For some reason, I have found it to be a challenge to properly digest and process the next album, “Lifes Rich Pageant” by R.E.M. It is a good follow-on to The Smiths, and like every R.E.M. record I have included so far, it has multiple songs that I know and love, but I have had a hard time connecting with the rest of the record, even as I have listened to it multiple times. For this record, they changed producers and the overall record is a bit more of a rocker than previous releases.
The first two songs(“Begin The Begin” and “These Days”) do not really grab me. They are harder, driving guitar tracks but neither has much of a hook that pulls me in. Contrast that with the third song, “Fall On Me”, which is probably the purest and most alluring melody the band ever produced. Soft and melancholy as they contemplate the continued buildout of our planet, the vocal interplay between Michael Stipe and Michael Mills is perfect. Stipe really stands out here and proves what he can do when he is willing to unbury his vocals and stand in front of the band.
The next two songs, “Cuyahoga” and “Hyena”, have grown on me more, and in comparison, I find them more compelling than the first two tracks. “Underneath The Bunker” opens with an unusual 1960s samba spice, eventually complemented by some distorted vocals. It is a short but intriguing song. “The Flowers of Guatemala” is a pretty ballad, one of the songs I did grow to appreciate after multiple listens. “I Believe” is an up-tempo song that reminds me of the Bruce Springsteen, once it gets past the Appalachian banjo opening. I’m not crazy about the next two songs, “What If We Give It Away” and “Just A Touch”, but they are pleasant enough to listen to as well. “Swan Swan H” reminds me of vintage R.E.M. from their latest years, mainly because I have absolutely no idea what Michael Stipe is talking about on this song.
The other true classic on this record is the other single released, “Superman”. Even more so than “Fall On Me”, the harmony vocals of Stipe and Mills are phenomenal. I feel like I could listen to this song twenty times in a row and not tire of it. My search for the R.E.M. album that fully validates what I search for in the band continues, but with the obvious hits and hidden gems I eventually uncovered here, this was another step in the right direction.
Today we feature one of the towering artists of the darker new-wave sound of the 1980s, The Smiths and their third album, “The Queen is Dead”. I have always looked at The Smiths as an entity that is almost entirely the creation and representation of their singer Morrissey, and while he is the face of the band, much more credit is also deserved for guitarist Johnny Marr, who wrote all of the music that accompanies Morrissey’s lyrics and vocals. The rush of sounds and melody are notable on this record, and the resulting beauty is an album that is a great listen, much better than I expected, and is rated #113 on Rolling Stone’s Top 500 Greatest Albums of All Time.
Up until now, I have always honed in on “How Soon Is Now” as my favorite song by The Smiths, and I was not as familiar with much of anything beyond that song, which is not on “The Queen Is Dead”. However, I was pleasantly surprised at the vibrant drive many of these songs had, and my two favorite tracks are probably the two most cheery and warm tracks, coming from an artist who is not frequently associated with either of those adjectives. The overall production of the record is crisp and tight, and it really jumps out of my sound system.
The title track opens the record, as a pub sing-along fades into a driving rocker that features not only Marr on guitar, but a very solid rhythm section that is really good rock within the orchestral glow of their larger sound. “Frankly, Mr. Shankly” is an upbeat, if somewhat cynical song that is another appealing track. “I Know It’s Over” is a haunting song of sadness that is Morrissey at his best.
My two favorite tracks are the happy-ish songs “Cemetry Gates” (no, that isn’t a spelling error) and “The Boy with the Thorn in His Side”. Both highlight Marr on an acoustic guitar, with bright chordal progressions and sunny vocal arrangements. I never thought I would add The Smiths to a playlist of happy songs, but these two would definitely make that cut.
I truly enjoyed the entire record, and like many of these albums that I did not embrace when they were released, they make me wish I had expanded my musical aperture much earlier, and I would have loved seeing this band live at their powerful peak.
My original plan for today was to just feature the first Van Halen record that was released after they replaced David Lee Roth with Sammy Hagar. Frankly, the rest of their albums after “5150” are not making the cut. However, as I was doing some comparisons in my mind, I realized the better approach was to listen to, and compare and contrast “5150” with Roth’s first solo album, “Eat ‘Em and Smile”, which was released just four months later. David Lee Roth and Eddie Van Halen will forever be linked, even when they weren’t in the same band, so the comparison is certainly relevant.
