Musical Journey Through the Final Week of December: This Week in Music History
As the calendar year draws to a close, the week of December 22nd through December 28th stands as a powerful reminder that music history never sleeps—not even during the holidays. In this captivating episode of “This Week in Music History,” hosts Buzz Knight and Harry Jacobs take listeners on an extraordinary journey through decades of musical milestones, tragic losses, and triumphant achievements that have shaped the soundtrack of our lives.
The conversation opens with a poignant reflection on the end of another year of exploring music’s rich tapestry. Buzz muses on how, despite covering similar calendar dates year after year, they continue to uncover new stories and perspectives. “When you think about it, you would think, well, if you do it year after year, you’re going to be talking about the same things,” Buzz observes. “And the truth is, we continue to uncover new and different things.” This sentiment perfectly captures the infinite depth of music history and the endless stories waiting to be told.
The Clash’s Revolutionary Voice Falls Silent
December 22nd marks the anniversary of one of punk rock’s most devastating losses—the death of Joe Strummer in 2002. Born John Meller, the Clash frontman passed away from pneumonia at a time when his influence on music and culture was still reverberating through generations of artists. The Clash represented more than just a band; they were a political and social force that challenged conventions and inspired countless musicians to use their platform for more than entertainment. Strummer’s legacy as a voice for the disenfranchised and his commitment to authentic, passionate rock and roll continues to inspire artists today.
A Candle in the Wind That Lost Its Luster
The hosts touch on Elton John’s iconic “Candle in the Wind,” originally written about Marilyn Monroe in 1967. While the song initially resonated as a beautiful tribute, its later reworking for Princess Diana’s funeral created what Buzz describes as “overkill.” The constant repetition following Diana’s tragic death in 1997 caused the song to lose some of its original emotional impact for many listeners. This phenomenon speaks to how even the most beautiful pieces of music can become dulled through overexposure, demonstrating the delicate balance between honoring memory and respecting the power of restraint.
Cheap Trick’s Complex Family Dynamics
A fascinating deep dive into the internal dynamics of Cheap Trick reveals the complicated nature of band relationships and business structures. Rick Nielsen, the legendary guitar player known for his collection of hundreds of guitars—including his famous five-neck Hamer guitar—represents the performative and creative heart of Cheap Trick. The band’s 2016 Rock and Roll Hall of Fame induction marked a peak moment, but beneath the surface lay complex tensions.
The departure of bassist Bunny Carlos and the subsequent addition of Rick Nielsen’s son, Dax, initially appeared to follow the pattern of other famous rock family transitions, like Michael Anthony’s replacement by Wolfgang Van Halen in Van Halen. However, the reality proved far more nuanced. Buzz’s research uncovered ongoing strife within the band, though Carlos remains part of the Cheap Trick corporation—a business structure similar to Journey’s arrangement with Steve Perry. This setup ensures that founding members maintain ownership stakes even when they’re no longer actively touring, though it can also create lasting tension and legal complications.
The hosts explore the darker side of band politics, touching on stories of sabotage and ego clashes. There are tales of Journey band members allegedly pulling on Steve Perry’s microphone cord during performances to make him trip—petty acts of revenge that reveal the intense pressures and personalities at play in successful rock bands. Yet they also note that time can heal wounds, pointing to Perry and Neal Schon’s apparently warm relationship at the Rock and Roll Hall of Fame induction, despite whatever conflicts may have existed in their past.
The Therapeutic Approach: A New Model for Band Longevity
In a refreshing counterpoint to tales of band dysfunction, Buzz shares insights from his conversation with The Head and the Heart on his “Music Saved Me” podcast. This indie pop alternative band has taken an innovative approach to managing interpersonal relationships: group therapy. Band members openly discuss how they’ve used professional counseling to navigate the challenges of creative collaboration, life on the road, and the inevitable conflicts that arise when passionate artists work together for years.
This revelation prompts fascinating speculation about how many legendary bands might have avoided breakups, lawsuits, and lasting bitterness if they’d embraced therapy earlier. The deeply personal nature of musical creation—leaving your heart exposed in every performance, every recording—makes these relationships particularly vulnerable to conflict. As Harry notes, “even if it’s a drummer or a bass player, it’s still your piece of that performance of that song you left your heart out there.” The music exists forever as a testament to that vulnerability, creating permanent emotional stakes that can intensify disagreements and hurt feelings.
