Tag Archives: Rolling Stones

Halloween Bonus Tracks: Top 3 Scariest Songs in Classic Rock

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Can’t you hear me knockin’?

– Somebody put the fear factor into what was once the classic holiday celebration line-up. Here’s how it used to go…

July 4th was an excuse to play pyromaniac and scare the heck out of our friends by making them dodge small explosives and sparklers for our enjoyment. There’s nothing like setting off a screaming missile during a crowded and fenced-in backyard barbeque for a few yucks.

Next was Labor Day when no one needed a doctor’s note to miss work. Scaring someone isn’t mandatory, but if you’ve got a few mini explosives left over from The 4th — then why not? The element of surprise is always a fun way to scare the heck out of someone.

After Labor Day it was a countdown to see how early the TV networks would start showing Christmas commercials. Usually the ads with Santa frolicking through plastic snow with shapely female elves were in regular rotation by mid-September. These ads would scare the heck out of us procrastinators, since each viewing would serve as a reminder of our bleak future as last-minute shoppers in crowded and fenced-in discount stores.

But those days have passed-away to the other side. Now the holiday celebration is all about scaring the heck out of someone and Halloween has engulfed the entire month of October. Oh the horror…

Too hot to handle!

I’ve seen front yards pimped-out with pumpkins, ghosts, skeletons and ghouls since Labor Day. The Christmas lights our dads used to hang outside while the weather was still warm enough to avoid doing a Clark Griswold on a slippery roof have been relegated to the attic for another month. The only outdoor lights I’ve seen draped over bushes and evergreens so far have been orange and black.

As usual, I blame the explosion of Halloween holiday extravaganzas on rock’n roll. After all, it’s a lot more fun dressing up as Kiss and Lady Gaga, than Santa and Mrs. Claus. But putting the Halloween scare in pop music is old school and didn’t just start when Michael Jackson moon walked with a bunch of Hollywood zombies, or Marilyn Manson watched Nazi Week on The History Channel and decided he had an act.

The influences can be traced back to 1958 when little kids in plastic masks and one size fits all costumes sweated out the image of a one-eyed, one-horned, flying purple people eater. The hit song Purple People Eater from part time cowboy actor Sheb Wooley (he was on Rawhide, my little cretins) hit number one on the music charts and inspired everyone from high school cheerleaders to your weird uncle to dress up like Prince and claim to be a people eater.

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Believe me this was scarier for kids of the 1950’s than it was watching Ozzy Osbourne cheer for another one of his kids on Dancing with the Stars.

Doin’ The Mash!

Then in 1962 Bobby “Boris” Pickett channeled his inner Karloff for Monster Mash. Thanks to Halloween locking this song onto every classic rock radio’s playlist, it’s a lock to say it probably earns more royalties per year than White Christmas.

But these songs were more fun(ny) than scary. They were novelty records and didn’t invoke lasting nightmares that stay with you whether the disk is on a turntable or buried in a shallow grave with your uncle’s Prince Costume in the backyard.

There are three album tracks by classic rockers that still give me the creeps in broad daylight and make a quick look under the bed a mandatory nighttime exercise. They have nothing to do with Halloween, but combine the spirits of Steven King and George Romero into a musical feast of electric guitars and deadly vocals that can cut through the darkness of any night.

When it’s done by the right band, it’s scarier than retro-disco night at the local PTA fundraiser.

So to honor the spirit of Halloween for what its become – a needed delay until my kids hand deliver their Christmas gift lists – here are…

The Top Three Scariest Classic Rock Songs:

#3. Dead Babies – Alice Cooper

I have the entire Killer album loaded into my digital playlist except for this song. That’s how much it creeps me out – big time. In his defense, Alice said it was supposed to be a statement against child abuse, but for teenagers in 1971, the year this album was unleashed, it was a musical play on a series of sick jokes going around junior high lunchrooms:

How do you make a dead baby walk? 200 dead babies and a sack of cement.

How do you make a dead baby float? Root beer, two scoops of ice cream and a dead baby.

Since I’m no longer eating lunch from a tray in a junior high cafeteria, I’m probably going to hell just for writing that. If nothing else, it creeps me out – big time.

As Alice would say, “Welcome to my nightmare.