To start things off, in case anyone still wonders how I feel about this, neither act on their own lives up to the legacy of Van Halen 1.0. The more frequent comparison is Van Halen vs. Van Hagar, and while Sammy Hagar is a technically better singer and musician than Dave, he just doesn’t bring the same edge, charisma, presence or attitude to the band. Said another way, original Van Halen was for some time, the fiercest and most dominant rock band in the world. Van Hagar is like when the coolest guys from school all get married and have families and grill in their backyard instead of rocking the night away. It’s a nice experience, in a different kind of way, but it isn’t what we look for when we stare deep into the eyes of rock and roll. Both of these albums are good, and I enjoyed both more than I expected to or remembered, but neither comes close to the brilliance of the first six Van Halen records.
Others may disagree with me, as “5150” was actually the first Van Halen record to ever reach #1, and it was the most commercially successful album they ever released. It opens with the tune “Good Enough”, which unfortunately, it really wasn’t. However, the second track, “Why Can’t This Be Love”, is a happy and relatively well-intentioned song, and is one of my favorites on the record. “Get Up” is Eddie being Eddie, although the hook doesn’t really follow. Next, we have “Dreams”, which is Eddie going back into his synthesizer and Sammy sings so high, I think he even reaches the upper limits of his range. If you recall, the music video for this song was nothing but footage of the U.S. Navy Blue Angels, and this may be the only rock video ever that my dad enjoyed even more than I did, as a lifetime wanna-be fighter pilot.
“Summer Nights” is one of the funkier and better songs on this album, and reinforces the depth that does exist here across all of the songs. “Best of Both Worlds” may be my favorite track on the album, and despite the void left by Dave, it is a pretty damn good song and is some of Sammy’s best work in the band. “Love Walks In” is a pretty schmaltzy love song, which is OK, even though it is pretty much the polar opposite of “Ain’t Talkin ‘Bout Love”. I like it nonetheless, and it has some good harmony backing vocals and solid drumming from Alex Van Halen. The title track is decent, and the album ends with their closest replication of what Van Halen used to be before they traded in their Jack Daniels and girls on each arm for an assistant coaching job in youth league soccer, on the song “Inside”.
To compare and contrast, David Lee Roth recruited Steve Vai, who was about as close as one can come to being in Eddie’s league without quite getting there. He really can play, and gave Dave the credibility he desperately needed, along with some really good songs as well. Like “5150” and most other albums, there are some filler tracks, but there are some very notable high points, and with Dave on point, the attitude and charisma are closer to the roots, even if it lacks some of the overall musicality from when he also had Michael Anthony on backing vocals and Alex Van Halen on drums.
The record opens with “Yankee Rose”, and the infamous opening line from its video, from Roth in full tribal gear, ranting “Give me a bottle of anything… and a glazed donut… TO GO!” Dave is slowly transforming from rock god to cartoon character here, but Steve Vai keeps him on track on this song as well as the rest of the record. “Shyboy” is probably the most Van Halen-sounding song here, and would have easily blended in with some of the tracks on “Fair Warning” or “Women and Children First”. “I’m Easy” is Dave the showman selling his wares. “Goin’ Crazy” is their version of blended guitars and synthesizers, and like “Dreams” from Van Halen, it is good, if not great.
They do a take on the blues-rock standard “Tobacco Road”, and I really like the slow-jam riff of “Big Trouble”. Like “5150”, this is another good effort, and probably the best record Roth ever released after he left the band. If for some reason you aren’t familiar with David Lee Roth, you can understand him completely in one track, the last song which is another standard recorded by many including Frank Sinatra, “That’s Life”. “I’ve been a puppet, a poet, a pirate, a pauper… NOW I’M A KING!” That self-proclaimed and fully validated cockiness is what Van Halen missed sorely with Sammy Hagar, even if Sammy is probably a much humbler and more tolerable guy to sit down and have a beer or three with.