Joe Cocker: A Voice That Couldn’t Be Contained
The passing of Joe Cocker at age 70 in 2014 brings reflection on an artist whose expressive, explosive performances made him unforgettable. While 70 might not seem particularly old from our current vantage point—as Buzz and Harry, approaching 60 and 70 respectively, can attest—Cocker’s hard-living lifestyle took its toll. His performances were legendary, inspiring John Belushi’s spot-on “Saturday Night Live” impersonation that Cocker himself found hilarious.
Cocker’s career highlights include his cover of The Beatles’ “With a Little Help from My Friends,” which became the theme for the television series “The Wonder Years,” and “Up Where We Belong,” his duet with Jennifer Warnes from the film “An Officer and a Gentleman.” The latter song became inextricably linked with that powerful film starring Richard Gere and Lou Gossett Jr., whose portrayal of a drill instructor was genuinely frightening and contributed to one of cinema’s most memorable moments—Gere’s character’s desperate declaration: “I got nowhere else to go.”
Eddie Vedder: The Humble Superstar
December 23rd celebrates the birthday of Eddie Vedder, born in 1964, whose appreciation for musical history and those who came before him sets him apart in an industry often dominated by ego. The hosts draw parallels to Dave Grohl, noting how both artists exhibit genuine humility and respect for their influences. Vedder’s collaborations with Neil Young, particularly their version of “Rockin’ in the Free World,” helped establish his credibility beyond Pearl Jam circles, while his passionate renditions of The Who’s classics—especially “Love, Reign o’er Me”—have become legendary in their own right.
Vedder’s versatility shines through in his cover work, from The Waiting by Tom Petty and the Heartbreakers to The English Beat’s “Save It for Later,” featured in the television series “The Bear.” His interpretation of Tom Petty’s “Room at the Top” particularly resonates, described as “so beautiful” in its delicate handling of Petty’s original composition. The discussion of “The Bear” opens a tangent about the show’s exceptional soundtrack curation, featuring all Tom Petty covers including a barn-burning version of “Runnin’ Down the Dream” by Larkin Poe.
Despite Pearl Jam’s reputation for deep cuts and extensive catalogs—which might intimidate casual fans—the hosts acknowledge being captivated whenever they hear Vedder sing anything. His voice and interpretive skills transcend the barrier of familiarity, making even unknown material compelling.
The Unsung Guitar Legends of Country Music
The conversation shifts to Glen Campbell, whose passing on December 24th prompts reflection on his extraordinary but often underappreciated guitar skills. Campbell represents a generation of country musicians whose technical prowess gets overshadowed by genre stereotypes. Like Roy Clark, Campbell could do virtually anything on guitar, yet many people don’t associate country music with virtuoso instrumentalists.
Campbell’s session work tells the story of his versatility—he played on albums by The Monkees, The Beach Boys, Frank Sinatra, and soundtracks for Elvis films and Phil Spector productions. This breadth demonstrates how the Nashville studio system produced some of the most skilled musicians in any genre, even if they didn’t always receive recognition outside country music circles.
The discussion of Campbell also touches on Brian Wilson’s 1964 breakdown, a tragic moment that had long-lasting consequences for the Beach Boys and Wilson himself. The psychological damage inflicted by Wilson’s abusive father Murry Wilson—compared to Joe Jackson’s treatment of his children—demonstrates how family trauma can derail even the most talented artists. Brian’s struggles with touring and performing were just the beginning of severe mental health challenges that would plague him throughout his career.
The Police: Reunion Done Right
In 2007, The Police earned recognition as the year’s highest-grossing tour, thirty years after the band’s inception and 24-25 years after their previous collaboration. The reunion tour, which Buzz witnessed in Las Vegas, comprised over 150 shows worldwide and generated nearly $400 million—not a bad payday for a comeback. This success demonstrated the enduring appeal of Sting, Andy Summers, and Stewart Copeland’s unique blend of rock, reggae, and new wave, proving that some artistic chemistry remains potent even after decades apart.
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