked at
any of it. I've deliberately stayed away from it. I
(01:54):
found the movie to be incredibly heavy. The subject matter
is really, in a sense dark. There's a mental health
component to this, which we knew going into it. They
teased going into the movie that there are gonna be
discussions about his mental health battles. There's stuff dealing with
(02:17):
his relationship with his father that was very heavy. So
I think, you know, for a lot of people, this
is gonna hit you over the head like a two
by four, especially given how important the music is to
all of us.
Speaker 1 (02:30):
All Right, this is the one that caught me. So
I shouldn't be so drawn to this particular review, this
comment from a review, and it's from the Wall Street Journal.
And I do quote, you're already.
Speaker 2 (02:45):
Shaking your head.
Speaker 1 (02:48):
It's a pretty funny quote.
Speaker 2 (02:51):
Fun you know, you go ahead and give to me.
But my initial response is, do I really want to
hear what these d bags have to say? Go ahead?
Speaker 1 (02:59):
It's like a Mariah carry movie about a Bruce Springsteen album?
Speaker 2 (03:03):
What get it out? Really? Like?
Speaker 1 (03:09):
I'm Mariah, I'm just I'm just reading you the quote.
But anyway, I like your lead up. So you say
it's a heavy movie. Did you see it once or twice?
Because you were gonna possibly see it twice.
Speaker 2 (03:20):
I was gonna go see it twice, and I was
I'll tell you this, I was impacted by the movie emotionally.
It was really heavy material. I'm gonna go back and
see it, okay, but I needed a minute, and I
literally I left the theater. I sat in the theater,
I watched the credits, I watched it until the theater
(03:41):
was dark, and got up and walked out and sat
in my car, and I literally opened up my iTunes
and realized that they had released the whole project to
Apple Music while I was in the theater. That literally
(04:01):
happened wow during that time. So I went and I
put on his recording, which he just did at the
count Basic Theater, and I sat in my car and
I just listened to it, and I sat there for
half an hour. I sent the message to a friend
or two of mine that are Bruce people, and you know,
(04:22):
they had seen it on the East Coast and it
was just it was a heavy moment. I couldn't leave.
I sat there for half an hour, probably just digesting
what I had seen. There are some moments in this
film that are really insightful. They're dark there. I'm not
going to ruin it for anyone. There's a moment at
(04:43):
the end of the movie with Bruce and his dad
which is, you know, an incredible thing, and it's just
it's so much and you know, he's tortured. He's a
tortured soul. You know, you can tell that he's you know,
really in a way screwed up a lot of relationships
in his life by being the introvert that he is
(05:06):
by just avoiding, by not you know, quote from the film,
not dealing with his own shit. And I just found
it heavy, but I found it really inspirational. On the
other hand, but that creative process, I can't imagine what
it must be like to work with him now. It's
obviously different, but during that time, and you could also
(05:29):
one other thought, you also get a really good understanding
of how important John Landau is to the process and
to Bruce. You know, you hear people talk about gatekeepers
a lot, but it's almost like a father son relationship
(05:50):
in a way where things happen during the movie and
you watch John just step in and break things up
and say stop, everyone leave, everyone go, and you see
him handle Bruce and how he handles Bruce, and there
are some lovely moments between the two of them. There
was just a whole bunch of stuff that I didn't expect,
(06:11):
and it dredged a whole bunch of stuff up for me.
So this is for you personally.
Speaker 1 (06:17):
Yeah, but that's a good that's a good thing to
look get out of music, to get out of the art.
You know, a movie, a book, that's a that's a
terrific thing. It's part of why we're drawn to artists
and and you know, entertainment because of how it reflects
something about us and what we remember and and the
(06:40):
things it brings back. So that that that to me,
you know, besides your affinity and the respect I have
for you on your music knowledge and love of it,
the fact that it touched you personally, I think that's
one of the biggest criteria.