We all know the rest of the story. Eventually, David Lee Roth made his way back to Van Halen and stayed in the band until we lost Eddie. Unfortunately, his voice didn’t join him and he was a shell of his former self by the time that happened. Sammy broke off with Michael Anthony and John Bonham’s son Jason to form his own act, and is still rocking Cabo San Lucas and wherever else the road may take them. Eddie’s son Wolfgang is now leading his own band Mammoth (the original band name of Van Halen) after replacing Michael Anthony in his dad’s band. A lot of hard feelings and rivalries are slowly dissipating, as each of those involved from all acts look back and know their lives are better for the music of Edward Van Halen. So is mine.
The dial of variety continues to spin, as we pivot back to the world of country music today for the debut album from Dwight Yoakam, “Guitars, Cadillacs, Etc., Etc.”. Yoakam was a hybrid, and what I see and hear here is a new artist with an older, classic sound. Not surprisingly, I loved this album as he tapped into the roots of country music. This record is rated as the #8 country album of all time on tasteofcountry.com.
Up until now, I have most closely associated Yoakam for his role as an absolutely wretched human being in the movie “Sling Blade”, playing an abusive and ignorant live-in boyfriend. Thankfully, that is not who we have singing vintage country music to us here, although I do highly recommend that movie if you haven’t seen it. Most of these songs are Yoakam originals, although he opens with the James Horton classic “Honky Tonk Man”. This record gets straight to the point, and is exactly what I would want it to be. Ballads like “It Won’t Hurt” and “South of Cincinnati” have an old school Hank Williams feel to them, and up-tempo songs like “I’ll Be Gone” and the title track are absolutely great listening. I can’t overstate how much I enjoyed this record.
Oddly enough, if there is one song I didn’t love on the record, it is his cover of the Johnny Cash classic “Ring of Fire”. Trying to update any song sung by Cash is risky business, and I think what is lost here is the dramatic and dark feel of the song, as he turns it into an up-tempo country swing song. The tone of his voice, with a twang not unlike Willie Nelson, doesn’t match up to the original. That being said, as a tangential aside, if you want to see a completely off-the-wall version of “Ring of Fire”, check out the version American Idol singer Adam Lambert performed, with coaching from Randy Travis. This absurd cover is exactly what I’m talking about, in that if you are falling into a ring of fire, there must be a hint of exotic crisis that is present on both the Cash original and Lambert’s middle-eastern update. Randy Travis did not know what to make of Adam Lambert, just like you are all probably just as confused by my reference here.
Anyway, this record, which was NOT available on my standard streaming service, is a wonderful debut from a talented artist, and in my opinion, is fully worthy of the high praise that is heaped upon this effort.
1986 would prove to be a huge year for metal music, and I think the epicenter of that metal mania was the 2nd Floor North of McCowen Hall at the University of Northern Colorado. My freshman year in college will always be remembered as the year we blended old friends with new. At our school, in our dorm, and even on our floor, there was an interesting integration of pre-existing friend groups from high school. Our pack from Ponderosa eventually merged in with a group from Smoky Hill, Boulder Fairview, and a smaller contingent from Lewis Palmer to form one extended society of dudes that remains connected and friends to this day. We all brought our own interests and influences to the scene, but I will never forget the forced entry of Metallica, primarily from the Boulder Fairview group, into our hazy world. I will give those guys credit, they had the best stereo on the floor, and were never shy about using it. “Master of Puppets” by Metallica rocked the foundations of our building for many months, whether we wanted to hear it or not. Admittedly it was an acquired taste, but by the end of freshman year, I had grown fond of the metalheads from Boulder as well as Metallica. “Master of Puppets” is considered a masterpiece by many, as it is the last album featuring Cliff Burton on bass and is rated as the #97 on Rolling Stone’s Top 500 Greatest Albums of All Time. It is also the #2 rated heavy metal album of all time on loudwire.com.