This song was recorded by the Alice Cooper Band and not a solo from Vincent Furnier, who somewhere between releasing this disk and Billion Dollar Babies legally changed his name to Alice Cooper. For the other guys, it was worse than a sick joke. When the band eventually broke up, the lead singer owned their name. That would be like Paul McCartney changing his name to Beatles. For some reason, The Plastic Cooper Band wouldn’t carry the same image.

And image is what the Alice Cooper band was all about. When the group toured behind this album in 1972 we witnessed a makeup smeared transvestite in torn fishnets raging, threatening, and finally slashing away at plastic baby dolls on stage. Combined into a deadly medley with the LP’s final track Killer, he’s put on trial by his robe-wearing band-aides and lead to the gallows. The death dirge accompanying this dead man walking ended with Alice swinging from a noose, and then magically reappearing for an encore in white top hat and tails to sing Under My Wheels.

And it wasn’t even Halloween. If that ain’t creepy, I don’t know what is.

I’ll tell’ya what else is creepy – the video of Dead Babies from a 1971 live performance by Alice Cooper.

 

#2. Dazed and Confused – Led Zeppelin

I already know there’s gonna be some flack over this choice, but I’m going for feeling with this one. I actually did a crowd survey… okay, as much as I could standing in line at a convenience store behind some scary looking dudes who represent the new breed of metal rockers. I previewed two of my choices and here’s how they polled:

Dead Babies… uh, don’t know it.

Dazed and Confused… Are you high? What about SabbathMarilyn? Megadeath? Metallica

And you know what? Yeah, they’re all pretty scary, but they ain’t Jimmy Page. So shut the hello up and figure out who gave those guys the incentive to bring a dose of Black Magic and Goth into the realm of rock in the first place.

Maybe this is a selfish choice because of how I got introduced to the song. This is from Led Zeppelin… well, we call it “I” now, but it was their first album and back then nobody knew if there would be a “II.” My best friend had the disk and told me it was the scariest song he’d ever heard. It was night, we’re sitting in a dark room and he put the needle down (this was vinyl, you gremlins) on this last song from side one.

We sat there in silence and listened.

I’ve been dazed and confused for so long it’s not true…

Name a teenager who can’t relate to that and I’ll show you a Rhodes Scholar. And the deal is, once we figured out who these guys were, it just got scarier. The sound waves coming out of the speakers were blacker than the circles under Keith Richards‘ eyes at the crack of noon. It wasn’t the kind of rock where you jumped out of your seat and danced. Instead you sat there wondering if anyone was gonna get out of there alive.

The meaning of the song has been interpreted as either a girl stringing along a guy making him dazed and confused, or describing an acid trip that makes a guy dazed and confused. Either way it doesn’t matter. It’s the music and the emotion. Jimmy Page conjuring up Aleister Crowley by slashing a violin bow against his electric guitar is scarier than me calling the metal dudes at the convenience store punks without getting a ten minute head start.

Turn out the lights, slap on a videotape of the original Night of the Living Dead and put the needle down on Dazed and Confused. Trick or treat – punks.

For a pre-punk 1968 black & white rock’n roll video of Led Zeppelin conjuring up Dazed and Confused, check this out…

 

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#1. Sympathy for the Devil – The Rolling Stones

If Paint It Black was… well, black– then this one is as red as Keith Richard’s eyes at the crack of noon. The Satanic Majesties of rock had ditched the flower power facade they threw out in rainbow colors a full six months after Sgt. Pepper had already dosed everyone for a Summer of Love and traded in their flowers for a walk on the dark side.

The transition started with the 1968 video for Jumpin’ Jack Flash when the Stones wore enough rouge and eyeliner to make Gene Simmons and Paul Stanley sit up straight and think about a career move. But that was only a warning for the devilish dance Mick Jagger and his clan of deviants conjured up later that year for the opening track on Beggars Banquet.

This song launched a new era of bad behavior that even Flip Wilson couldn’t excuse with, “The devil made me do it.

The Stones were already on the Children’s Services black list for sex, drugs, drug busts and more sex by giving Mars Candy Bars a bad image. But when it was hinted they were into devil worship, the earth opened up and all hell broke loose.

Parents were horrified. Kids were mesmerized. The Stones were revitalized.