Speaker 2 (07:00):
It's it's interest. It's something I didn't expect. I thought
I was just going to get some insight into the
movie and a little bit you know, into the music,
rather into that process and what happened with Nebraska, and
I was going to get some insight into maybe his
mental health stuff and we get to see his dad.
And I thought, well, it's just good that that part
of it's just going to come and go for me.
And and much to my surprise, it stuck with me.
(07:23):
And it stuck with me for you know, for a
full day at least after and and and you know,
four days, I know it will be a part of
it and I'm going to have to go see it again.
There's stuff I need to process with it.
Speaker 1 (07:35):
So I mean, in fact, if it didn't, I would
be sitting here going it didn't you know, move you personally,
I'd be asking you about that. So I think that
to me is the most you know, riveting part of
your characterization of it, which which you know, I think
we all kind of we may not want it going
(07:56):
in necessarily, but then when it happens, you go, oh
my god.
Speaker 2 (08:00):
Yes, you know, if the music means something to you,
if you're listening to this as a fan and the
music is you know, we say that, you know, the
music has kind of been the soundtrack of our lives
or the fabric of my life in a way. And
I suppose because of that, you see what happened and
(08:23):
the process that your hero in a sense from that sense,
the guy who scored your life in a way, what
he went through, and that just hit me on an
emotional level and I wasn't expecting it. I'm glad I
got the whack across the forehead with it. And I
thought the movie was brilliant. I thought it was just
(08:43):
brilliant to watch the process, understand the process, see how
important land Out is to Bruce, really understand how Bruce
needed to be handled in a sense with kid gloves
at times with the record company watching the record company response,
Jimmy Iovine plays himself. There's a phone call at one
(09:07):
point about Nebraska, and I'm listening to it and I'm going, Oh,
that's Jimmy's voice. That's Jimmy in the movie. And then
I saw the credits and I thought, Jimmy Iovine as himself, right,
no one played themselves. So I just thought that part
of it was great. I thought that the guitar aspects
(09:31):
of it, what they taught him how to do for
being someone that didn't play guitar ever, was amazing. And
you get to hear him sing a lot of songs.
But what was most meaningful to me out of all
of it was hearing him blast through a full band
version of Born in the USA, and that like when
(09:52):
that comes on in the theater, it's just and it's
just the band. It's just that, you know, seven guys
or something whatever it was in the recording studio, but
it's note for note perfect like the record, and it's
Jeremy singing, and man, it's good, you know, And even
though I know it's not a song to be like
(10:13):
a Pride in the USA kind of song, you can't
not feel something when you hear that song, and the
entire movie did that to me. That song in particular
hit me. All right, Can we come back to.
Speaker 1 (10:29):
It in the upcoming episodes here.
Speaker 2 (10:33):
After you complete your assignment and we can discuss more
in detention when the session's over today. Okay, you can
talk to me about why you haven't gone, you knuckle rapper.
November third through the ninth is the week that we're
talking about. Nineteen seventy three, Derek and the Dominoes that
in concert set was released. This was the only recording
(10:56):
of Derek and the Dominos that was done, and they
were there were two nights that they played at the
film More East, the twenty third and twenty fourth of
October in I think in nineteen seventy is when when
they did that, and Bobby Whitlock and Carl Rattle and
(11:17):
Jim Gordon played drums on that, and it's an epic
recording and there were stuff from Clapton's solo period that
were played at that time, and it was interesting and
it was fitting because all three of those guys I
just mentioned were on the original recordings of the songs
they played that were Clapton's Let It Rain. It's like
(11:39):
a seventeen minute version of Let It Rain on that.
Blues Power was on that. They were on that track,
and then the other one was a blind Faith track.
It was a Presence of the Lord. I said to
look at that. Presence of the Lord was on there.
But that was a great live album which I had
(12:01):
totally forgotten about. I need to go find I love
Let It Rain, I love Blues Power. I'm a Clapton
fan and I love all those you know.
Speaker 1 (12:08):
Just imagining the fil Moore East, Oh my god, you know.