This album feels more complex and yet more pure to their roots when compared to “Ride The Lightning”. Similar in structure as it opens with the soft and haunting acoustic intro from “Battery”, the album then explodes into the title track. “Master of Puppets” is one of the defining moments and songs of this highly influential band, and it is an intense and powerful ride. The opening riff is dramatic and sets the tone for the rest of this great track. This entire album is an insane cacophony of guitar, drums and bass. Aside from the title track, the three most powerful, and also my favorite tracks, are “Disposable Heroes”, “Leper Messiah”, and “Damage, Inc.” The furious tempo is blinding, and at one point on “Disposable Heroes”, the band is playing at 220 beats per minute. Again, the creative leadership of the band comes from guitarist and vocalist James Hetfield and drummer Lars Ulrich, although both Kirk Hammett and the classically trained Cliff Burton bring a lot to the mix with their talents.
I will never hear “Master of Puppets” and not be immediately transported back to 1986 and room 205, wondering what the hell was going on across the hall. I’m glad I took the time to find out…
An interesting contrast, we go from one massive ‘80s R&B hit machine to another, as we transition from Whitney Houston to Janet Jackson. As I quickly realized when an impromptu dance party broke out in the car on the way to the airport yesterday, I enjoyed this album much more than Whitney’s debut album. I think it is safe to say that while Whitney is the technically superior vocalist, Janet’s collaboration with Minneapolis-based Jimmy Jam and Terry Lewis produced a much funkier and alluring set of tunes. Rolling Stone also weighed in with the same view, as this album was rated as the #111 choice on their Top 500 Greatest Albums of All Time.
I was surprised to hear how many major hits were all contained on this one album. The title track kicks things off with a disciplined beat, and then we all take a funky step back in time when the first beats of “Nasty” come on. “No!… My first name ain’t baby, It’s Janet… Ms. Jackson if you’re nasty!” The powerful self-confidence continues with another great tune, “What Have You Done for Me Lately”. I’m sure it wasn’t easy for Janet to break away from the rest of the Jackson family to collaborate with a new team, but they hit a real home run with this album.
After “You Can Be Mine”, which is a bit of a filler track, the hits continue with “The Pleasure Principle” and my favorite song on the album, “When I Think of You”. This upbeat and cheery love song was Janet’s first number one single after many near misses.
“He Doesn’t Know I’m Alive” is a bit of a downer, but the album finishes with TWO songs that represent budding, happy love… “Let’s Wait Awhile” and “Funny How Time Flies (When You’re Having Fun)”. Regardless of which one you prefer, they are the perfect capstone for a really outstanding record that is a blast to listen to, from beginning to end. Next time you are on your way to the airport, I highly recommend this selection.
Another massive hit machine made her debut late in 1985, and although it took awhile to build some real momentum, by the end of 1986, the self-titled debut album “Whitney Houston” was not only the #1 selling album of 1986, it achieved such lofty status it is voted as #249 on Rolling Stone’s Top 500 Greatest Albums of All Time. I can’t say I was ever a huge fan of her music, but I absolutely respect and appreciate her vocal talent and her massive influence on the pop and R&B scene for the rest of her life, even as it ended far too soon.
Of the ten songs on this album, eight of them were ultimately released as singles, which is perhaps the highest ratio of singles from an album I have ever seen. I didn’t realize this at the time, but out of those eight singles, it was actually the last three released that became mega-hits for Houston. “Saving All My Love for You”, “How Will I Know”, which is probably the catchiest and most preferred track for me, and “Greatest Love of All” all reached number one status, but it is fascinating those were the last three tracks the record company deemed worthy of a solo release. On the two hit ballads, as well as the rest of the album, you can hear the pure tone, remarkable range and vocal power of her voice. Coming from a musical family, including her cousin Dionne Warwick, it isn’t surprising that she is so gifted, but just like Michael from the Jackson family, one has to stand out above the rest, and Whitney was definitely that unique star-power.
There is another more tangible link to the Jacksons, as brother Jermaine produced three of the songs on the album. There are some interesting collaborations on the album, as Jermaine joins in on two tracks, and a third also features R&B legend Teddy Pendergrass. Admittedly, those songs are among my least favorite tracks on the album, as neither one truly matches up with Houston (especially Jermain), and I’m glad the powerhouse singles of this album were saved for Whitney alone.
As I noted, this was never a big favorite of mine, but I enjoyed hearing back from her at the beginning of her phenomenal career, and I certainly recall that back in 1986, her music was everywhere, and if you knew someone into pop music, they were probably singing along to “How Will I Know”.
