Tag Archives: rock music

#156 – Smoke on the Water

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#156 – Smoke on the Water by Deep Purple

Deep Purple

– Two decades after this song came out Nirvana was grunge-ing about Smells Like Teen Spirit. But for boomers that frequented college parties and dance clubs when Smoke on the Water was released as a single in May 1973, after first appearing on the Deep Purple album Machine Head in early 1972, your sense memories should be drenched in teenage sweat at just the thought of one of the best known guitar riffs in rock, heavy metal and now, classic rock.

And like all great rock guitar riffs, you know exactly what song is playing after only the first couple notes. Chances are good you’ll also remember immediately jumping out of your seat and bouncing onto a dance floor whenever every local rock band cranked this one up to the max volume.

How am I so sure of that? Because that’s how I remember it.

I really don’t know what Nirvana was shouting about in the classic grunge-rocker from the 1990’s, but their song title fits what my sense memories recall from the pre-disco music scene in the 1970’s. I doubt there was any local rock band that didn’t have Smoke on the Water included in their repertoire – along with Roundabout by Yes.

And though I won’t earn any new classic rock fans and will probably lose a few by saying this, I remember both being way overplayed.

Did I just say that – really? Yeah, I did.

Blurred by 3.2% beer?

For a couple of years anyway, Smoke on the Water and Roundabout were guaranteed party-starters. The first notes of either song would cause a stampede of late teens and early twenty-somethings to abandon their “legal at age eighteen” 3.2 percent (alcohol) beers and jump around on a dance floor until the sweat of teen spirit was added to the already thick aroma of brew and smoke (as in cigarettes, which any twelve year old could buy at the time). These songs were such a sure thing to get everyone up and rocking we heard them so often I seriously can’t remember ever wanting to hear either again after we were done with the 1970’s.

That’s why Smoke on the Water joins this Dream Song list as a subliminal member. I hadn’t heard it in a long time, I’ve never owned a copy – and have no desire to change that. When the opening notes jolted me awake on October 15th I must have been unconsciously dancing under the covers since I was breaking into a sweat. I can only assume I was having a dream influenced by long ago teen spirit memories and was back on a dance floor jumping around like a college student powered by watered down beer on the last day of final exams.

Now, if you’ve followed these Classic Rocker ramblings you know I can’t leave you with just a general vague description of hearing Smoke on the Water at every music club we went to. There is one specific memory that jumps into my mind when hearing the opening notes…

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A few weeks after a bad breakup with a long time girlfriend (is there such a thing as a good breakup?) I escorted a new girlfriend to one of our local live music clubs. It was big place and typically crowded for a Saturday night. So of course, the first person I spotted was my “ex” hanging out with her pack of loyal girlfriends. With experienced knowledge you can’t learn in a college classroom, I immediately steered the new girlfriend to the opposite side of the club and found an empty table.

After ordering a couple 3.2% beers we suddenly had company.

To take the suspense out of this sense memory, it wasn’t the “ex” dropping by to say hello or put her cigarette out on my arm. Instead it was two of her friends that had obviously been given an assignment in espionage. Their mission (and they chose to accept it) was to scope out what the heck I was doing with this new girl and to gather any information and perhaps incriminating evidence that I may have been seeing her before the bad breakup with their friend.

Yeah, real teen spirit stuff.

They were on a mission!

Of course I hadn’t talked with the “ex” friends in what seemed like forever, but suddenly they acted like we were all new friends. Over whatever loud early 70’s rock the band was playing, we verbally danced over the obvious, “How are you?” “What have you been up to?” and more specifically, “Who’s your friend?” interrogation that was both awkward and annoying. But the new girlfriend and I handled situation like a team from Mission Impossible (the television series, since we were still decades away from the movies) with fake smiles, polite answers and another round of 3.2% beer.

Then Smoke on the Water came to the rescue.

When the local band hit the first few notes the current girlfriend grabbed my hand and gave me a look as if we’d been granted parole. I called out a (polite) “See’ya later!” and made a beeline onto the dance floor.

End of conversation.

After a lengthy version of Smoke on the Water that was most likely followed by the band’s cover of Roundabout, I suggested we go to another (probably hyped by me as better) club and we split the scene. I’m tempted to add I could feel a few sets of teen spirited eyes trying to burn a hole in the back of my head as we made for the exit, but that would only be speculation on my part. Where there’s no smoke (on or off the water) there’s no fire.