Speaker 2 (12:11):
Yeah, what a place. And we've been digging into Jim
Gordon a little bit for other reasons, so getting to
hear him on that, you know, was nice and gives
some new perspective. So that was November third, nineteen seventy three.
On the fourth of November, the Police released Outland us
Dr Moore. I'm not even saying that right, outlandous Da Moore,
(12:34):
but it was pretty close. I think, yeah, it means
Outlaws of Love can't stand losing you so lonely, and
of course message rock sand oh Okay Rock Radio played
the daylights out of It nineteen seventy eight. In sixty six,
the Monkeys hit number one with their debut album, and
(12:58):
and that wasn't interesting band for a lot of reasons.
The great Lance Norris, who has since passed away. The
Boston folks will remember him part of the Charles lockwaderra
Show on WBCN and w CLX, was a huge Monkeys fan.
He Lance was a guy for better or worse. Who
was you know, a critical, tortured artist in a lot
(13:22):
of ways, right he was. It was easy for Lance
to look down at most anything that was popular. Oh yeah, Lance,
Lance was a monkey's nut.
Speaker 1 (13:36):
That is so funny. I didn't remember that or realize that.
And yes about Lance in terms of Lance's view of
the world, yeah, Lance was you know, it's one a
bitter man. That was his character, but it really wasn't
his character. Yeah, it was rest in peace, Lance. But listen,
my take over the years shifted a bit and the
(14:00):
Monkeys because I was, you know, one of those people
that kind of went, I don't know, you know, it
didn't really like hit my heart. The member of that
band that is still to this day most fascinating to
me is Michael Nesmith and just his you know, his
(14:21):
solo genius, and you know, just the way I think
his cinematic mind and creativity, he's underappreciated in my view,
So he kind of elevated my view of the monkeys
in general.
Speaker 2 (14:38):
Isn't there some sort of a connection between him and
industry somehow? Is his family connected somehow to something his mother?
Speaker 1 (14:47):
His mother was I think the inventor of I'm sure
no one is going to remember white out when you.
Speaker 2 (14:55):
Had a day that's.
Speaker 1 (14:57):
Something you typed and you needed to correct it. It
was essentially like paint that you put on it, but
you were taping. Smelled like ooh, but you know, became
obviously quite a product. And I challenge anybody to this day,
if you can get white out, you probably can somewhere.
Speaker 2 (15:17):
I guess Staples down the street. I wonder if they
have it. They probably do.
Speaker 1 (15:21):
But that was his mother or his family had founded
that or created that or whatever.
Speaker 2 (15:26):
One of the things about the monkeys that I found
to be interesting, and I guess I didn't realize this
at the time. It's almost like the Jackson five as well.
When you think about music from that period of time,
you don't necessarily think about how intricate the music was
(15:47):
the recordings of them, the instrumentation, all that stuff. But
there was all the stuff going on, you know, with
Brian Wilson and Phil Spector, and then there was this
other group of guys men and women actually called the
Wrecking Crew, and especially with the Monkeys, I have gone
down the rabbit hole. There's a guy named Louis Shelton
who played and the Wrecking Crew, whose guitar playing is
(16:09):
on a bunch of songs, including Last Train to Clarksville,
which is a really intricate and neat guitar song. So
I have this appreciation of the Monkeys. Musically. Those guys played,
but they were they were shitty players. They went to
the studio and they got Glenn Campbell and Louise Shelton
and all the players in LA at that time, and
(16:31):
their music was great. It was like, you know, like
as a guitar player, you try to play like I
Want You Back or ABC by the Jackson Five. They're
very difficult songs to play. You would think they'd be
simple because they're so simple, but they're not, and they're
not because the guys like Louis Shelton and the Wrecking
Crew and what they did for the Monkeys was amazing
(16:52):
because they created some great music. Regardless of your position
of the silly TV show, people can't get away from that.
Speaker 3 (17:00):
They were pretty good. I stand by that, all right.