An intentional and accidental selection today, we have the album “Dead Man’s Party” from Oingo Boingo, who was led by vocalist and songwriter Danny Elfman. Oingo Boingo was one of many bands riding the wave of new wave success, and although they do have a British sound that I would equate to The Fixx on Red Bull, they hail from southern California. Oingo Boingo is a natural selection for this list given their success and influence in the 1980s, but the primary reason I have included them will be noted below.
I really enjoyed this album a lot, more so than I expected. My previous awareness of the band was pretty well contained to the title track on this record and a few other brief snapshots. I have to say, this was an entertaining listen that I played a couple of extra times for the fun of it. The first song, “Just Another Day”, was a good upbeat rocker to open the album. Next comes the title track, which I knew was from some ‘80s movie that I could not recall. Some further research reminded me that they performed this song at a party in the movie “Back to School” starring Rodney Dangerfield.
Each of the tracks was unique and different in sound, and I can resonate with my son’s comment as we listened to the album last night. “I love this, each of these songs sound like they could be the soundtrack for a cartoon.” He isn’t that far off.
Another song that really stood out, and is probably my favorite song on the album, is the song “Stay”. It has a beautiful and infectious melody and is a guaranteed add to my playlist. I received another unexpected surprise on the last track of the record, when the song “Weird Science” came on. Two ‘80s movie hits on one album? Yes, it is true. Who can forget that epic film with Anthony Michael Hall and Kelly LeBrock. A comical film and song, providing even more validation that Oingo Boingo belonged on the list for 1985.
All of that musical goodness aside, I primarily selected Oingo Boingo in tribute to my good friend David, a running friend of mine for almost 25 years. Oingo Boingo is either his favorite band, or very high on the list. David is one of the most unabashed and overtly positive people I have ever met. He is a deacon in his church, and he enjoys brewing beer and playing disc golf, as well as raising chickens. He always makes me laugh, he always challenges me to think, and he is a dear and trusted friend like all of my running pack, current and past. Music is very much a part of my running life, particularly in recent years, and when I’m not listening to it, I’m frequently discussing it and sharing it with my running buddies. I know of at least one other album on this list that is directly inspired by a member of the group, and pretty much every friend in that pack has helped shape my musical tastes for the past three decades. David is also a very accomplished hiker, and you can read all about his amazing hike on the Pacific Crest Trail at wanderingdave.com. I love him like a brother… and Oingo Boingo isn’t too bad either!
One of the more acclaimed albums in 1985 flew under the radar of the mainstream, as British vocalist Kate Bush released her fifth album, “Hounds of Love”. I wasn’t quite sure what to expect from this record, but I did like it more than I expected to, and it is rated as the #68 album on Rolling Stone’s Top 500 Greatest Albums of All Time. Most may recall her most well known single, “Running Up That Hill (A Deal With God)”, which leads off the album, but there is more to see and hear here.
The sound of her music is very theatrical and dramatic, and her voice is very unique and resonates nicely against her own piano playing, along with the accompaniment of many other musicians. Aside from that first song, which I really enjoyed hearing again, the rest of side one is a collection of stand-alone songs that all were nice to learn and appreciate, even if one might not consider Bush to be an easy listen. My other favorites on side one include the title track, “The Big Sky”, and perhaps my second-favorite song on the album, “Cloudbusting”.
Side two is a thematic collection of songs, about being lost at sea and drifting in the darkness, physically and psychologically. It is very inventive and unique, and while some of it I like better than the rest, I really enjoyed the creativity and alternate sounds that were bold choices in the highly commercial times of the 1980s music scene. A personal favorite in this suite is “Jig of Life”, with a very Irish sounding and lively string ensemble. I envision that a live performance of this music would be equally nontraditional and theatrical in nature, best set in an intimate setting with its subtle musical reflections.
I understand why this record remains highly thought of, and I really respect the creative leadership and ownership Kate Bush displayed for shaping her music.