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Eventually the “new” became an “ex” and the first “ex” became a friend. Yeah, I know. It’s complicated. But in the teen spirit of the 1970’s, we all kept dancing – just with different partners in different places. But if I can assume at least one thing stayed the same after going our separate ways, it would be wherever we were and whatever local band was playing, we’d join the stampede onto a dance floor as soon as we heard the opening notes to Smoke on the Water.

Have a comment? Please use the form below.

Thanks for reading – and keep rockin’!

Here’s a 1972 video of Deep Purple performing Smoke on the Water

To purchase The Very Best of Deep Purple with Smoke on the Water visit Amazon.com

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Dave Schwensen is The Classic Rocker and author of The Beatles At Shea Stadium and The Beatles In Cleveland. Visit Dave’s author page on Amazon.com.

Copyright 2019 – North Shore Publishing

 

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#163 – It’s Still Rock and Roll to Me

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#163 – It’s Still Rock and Roll to Me by Billy Joel

 – When this song came out in 1980 boomers were still controlling the music scene, but something strange was starting to happen. Our rebellious nature had been focused on the older generation, but now we were feeling the push of a generation coming up behind us. They were tagged as Generation X and many of us considered them too young to be of any real notice as we continued to groove through our late twenties. It was noticeable when the punks and new wave bands of the late 1970s (with members born in the boomer generation) started calling our favs like The Rolling Stones, Led Zeppelin, The Eagles and The Who “dinosaurs.”

I’ll go ahead and lay the blame on the newer and younger record-buying age group for pushing the latest vinyl 45 rpm singles to the top of the music charts during the late 1970s. My age demographic had been album-oriented since the late 1960s and the current singles really didn’t interest us.

If a new group didn’t have an album worth buying, we didn’t notice.

But teenagers were buying the singles, making them hits and influencing the latest styles. Since sales equals profit for record companies hoping to stay in the black (vs. going into the red and out of business) they focused on their new audience. And like boomers during our era, the latest look was influenced by new artists, which meant both the music and fashion trends were shifting away from us.

We had to adjust or join the pack of dinosaurs that risked going out of style and being labeled old.

Here’s what I mean:

In the late 1970s you could still be psyched about the latest album from your favorite band that had formed in the 1960s. Fashion-wise you could still maintain some type of cool looking like one of The Eagles from Hotel California, a disco freak from Studio 54, a punk rocker or Keith Richards. As a side note, the Keith Richards look always allowed for admittance into the other groups.

By the time we hit 1980 there was a major shift in music and fashion sense.

I was already three years into my New York City residency when I realized this new trend was taking over. Hippies were past tense, the Woodstock era no more than a memory, disco was dying, and punk was… well, for punks.

The music consisted of more electronics than guitars and the beat came from drum machines. To be fashionable and anti-prehistoric, the guys had ditched bellbottoms for skinny legs and shirts with skinny ties topped with loose jackets. Hair on girls would continue to get higher throughout the decade while the guys went shorter.

But again, the fault didn’t lie with my demographic of baby boomers. The younger crowd was coming into spending money and the music and fashion industries were catering to their newest and profitable big market.

It’s Still Rock and Roll to Me was a protest song about this.

A hit during the summer of 1980, Billy Joel defended our taste in music while still succumbing to a fashion statement in the song’s video that wouldn’t make him seem like a dinosaur. His shorter hair and skinny tie made that perfectly clear.

The song rocked enough to make adulthood challenged boomers still feel relevant while also signaling the end of our musical dominance. The 1980s would’ve only gotten worse for us if we hadn’t been saved by the advent of Classic Rock Radio. At least our hits would still be on the airwaves while it would be decades before our fashion sense became retro.

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It’s Still Rock and Roll to Me hit this Dream Song list on September 18th. I own a copy and it’s not an unfamiliar addition to my weekly playlists. But it hadn’t been recently. For that skinniest of reason, it goes into the subliminal category.

As a musician I was still playing what I felt was rock and roll at the time, even though it was a far cry from the rock and roll I lived for as a teenager. Over the previous decade bands like Zeppelin, Pink Floyd, The Who and yeah… even KISS had given it more volume, power and flash.

If you wanted to be in a rock band in 1980 you had to adjust.

I strummed here a few times!

After a couple years strumming an acoustic guitar and going nowhere fast in Greenwich Village folk clubs, I bought a bass and decided it was time to turn up the volume. Along with my pals Tim on guitar and Bobby on drums we formed a hard rock, high volume trio that we called Rox. I found out years later another band had used the same name and released an album, so in the end I guess they own it. But I also maintain we were first.

It’s just that no one outside of our NYC neighborhood ever heard of us.