I'm not listen. They made hits, so you can say
they made hits too, you know. I stand by it,
and Lance Norris stood by it. November sixth, nineteen seventy five,
Sex Pistols played their first gig ever.
Speaker 2 (17:18):
We've had this conversation. I was never a sex Pistols fan.
I never got into it. I was nine when they
came out. I was a teenager listening to pop or
rock music that the punk scene never connected with me.
Speaker 1 (17:37):
It was too extreme for a city boy from Stanford,
Connecticut like me to embrace. But you know, maybe if
I toughened up a little bit, I would have never
minded the Bullocks.
Speaker 2 (17:51):
Yeah, right, the Bullocks. November seventh, nineteen eighty This is
an interesting day. This was the day that Back in
Black hit number four on the charts on the Billboard
Album Charts. This is interesting for a number of reasons.
Bon Scott passed away. The timing on this is really auspicious.
Bon Scott passes away in February of nineteen eighty. This
(18:15):
album was released in July five months later, like literally
five months and a couple days later. They went to
work immediately to replace him. This is not only an
unbelievable recovery from ac DC, this turned into one of
the best selling albums of all time.
Speaker 1 (18:35):
Back in Black Right and to this day holds up
and the band still holds up, And no one's holding
the band up.
Speaker 2 (18:43):
No, absolutely not. They recorded it two months after Bond
died and they've sold fifty million copies. It was on
the Billboard charts for I think five hundred weeks. That
Hell's Bells, that actual two thousand. This was before AI.
A two thousand pounds bronze bell that was cast by
(19:07):
John Taylor and Company was used. Shoot the thrill What
do you do for money? Give the Dog a Bone?
Back in Black Shook Me all night long. I'm just
looking at the chart list. Here, have a drink on me,
shake a leg, rock and rollin noise pollution. It just
a bunch of great tracks.
Speaker 1 (19:25):
Literally almost every song is great on that album.
Speaker 2 (19:28):
Nine great barn burning songs. Yeah yeah, and just an
epic recovery from Bond Scott from losing him they were
good before Brian yeah, man post post Bond Scott. That
was something else what Brian did vocally, the incredible story. Yeah.
(19:50):
November eighth, nineteen seventy one, led Zep released led Zeppe
one four Got a bad record, you know, Yeah, we
went down the led Zeppelin rabbit hole last time. Just
you know, an amazing, amazing record for so many reasons.
November ninth, nineteen sixty seven, the Stones premiered their Satanic
(20:15):
Majesty's Request that material. That was a weird period for
the Stones. Yeah.
Speaker 1 (20:22):
It was their own take or response to the Beatles,
wasn't it really?
Speaker 2 (20:27):
Yeah, the psychedelic things it's odd. So at any rate,
that's the week November third through the ninth bunths.
Speaker 1 (20:35):
All right, well, great job, Harry, Thank you very much
for your coverage of Delivering Me from Nowhere, and we
will touch on that certainly in the future. And thanks
to all of you for listening to this Week in
Music History for the week of November the third, and
thanks for listening to the Taking a Walk podcast.
This is buzz Night, and welcome to the Taken a
Walk Podcast, and welcome to another edition of This Week
in Music History for the week of November the third,
and we go to the Master of music Mayhem. That's
still my favorite, Harry Jacobs, The Master of music Mayhem.
I think it fits. It has a good rhyme.
Speaker 2 (00:22):
I like being associated with Mayhem. There's no question about that.
That's right Mayhem. Had you've had your share of Mayhem
in my life? Indeed I have. Bus You're correct, sir.
Speaker 1 (00:33):
We don't have to go down this path.
Speaker 2 (00:35):
No, that's a rabbit hole. We don't need to go
down any rabbit holes. Maybe I give the time, Yeah,
I do you know. I do have a rabbit hole
for us to go down. And unfortunately one of us
can really participate in this. You were given an assignment
during our last podcasts, a couple of assignments. Which which
assignment would you like to discuss? Would you like to
(00:55):
discuss the song remains the same movie or would you
like to discussed the one that's really really super timely,
and that's the Bruce Springsteen movie which opened on the
twenty third.