A movement ignited in late 1984 that culminated with two mega-hits that live on today, and perhaps the single greatest one-day collection of talent in a concert ever performed. For me, at the time, Live Aid was primarily about the reunion of Led Zeppelin, whose three remaining members reunited for the first time on stage since John Bonham’s death and the band’s dissolution in 1980, but for most of the world, the overall meaning of this project was much bigger.
It started in December of 1984, when a collection of British artists, known as Band Aid, led by Bob Geldof, lead vocalist for the Boomtown Rats, created a Christmas anthem, “Do They Know It’s Christmas?” The intent of the song was to raise awareness and funds for the hunger crisis across the continent of Africa. It was a massive success, and was the biggest selling single in UK history until Elton John re-recorded “Candle in the Wind” for Princess Diana’s memorial service. Solos were assigned to, and recorded by Paul Young, Boy George, George Michael, Simon Le Bon, and a powerful verse from Bono. Phil Collins played drums and sang backing vocals, and other notables in the chorus included Geldof, Sting, Jody Watley, and most of the members of Ultravox, Bananarama, Spandau Ballet, Duran Duran, Culture Club, and others from the British pop scene. At the moment, it seemed like a very successful one-off creation, but the movement was just starting.
In the United States, Harry Belafonte, a very active and socially conscious singer, embraced this concept, and signed up Lionel Richie and Michael Jackson to write a U.S. version of the anthem, entitled “We Are the World”. Produced by Quincy Jones and Micheal Omartian, the entire ensemble came together on one night in late January, 1985 in Los Angeles to record the track. Similar in format to “Do They Know It’s Christmas”, it features a remarkable collection of many of the greatest U.S. artists of the 20th century, across many generations and genres. Solos were assigned to Lionel Richie, Stevie Wonder, Paul Simon, Kenny Rogers, James Ingram, Tina Turner, Billy Joel, Michael Jackson, Diana Ross, Dionne Warwick, Willie Nelson, Al Jarreau, Bruce Springsteen, Kenny Loggins, Steve Perry, Darryl Hall, Huey Lewis, Cyndi Lauper, and Kim Carnes. Closing solos were granted to Bob Dylan, Ray Charles, Wonder and Springsteen, along with Charles and Ingram. The U.S. version had truly stepped up the game; this was indeed an epic collection of talent. Among the many other legends in the ensemble chorus were Bob Geldof, signifying continuation from Band Aid, Harry Belafonte, the project initiator, and a long list that included Dan Aykroyd, Lindsey Buckingham, Sheila E., almost all of Michael Jackson’s siblings, Waylon Jennings, Bette Midler, The Pointer Sisters, and Smokey Robinson. How Smokey didn’t land a solo within that list above boggles my mind, but maybe he was having an off night. Anyway, this was also a massive success, and it sold over 20 million copies, becoming the 8th highest selling single of all time.
Like the Christmas track, it is impossible today to listen to this song and not only marvel at the collection of talent, but also some of the endearing quirks of the song. Among my favorites: Michael Jackson insisting that he record his solos away from the group, Stevie Wonder telling the entire group he and Ray Charles would drive them all home if they didn’t finish this in one night, Kenny Rogers’ odd but charming placement in this lineup, the magical high-tenor power-trio of Kenny Loggins, Steve Perry and Darryl Hall singing in succession, and Huey Lewis, Cyndi Lauper and Kim Carnes all trying to sing over each other, which was supposedly a nightmare in early rehearsals. Overall, I think the performances were genuine and impressive, and for me, Ray Charles absolutely took over with his smoky voice and the unique tone of his passionate delivery.
To Geldof’s credit, the movement continued, and the idea for a series of live fund-raising concerts became the next task. Ultimately, the date of July 13, 1985 was selected, with dual venues in London (Wembley Stadium) and Philadelphia (JFK Stadium). Inspired by the energy of this campaign, Geldof was able to secure an absolutely stunning list of artists who appeared at the two shows. Naturally, the London show started first, and the Philadelphia show started a few hours later, and both were all-day events before completely jam-packed stadium audiences. One of the remarkable and unique feats of the day was delivered by Phil Collins, who performed at the UK show, then boarded the Concorde for the US, on a flight that was just a bit over three hours in duration. The lineups were a perfect blend of most of the great rock acts of the 20th century, with significant overlap from many of the modern pop and rock acts who had served to make the two recordings a hit.