As a band we spent more time rehearsing and recording than we did playing live shows. I thought it was mistake then and still do. Playing live really was the only way to be seen and hopefully discovered, but the others disagreed. Their logic was to record an album worth of original songs and sell it to a record company.

Rather than debate the merits of that decision let’s just say it didn’t work out.

But thanks to a good friend who worked as a producer of radio jingles and had been a fan of my earlier music in the Village clubs, we scored quality time in a state-of-the-art recording studio in Midtown Manhattan. She basically “piggybacked” us onto scheduled jingle recording sessions. If she had booked four hours for a jingle and it only took three to complete, we inherited the remaining hour. The result is that I own about three-quarters of a finished LP by Rox that no one outside the three of us and a few family and friends have ever heard. And to be honest, it’s pretty good.

Someday I should do something with it. But in the meantime…

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The few live shows we did were more concerts than club gigs. When the mood struck us, we’d rent a large loft near Gramercy Park, rely on friends to help build a stage (and I have no idea who donated the lumber for these “raves”), use a photographer friend’s lights, and borrow a sound system from another band. We’d schedule an opening act, print up flyers and end up packing the place.

These were hot, sweaty, energetic and LOUD performances. The crowd reaction was always great and called for encores until we ran out of songs. But instead of keeping the momentum going, my two band mates were content to spend weeks in rehearsal studios and hours recording our “breakout” album.

Again, it didn’t happen.

Fighting for Rock ‘n’ Roll

It’s Still Rock and Roll to Me was on the charts and video airwaves while all this was going on with Rox. And it reminds me of one live performance that was far from a concert since it was an audition for some type of talent show that was supposed to help us be seen by record people.

It was a Saturday morning (not the best time for rock and rollers) during the summer of 1980 when we carted our equipment via a NYC taxi to a studio in The Village. We set up in a room to play in front of a panel of about six people who would decide if we’d be part of this industry showcase.

Billy Joel’s video comes to mind because we played rock and roll but bowed to the current fashion trend. I remember wearing tight pants, white Capezio dance shoes, shirt with skinny tie and a white cloth jacket with the sleeves pushed up. I’m not sure what the other guys wore, but guessing it wasn’t too far removed from my look. The only real difference from Mr. Joel was our long hair.

The 80’s hadn’t changed us that much – at least not yet.

We were a loud and heavy band, but for some reason Tim and I had written the first – and only – slower, ballad type song we would ever do. It was called Forever and I played a very melodic bass line while Tim floated a flanged guitar effect sound over the top. Bobby kept a simple time on the drums, and I sang lead. By the end of the song it built into a heavier sound that I thought then – and still do – was very cool and more classic rock than ’80s hip.

When we finished the song, we were very pleased with how it went. However, one of the judges came over and asked if we could “turn down the volume” for our second song.

Say what?!

Turn it up to eleven!!

That definitely wasn’t what we were about as a band. We also realized, based on the judges looks (80’s hip) and attitudes (turn it down?) that this showcase wouldn’t be right for us anyway. The three of us came to a quick decision, scratched the idea of doing a more pop song we had planned and turned the volume on our amplifiers up to eleven.

We played one of the hardest rocking songs we’d ever written and recorded called Love On Wheels. I maintain we sounded like Guns ‘n’ Roses at least six years before any of us had even heard of Guns ‘n’ Roses. We also extended the ending lead guitar jam into what we called a Wall Of Sound and pretty much shook the building down to its foundation.

I remember a few of the judges walked out during our performance. I have a feeling their 80’s hipster ears were bleeding to the sound of Rox.

After finishing, we didn’t even wait for the “don’t call us, we’ll call you” decision. Laughing and giving each other high-fives, we dragged our equipment out onto the street, hailed a taxi and made it to our local neighborhood hangout for lunch and beers. A crowd of our friends turned the afternoon into a party and we never thought again about auditioning for a showcase.

We ended up doing one more huge loft gig that year before we split up – staying friends – for other career paths. In my case, my microphone and small practice amplifier were the only equipment needed to start a popular comedy club in our same neighborhood hangout that ended up taking me places and providing experiences I would’ve never dreamed of while protesting the “new sound” by being a rock ‘n’ roller in 1980.

Have a comment?

Please use the form below – and keep rockin’!

And speaking of protesting and defending rock ‘n’ roll in 1980, here’s Billy Joel doing just that:

 

To purchase The Essential Billy Joel with It’s Still Rock and Roll to Me visit Amazon.com

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Dave Schwensen is The Classic Rocker and author of The Beatles At Shea Stadium and The Beatles In Cleveland. Visit Dave’s author page on Amazon.com.

Copyright 2019 – North Shore Publishing