Speaker 1 (01:08):
I don't, Harry, I don't want to get my knuckles wrapped,
even though I didn't go to Catholic school, and that
wouldn't relate to you Catholic school either.
Speaker 2 (01:17):
But so I don't want to.
Speaker 1 (01:17):
Get my knuckles wrapped for not only one, but two misfires.
Speaker 2 (01:23):
So lead us through.
Speaker 1 (01:25):
The mayhem and I'll miraculously follow along, pretend I'm worrying.
Speaker 2 (01:31):
What do they call that a habit before they whack
you with the rule of the habits on? Oh? That
sounds so, that sounds so wonderful. Yeah, the Springsteen movie,
let's let's talk about this. Let's I want to you know,
I want to know what you've been reading, what the
critics are saying, because I haven't. I haven't looked at
any of it. I've deliberately stayed away from it. I
(01:54):
found the movie to be incredibly heavy. The subject matter
is really, in a sense dark. There's a mental health
component to this, which we knew going into it. They
teased going into the movie that there are gonna be
discussions about his mental health battles. There's stuff dealing with
(02:17):
his relationship with his father that was very heavy. So
I think, you know, for a lot of people, this
is gonna hit you over the head like a two
by four, especially given how important the music is to
all of us.
Speaker 1 (02:30):
All Right, this is the one that caught me. So
I shouldn't be so drawn to this particular review, this
comment from a review, and it's from the Wall Street Journal.
And I do quote, you're already.
Speaker 2 (02:45):
Shaking your head.
Speaker 1 (02:48):
It's a pretty funny quote.
Speaker 2 (02:51):
Fun you know, you go ahead and give to me.
But my initial response is, do I really want to
hear what these d bags have to say? Go ahead?
Speaker 1 (02:59):
It's like a Mariah carry movie about a Bruce Springsteen album?
Speaker 2 (03:03):
What get it out? Really? Like?
Speaker 1 (03:09):
I'm Mariah, I'm just I'm just reading you the quote.
But anyway, I like your lead up. So you say
it's a heavy movie. Did you see it once or twice?
Because you were gonna possibly see it twice.
Speaker 2 (03:20):
I was gonna go see it twice, and I was
I'll tell you this, I was impacted by the movie emotionally.
It was really heavy material. I'm gonna go back and
see it, okay, but I needed a minute, and I
literally I left the theater. I sat in the theater,
I watched the credits, I watched it until the theater
(03:41):
was dark, and got up and walked out and sat
in my car, and I literally opened up my iTunes
and realized that they had released the whole project to
Apple Music while I was in the theater. That literally
(04:01):
happened wow during that time. So I went and I
put on his recording, which he just did at the
count Basic Theater, and I sat in my car and
I just listened to it, and I sat there for
half an hour. I sent the message to a friend
or two of mine that are Bruce people, and you know,
(04:22):
they had seen it on the East Coast and it
was just it was a heavy moment. I couldn't leave.
I sat there for half an hour, probably just digesting
what I had seen. There are some moments in this
film that are really insightful. They're dark there. I'm not
going to ruin it for anyone. There's a moment at
(04:43):
the end of the movie with Bruce and his dad
which is, you know, an incredible thing, and it's just
it's so much and you know, he's tortured. He's a
tortured soul. You know, you can tell that he's you know,
really in a way screwed up a lot of relationships
in his life by being the introvert that he is
(05:06):
by just avoiding, by not you know, quote from the film,
not dealing with his own shit. And I just found
it heavy, but I found it really inspirational. On the
other hand, but that creative process, I can't imagine what
it must be like to work with him now. It's
obviously different, but during that time, and you could also
(05:29):
one other thought, you also get a really good understanding
of how important John Landau is to the process and
to Bruce. You know, you hear people talk about gatekeepers
a lot, but it's almost like a father son relationship
(05:50):
in a way where things happen during the movie and
you watch John just step in and break things up
and say stop, everyone leave, everyone go, and you see
him handle Bruce and how he handles Bruce, and there
are some lovely moments between the two of them. There
was just a whole bunch of stuff that I didn't expect,
(06:11):
and it dredged a whole bunch of stuff up for me.