The UK Lineup: (Wembley Stadium) – UK Anthem to open the show, Status Quo, The Style Council, The Boomtown Rats, Adam Ant, Ultravox, Spandau Ballet, Elvis Costello, Nik Kershaw, Sade, Sting, Phil Collins, Branford Marsalis, Howard Jones, Bryan Ferry (w/ David Gilmour), Paul Young, U2, Dire Straits, Queen, David Bowie, The Who, Elton John (w/ Kiki Dee and George Michael), and Paul McCartney, along with the rest of the ensemble who sang “Let It Be” and “Do They Know It’s Christmas” as the show closed.
The US Lineup: (JFK Stadium) – Joan Baez, The Hooters, Four Tops, Billy Ocean, Black Sabbath, Run-D.M.C., Rick Springfield, REO Speedwagon, Crosby, Stills, and Nash, Judas Priest, Bryan Adams, The Beach Boys, George Thorogood and the Destroyers (w/ Bo Diddley and Albert Collins), Simple Minds, Pretenders, Santana (W/ Pat Metherd), Ashford & Simpson (w/ Teddy Pendergrass), Madonna, Tom Petty and the Heartbreakers, Kenny Loggins, The Cars, Neil Young, The Power Station, The Thompson Twins (w/ Nile Rodgers), Eric Clapton, Phil Collins (Again!!), Led Zeppelin, Crosby, Stills, Nash AND Young, Duran Duran, Patti Labelle, Hall & Oates (w/ Eddie Kendricks & David Ruffin), Mick Jagger and Tina Turner, Bob Dylan (w/ Keith Richards & Ronnie Wood), and the stage ensemble closing with “We Are the World”.
It is almost too much to believe that all of this happened at a dual set of shows on one day, but it did, and it was broadcast all around the world. In the U.S., the entire show was shown on MTV. I have many personal memories of a particular set to elaborate on, but first let’s go through the highlights of this amazing day.
First of all, I thought it was very smoothly produced for such complicated egos and logistics. Each artist was allotted a roughly 20-minute set, with some minor variations, and it seemed to transition very well from act to act on both stages. From the UK show, I liked the early insertion of many modern acts, setting the stage for the titans to come. Elvis Costello performed a great version of the Beatles hit “All You Need Is Love”, and the blended set with Sting, Phil Collins and Branford Marsalis was a great mix. U2 cemented their role as stadium artists with a powerful rendition of “Bad”, and legends David Bowie and The Who represented themselves very well, and Kenney Jones was still tagging along on drums, as it was their first performance since their “farewell tour” in 1982. The second-best performance of the night had to be Elton John, he sounded amazing, and his duets with Kiki Dee “Don’t Go Breaking My Heart” and George Michael “Don’t Let the Sun Go Down on Me” were really well done. “Rocket Man” was another show-stopper. Naturally, when Paul McCartney took the stage to close the show, he was anointed the expectation and privilege due the greatest living recording artist from the UK, and he did not disappoint.
Of course, as it has been revisited recently, the most powerful performance of the show from either stadium was when Freddie Mercury and Queen took the stage. Queen has always been uniquely beloved in the UK, and they were spectacular in this performance. Starting with “Bohemian Rhapsody”, which bleeds into “Radio Ga Ga”, you see the entire stadium completely transformed and within the control of Mr. Mercury. It is a stunning visual display, with great audio dynamics as well. The set continues with “Hammer to Fall”, builds energy with “Crazy Little Thing Called Love”, and climaxes with the blockbuster duo of “We Will Rock You” / “We Are the Champions”. Among a setlist overloaded with legends, Queen clearly won the day and night.