Sympathy for the Devil started as an acoustic folk song with Mick playing the part of Lucifer. Then Keith, the bluesman voted most likely to make a crossroads pact with the devil, added a tribal rhythm infectious enough to cause everyone in the recording studio to howl “Woo Woo!” at the moon.

Okay, maybe it wasn’t really the moon and only a microphone hanging from a boom stand. But if you’ve seen the movie One Plus One by Jean-Luc Godard who interspersed clips of the Stones developing this song with scenes of zombied-out models searching for something – anything – to rebel against, the microphone hanging over the group of stoned Stones and friends imitating a street corner doo-wop group could be a spaced-out metaphor for the moon.

Within a year Brian Jones, the once upon a time leader of this cult of musical personalities, was found at the bottom of his swimming pool. Five months later, after performing this song at Altamont, Jagger was quoted as saying, “We’re always having something very funny happen when we start that number.” In that case it was the stabbing death of a fan that got too close to a Hell’s Angels’ bike.

In a six minute percussion groove with piercing shrieks of electric guitar, Lucifer… ah, I mean Jagger, covers enough evil history to earn a Masters in the subject. Since Ed Sullivan had him change the lyrics to Let’s Spend The Night Together only a year earlier, Sympathy For The Devil would’ve put him over the edge and left him spinning in his prime time crypt.

For a visual trip to the other side, check out this video from a 1968 David Frost Show appearance by The Rolling Stones singing Sympathy For The Devil– with Brian Jones on the piano. It’s in glorious black & white, like the glorious original Night of the Living Dead… BOO!!!

 

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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 2018 – North Shore Publishing

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#178 – Sir Duke

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#178 – Sir Duke by Stevie Wonder

 – Motown was everywhere in the 1960’s. If your transistor radio could pick up a Top 40 station, regardless of where you were located, you heard the hits coming out of Detroit scoring big-time on the music charts. Even in the midst of The British Invasion deejays would spin new releases by The Supremes, Temptations and Four Tops as often as they did The Beatles and The Dave Clark Five.

My claim to being a pop music know-it-all and future Classic Rocker didn’t fully gel until Ed Sullivan introduced us to The Beatles on February 9, 1964. But the roots had already been digging in. When I was about nine or ten years old I had a friend who lived across the street. And he had something I didn’t:

A teenage brother.

Per tradition when it comes to teenagers dealing with younger siblings and their immature friends, we as little kids were not allowed to go in his room or touch any of his stuff.

And of course as little kids, that’s exactly what we would do when he wasn’t home.

The 12 year old genius

A magnet for us would be his record player and collection of 45 rpm disks, usually scattered around his bedroom floor. The ones I remember most were Big Bad John by Jimmy Dean (1961) and Fingertips Part 2 by Little Stevie Wonder, released on Motown’s Tamla label in 1963. He was billed as “The 12 Year Old Genius,” which told us he wasn’t a teenager either.

On the few occasions we were caught red-handed in his room and subject to firsthand demonstrations of Big Time Wrestling moves until we could break away and run out of the house screaming for parental intervention, I never thought of using this age gap as a self-defense weapon. Why the heck were little kids banned from this treasure trove of infectious music when the teenager himself was a fan of The 12 Year Old Genius?

I answered that for myself a few years later when as a teenager I ordered my little sister to stay out of my room and never touch my stuff. If these age gap rules weren’t followed, her punishment would be the same Big Time Wrestling moves I had learned the hard way while listening to Big Bad John and Fingertips Part 2.

And in case you’re wondering about the title, the live recording was too long to fit on one side of a 45 rpm vinyl. So like the classic Isley Brothers’ rocker Shout, Fingertips was edited into two sections. Part 1 was actually the A-side of the single. But thanks to Stevie’s hyper-excited close to the live performance and his “Goodbye, goodbye” ending chorus that we hoped would go on forever, deejays played the B-side and that’s the title that hit number one on the music charts.

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As time will do with all of us, we grew older over the years. But unlike with my circle of teenage friends during the mid to late 1960’s, Stevie Wonder was making hit records. He also dropped “Little” from his billing and by the end of the decade he was a mature artist blazing a trail through funk and soul music. I guess that also earned him enough rock ‘n’ roll cred that he flew directly into my realm of fandom via a rock concert. It was during my final year as a teenager when he opened for The Rolling Stones during the legendary Exile On Main Street Tour in July 1972.