So this is for you personally.
Speaker 1 (06:17):
Yeah, but that's a good that's a good thing to
look get out of music, to get out of the art.
You know, a movie, a book, that's a that's a
terrific thing. It's part of why we're drawn to artists
and and you know, entertainment because of how it reflects
something about us and what we remember and and the
(06:40):
things it brings back. So that that that to me,
you know, besides your affinity and the respect I have
for you on your music knowledge and love of it,
the fact that it touched you personally, I think that's
one of the biggest criteria.
Speaker 2 (07:00):
It's it's interest. It's something I didn't expect. I thought
I was just going to get some insight into the
movie and a little bit you know, into the music,
rather into that process and what happened with Nebraska, and
I was going to get some insight into maybe his
mental health stuff and we get to see his dad.
And I thought, well, it's just good that that part
of it's just going to come and go for me.
And and much to my surprise, it stuck with me.
(07:23):
And it stuck with me for you know, for a
full day at least after and and and you know,
four days, I know it will be a part of
it and I'm going to have to go see it again.
There's stuff I need to process with it.
Speaker 1 (07:35):
So I mean, in fact, if it didn't, I would
be sitting here going it didn't you know, move you personally,
I'd be asking you about that. So I think that
to me is the most you know, riveting part of
your characterization of it, which which you know, I think
we all kind of we may not want it going
(07:56):
in necessarily, but then when it happens, you go, oh
my god.
Speaker 2 (08:00):
Yes, you know, if the music means something to you,
if you're listening to this as a fan and the
music is you know, we say that, you know, the
music has kind of been the soundtrack of our lives
or the fabric of my life in a way. And
I suppose because of that, you see what happened and
(08:23):
the process that your hero in a sense from that sense,
the guy who scored your life in a way, what
he went through, and that just hit me on an
emotional level and I wasn't expecting it. I'm glad I
got the whack across the forehead with it. And I
thought the movie was brilliant. I thought it was just
(08:43):
brilliant to watch the process, understand the process, see how
important land Out is to Bruce, really understand how Bruce
needed to be handled in a sense with kid gloves
at times with the record company watching the record company response,
Jimmy Iovine plays himself. There's a phone call at one
(09:07):
point about Nebraska, and I'm listening to it and I'm going, Oh,
that's Jimmy's voice. That's Jimmy in the movie. And then
I saw the credits and I thought, Jimmy Iovine as himself, right,
no one played themselves. So I just thought that part
of it was great. I thought that the guitar aspects
(09:31):
of it, what they taught him how to do for
being someone that didn't play guitar ever, was amazing. And
you get to hear him sing a lot of songs.
But what was most meaningful to me out of all
of it was hearing him blast through a full band
version of Born in the USA, and that like when
(09:52):
that comes on in the theater, it's just and it's
just the band. It's just that, you know, seven guys
or something whatever it was in the recording studio, but
it's note for note perfect like the record, and it's
Jeremy singing, and man, it's good, you know, And even
though I know it's not a song to be like
(10:13):
a Pride in the USA kind of song, you can't
not feel something when you hear that song, and the
entire movie did that to me. That song in particular
hit me. All right, Can we come back to.
Speaker 1 (10:29):
It in the upcoming episodes here.
Speaker 2 (10:33):
After you complete your assignment and we can discuss more
in detention when the session's over today. Okay, you can
talk to me about why you haven't gone, you knuckle rapper.