From the U.S. set, Joan Baez reflected back on Woodstock as she celebrated the opening. The Four Tops were a great early addition, and we saw another reunion as the original Black Sabbath lineup reunited for the first time in many years. Run-D.M.C. made the stage, which was a good add for the evolving trends of hip-hop to be represented, just 90 miles south of Queens. Judas Priest was another solid metal act, and Crosby, Stills, Nash & Young, in both of their appearances, along with Santana, also bridged the gap back to Woodstock. The Beach Boys were able to bring Brian Wilson out of seclusion to perform a beautiful version of “Wouldn’t It Be Nice”, and Madonna, Tom Petty and The Cars also contributed to the modern blend of acts. Hall & Oates brought out Eddie Kendricks and David Ruffin from the Temptations for a Motown medley that was great. The Rolling Stones technically did not perform, as Mick and Keith were “on a break” at the time, but the first of the last two performances were the famous duet of Mick Jagger & Tina Turner performing among others, “It’s Only Rock ‘n’ Roll (But I Like It)”, which was a phenomenal and triumphant performance by Turner. The Stones were also represented well in the last set, as Keith Richards and Ronnie Wood backed up Bob Dylan’s set, including a great version of “Blowin’ in the Wind”. Like the UK show, the U.S. performance concluded with the ensemble performance of “We Are the World”, which featured Lionel Richie and some of the original performers from the studio version, many of them jumping in to sing other parts. Noticeably, among the biggest stars from “We Are the World” who didn’t perform that day were Michael Jackson, Bruce Springsteen and Stevie Wonder. It was still an amazing day, one that will likely never be matched in star-power again.
As I noted above, while all of this was great to watch, the 1985 me was still all about Led Zeppelin, so during the days leading up the concert, as rumors swirled that some collection of the band may play, had me over the top in excitement. I worked an early shift at King Soopers that morning so I missed a lot of the early performances live, but got home in time for the late afternoon as sunset fell on Philadelphia. As the crowd cheered Phil Collins for his second performance on two continents on one day, the crowd and I, watching alone in my basement, lost our collective minds. As I dreamed, Phil Collins introduced “Mr. Robert Plant, Mr. Jimmy Page, and Mr. John Paul Jones” to the stage, and it was finally happening… Led Zeppelin was back!!!
Visually, they looked great. I still am searching to find my version of the bright blue shirt Robert Plant wore, as he looked every bit the king of the stage as the ‘80s had evolved his appearance. Jimmy wore a white scarf and had his swagger back, and John Paul Jones was as crisp and smooth as ever on bass. The cymbals crashed, and “Rock and Roll” ignited the crowd. In my dreams, I would tell you this was the band at their triumphant best. Sadly, that wasn’t quite the case. Robert had been wearing down his voice from touring and was not fresh on the upper-end, like many of the Zeppelin shows in the late 1970s. Word has it that Jimmy had probably had a few too many pre-show refreshments before the set, and his guitar playing was not perfectly tuned or that precise. Only Jones, like always, was the fully prepared professional. To fill in for Bonham, both Phil Collins and Tony Thompson from Chic and the Power Station played drums. They weren’t perfect, and later it was said that Page and the band were underwhelmed by their performance, but the truth is, aside from Jones, none of the act were fully ready or prepared for this primetime moment.
However, as an 18-year-old recent high-school graduate who lettered in Led Zeppelin (and tennis), it was still one of the most memorable and exciting moments of my musical life. Certainly, it was the highest of the highs for a show I didn’t attend personally. After they tore through “Whole Lotta Love” and “Stairway to Heaven”, I remember running outside, jumping up and down, completely overtaken with adrenaline. I tried to explain to my next-door neighbor what had just happened, but of course she didn’t get it. Even my parents appreciated the significance, and they suffered with me through a replay of this inconsistent performance that was the highlight of my entire summer.
In the end, there are mixed reviews and memories of all of this. Cynics and skeptics will point to inefficiencies and issues that plagued the actual usage of funds and food as it was intended, but this event set in motion a trend of fundraising shows that would follow in the many years to follow. None would ever reach quite the heights of Live Aid, “We Are The World”, and “Do They Know It’s Christmas?” My streaming service had almost 10 hours of live performances that I listened to over the last 24 hours; it has been a real mission and gift. I also rewatched the Zeppelin set, as the band was so disappointed in their performance, they did not allow it to be included in any retrospective audio or video releases. It has been a great flashback, and a memory myself and many others will never forget.
I really DID letter in Led Zeppelin!My letter jacket looks WAY better on someone else…
A Lifetime-Plus of Music 