This was four years before the release of his mega hit double LP Songs in the Key of Life with the song Sir Duke, but his creativity had already been taking him in that direction. His latest album prior to The Stones’ tour was Music of My Mind and his next single would be Superstition.

We’ll get more into that concert experience in a moment, but first…

Songs in the Key of Life

Sir Duke joined this Dream Song list on August 12. I’ll call it Big Band Funk since it was a tribute to Duke Ellington, Count Basie, Louis Armstrong (Satchmo) and others mentioned by name in the song and stands as one of the many highlights from Songs in the Key of Life. But since my vinyl copy is stored in the Classic Rocker Archives and I can’t recall hearing it since my son Paul’s junior high jazz band performed the song as an instrumental during a school program, it funks its way into the subliminal category.

Of course I had been a Stevie fan since Fingertips Part 2, but once he entered the Superstitious era I appreciated his genius even more. It had become a Christmas tradition that I would be gifted with an album. It started with Beatles ’65 in 1964 and Rubber Soul the next year (which I hijacked and started playing a couple weeks before). I remember The Stones’ Let It Bleed made the list, along with George Harrison’s All Things Must Pass and The Concert For Bangladesh.

In 1976 it was Songs in the Key of Life. The entire collection of songs, along with Sir Duke made both LP’s mandatory listening throughout the winter.

But now let’s return to the summer of 1972…

A new era

At the time Stevie Wonder seemed to be a strange choice to open shows for The Rolling Stones. With their roots in the blues, it was never a surprise when artists like B.B. King, Muddy Waters or The Ike and Tina Turner Review kicked off the concert experience. But Stevie Wonder didn’t seem that far removed from his 1960’s Motown hits and the once descriptive adjective “Little” before his name.

As I’ve mentioned in an earlier Classic Rocker, my pals and I saw the Exile On Main Street Tour at the Akron (Ohio) Rubber Bowl on July 11th. It was outdoor, festival seating – meaning you arrived early to find a good seat and stake claim to it. By the time we got to the outdoor stadium we were relegated to space halfway up in the stands and about a fifty-yard rush to the left side of the stage. Fortunately it was the first concert I had ever been to that had huge screens on both sides of the stage and we had close-up views of everything happening under the spotlights.

Also from our vantage point, we had no problem seeing a lot of what was happening below us on the football field that was jammed packed with fans.

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Keep in mind this was 1972 and things were different. The concert scene had been going through some recent changes…

The screaming teens that had turned Beatles and DC5 appearances into short pop music events had matured into The Woodstock Generation. If you didn’t at least try to look like a hippie with longer hair, bellbottoms and concert t-shirt, you probably looked out of place. Most Stones fans were also old enough to purchase alcohol, (3.2% beer if you were at least 18 in Ohio) and the smell of marijuana wafting through the air was as much a part of the scene as the music.

But that didn’t mean this entire scene was all that acceptable to the older generation.

One of my most vivid memories of this concert happened during Stevie Wonder’s opening set. We had all read about the violence and mayhem that followed The Stones on this tour. There were stories of violence and injury reports at almost every stop and there was no reason why Akron would be different.

Stevie and Mick Exiled on Main Street

Sometime during Stevie’s opening set a large contingent of policemen gathered at the end of the football field facing the stage. We all noticed – and all started watching. Then forming in a long line, they pushed and shoved their way through the crowd like they were zeroing in on a certain group. Again, we were all watching – only this time everyone started booing the cops.

About midfield they stopped and – apparently – tried to drag out a few hippies. We could only speculate it was a drug bust and it took everyone’s attention away from what was happening on stage. We could see it turning into a brawl and fans near the action were throwing bottles and whatever at the cops. I distinctly remember seeing blood on the top of one officer’s bald head.

Eventually the cops retreated. And as far as I remember, there were no arrests – at least on the field during the concert. The fans cheered as the cops withdrew and all eyes and ears went back to Stevie Wonder. And they stayed that way after the sun went down, the stage lights went up and the images of Mick and Keith kicking into Brown Sugar were projected onto the large screens at both sides of the stage.

Have a comment? Please use the form below.

Here’s a video of Stevie Wonder performing Sir Duke.

 

To purchase Songs in the Key of Life with Sir Duke 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 2018 – North Shore Publishing