November third through the ninth is the week that we're
talking about. Nineteen seventy three, Derek and the Dominoes that
in concert set was released. This was the only recording
(10:56):
of Derek and the Dominos that was done, and they
were there were two nights that they played at the
film More East, the twenty third and twenty fourth of
October in I think in nineteen seventy is when when
they did that, and Bobby Whitlock and Carl Rattle and
(11:17):
Jim Gordon played drums on that, and it's an epic
recording and there were stuff from Clapton's solo period that
were played at that time, and it was interesting and
it was fitting because all three of those guys I
just mentioned were on the original recordings of the songs
they played that were Clapton's Let It Rain. It's like
(11:39):
a seventeen minute version of Let It Rain on that.
Blues Power was on that. They were on that track,
and then the other one was a blind Faith track.
It was a Presence of the Lord. I said to
look at that. Presence of the Lord was on there.
But that was a great live album which I had
(12:01):
totally forgotten about. I need to go find I love
Let It Rain, I love Blues Power. I'm a Clapton
fan and I love all those you know.
Speaker 1 (12:08):
Just imagining the fil Moore East, Oh my god, you know.
Speaker 2 (12:11):
Yeah, what a place. And we've been digging into Jim
Gordon a little bit for other reasons, so getting to
hear him on that, you know, was nice and gives
some new perspective. So that was November third, nineteen seventy three.
On the fourth of November, the Police released Outland us
Dr Moore. I'm not even saying that right, outlandous Da Moore,
(12:34):
but it was pretty close. I think, yeah, it means
Outlaws of Love can't stand losing you so lonely, and
of course message rock sand oh Okay Rock Radio played
the daylights out of It nineteen seventy eight. In sixty six,
the Monkeys hit number one with their debut album, and
(12:58):
and that wasn't interesting band for a lot of reasons.
The great Lance Norris, who has since passed away. The
Boston folks will remember him part of the Charles lockwaderra
Show on WBCN and w CLX, was a huge Monkeys fan.
He Lance was a guy for better or worse. Who
was you know, a critical, tortured artist in a lot
(13:22):
of ways, right he was. It was easy for Lance
to look down at most anything that was popular. Oh yeah, Lance,
Lance was a monkey's nut.
Speaker 1 (13:36):
That is so funny. I didn't remember that or realize that.
And yes about Lance in terms of Lance's view of
the world, yeah, Lance was you know, it's one a
bitter man. That was his character, but it really wasn't
his character. Yeah, it was rest in peace, Lance. But listen,
my take over the years shifted a bit and the
(14:00):
Monkeys because I was, you know, one of those people
that kind of went, I don't know, you know, it
didn't really like hit my heart. The member of that
band that is still to this day most fascinating to
me is Michael Nesmith and just his you know, his
(14:21):
solo genius, and you know, just the way I think
his cinematic mind and creativity, he's underappreciated in my view,
So he kind of elevated my view of the monkeys
in general.
Speaker 2 (14:38):
Isn't there some sort of a connection between him and
industry somehow? Is his family connected somehow to something his mother?
Speaker 1 (14:47):
His mother was I think the inventor of I'm sure
no one is going to remember white out when you.
Speaker 2 (14:55):
Had a day that's.
Speaker 1 (14:57):
Something you typed and you needed to correct it. It
was essentially like paint that you put on it, but
you were taping. Smelled like ooh, but you know, became
obviously quite a product. And I challenge anybody to this day,
if you can get white out, you probably can somewhere.
Speaker 2 (15:17):
I guess Staples down the street. I wonder if they
have it. They probably do.
Speaker 1 (15:21):
But that was his mother or his family had founded
that or created that or whatever.
Speaker 2 (15:26):
One of the things about the monkeys that I found
to be interesting, and I guess I didn't realize this
at the time. It's almost like the Jackson five as well.
When you think about music from that period of time,
you don't necessarily think about how intricate the music was
(15:47):
the recordings of them, the instrumentation, all that stuff. But
there was all the stuff going on, you know, with
Brian Wilson and Phil Spector, and then there was this
other group of guys men and women actually called the
Wrecking Crew, and especially with the Monkeys, I have gone
down the rabbit hole. There's a guy named Louis Shelton
who played and the Wrecking Crew, whose guitar playing is
(16:09):
on a bunch of songs, including Last Train to Clarksville,
which is a really intricate and neat guitar song. So
I have this appreciation of the Monkeys. Musically. Those guys played,
but they were they were shitty players. They went to
the studio and they got Glenn Campbell and Louise Shelton
and all the players in LA at that time, and
(16:31):
their music was great. It was like, you know, like
as a guitar player, you try to play like I
Want You Back or ABC by the Jackson Five. They're
very difficult songs to play. You would think they'd be
simple because they're so simple, but they're not, and they're
not because the guys like Louis Shelton and the Wrecking
Crew and what they did for the Monkeys was amazing
(16:52):
because they created some great music. Regardless of your position
of the silly TV show, people can't get away from that.
Speaker 3 (17:00):
They were pretty good. I stand by that, all right.
I'm not listen. They made hits, so you can say
they made hits too, you know. I stand by it,
and Lance Norris stood by it. November sixth, nineteen seventy five,
Sex Pistols played their first gig ever.
Speaker 2 (17:18):
We've had this conversation. I was never a sex Pistols fan.
I never got into it. I was nine when they
came out. I was a teenager listening to pop or
rock music that the punk scene never connected with me.
Speaker 1 (17:37):
It was too extreme for a city boy from Stanford,
Connecticut like me to embrace. But you know, maybe if
I toughened up a little bit, I would have never
minded the Bullocks.
Speaker 2 (17:51):
Yeah, right, the Bullocks. November seventh, nineteen eighty This is
an interesting day. This was the day that Back in
Black hit number four on the charts on the Billboard
Album Charts. This is interesting for a number of reasons.
Bon Scott passed away. The timing on this is really auspicious.
Bon Scott passes away in February of nineteen eighty. This
(18:15):
album was released in July five months later, like literally
five months and a couple days later. They went to
work immediately to replace him. This is not only an
unbelievable recovery from ac DC, this turned into one of
the best selling albums of all time.
Speaker 1 (18:35):
Back in Black Right and to this day holds up
and the band still holds up, And no one's holding
the band up.
Speaker 2 (18:43):
No, absolutely not. They recorded it two months after Bond
died and they've sold fifty million copies. It was on
the Billboard charts for I think five hundred weeks. That
Hell's Bells, that actual two thousand. This was before AI.
A two thousand pounds bronze bell that was cast by
(19:07):
John Taylor and Company was used. Shoot the thrill What
do you do for money? Give the Dog a Bone?
Back in Black Shook Me all night long. I'm just
looking at the chart list. Here, have a drink on me,
shake a leg, rock and rollin noise pollution. It just
a bunch of great tracks.
Speaker 1 (19:25):
Literally almost every song is great on that album.
Speaker 2 (19:28):
Nine great barn burning songs. Yeah yeah, and just an
epic recovery from Bond Scott from losing him they were
good before Brian yeah, man post post Bond Scott. That
was something else what Brian did vocally, the incredible story. Yeah.
(19:50):
November eighth, nineteen seventy one, led Zep released led Zeppe
one four Got a bad record, you know, Yeah, we
went down the led Zeppelin rabbit hole last time. Just
you know, an amazing, amazing record for so many reasons.
November ninth, nineteen sixty seven, the Stones premiered their Satanic
(20:15):
Majesty's Request that material. That was a weird period for
the Stones. Yeah.
Speaker 1 (20:22):
It was their own take or response to the Beatles,
wasn't it really?
Speaker 2 (20:27):
Yeah, the psychedelic things it's odd. So at any rate,
that's the week November third through the ninth bunths.
Speaker 1 (20:35):
All right, well, great job, Harry, Thank you very much
for your coverage of Delivering Me from Nowhere, and we
will touch on that certainly in the future. And thanks
to all of you for listening to this Week in
Music History for the week of November the third, and
thanks for listening to the Taking a Walk podcast.
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