What the Riff Next Gen

By Rob Marbury, Wayne Rowan, Bruce Fricks, John LynchMusic Music Commentary

What the Riff Next Gen episodes

January 15, 2024 1967 - September: The Four Tops ”Reach Out”
One of the groups that defined the Motown sound was the Detroit Quartet known as The Four Tops. The group originally called themselves the Four Aims, but changed the name to avoid confusion with the Ames Brothers. The group was composed of Abdul "Duke" Fakir, Renaldo "Obie" Benson, Lawrence Payton, and lead singer Levi Stubbs, four boys who met at Pershing High School and would remain in the same lineup as the Four Tops from 1953 through 1997.
The quartet signed to Chess Records in 1956, but did not experience success with that label. In fact they would not find significant success with multiple records including Red Top, Riverside Records, and Columbia Records for the next seven years. What they would gain is a lot of opportunities to polish their act and stage presence with extensive touring. Berry Gordy Jr. convinced them to move to Motown in 1963, initially to record jazz standards and sing backup. At Motown they experienced success in their own right.
Reach Out is their fourth studio album, and their biggest selling album. The Four Tops had multiple hits, primarily through the writing of the Motown team known as Holland-Dozier-Holland. Reach Out would be their last album with that songwriting team, as Holland-Dozier-Holland left Motown shortly after this album was recorded. It went to number 11 on the Billboard Top LP's chart.
The Four Tops were inducted into the Rock and Roll Hall of Fame in 1990, and still perform today, with Duke Fakir as the sole original member.
Bruce presents this soulful album in this week's podcast.

Bernadette
This song was released in February of 1967 and reached number 4 on the Billboard Hot 100. It would be the final top 10 hit for the Four Tops in the 1960's. The song is a plea from the boy to Bernadette to stick with him.
Standing In the Shadows of Love
This single is a heartbreak song about sleepless nights and soul searching for what went wrong. It hit number 2 on the soul charts and number 6 on the Billboard Hot 100 in 1967. It is a bit of a reworked song, as the Supremes had a B-side in 1963 called "Standing at the Crossroads of Love."
Last Train to Clarksville
Reach Out was a mixture of original songs and covers, and this song made famous by the Monkees is one of the covers. They also included "If I Were a Carpenter," "Walk Away Renee," and "I'm A Believer" on this album.
Reach Out I'll Be There
Here is the signature song of the Four Tops. It was released in 1966 and spent two weeks at the top of the Billboard Hot 100. It alternates between a minor and major key, giving it a Russian feel in the verse and a gospel feel in the chorus according to Lamont Dozier. The writers intentionally put Levi Stubbs at the top of his vocal range to make sure there was a hunger and wailing in his voice.

ENTERTAINMENT TRACK:
Light My Fire by The Doors
The Doors appearance on The Ed Sullivan Show was their first and last when they promised to change the lyrics "girl we couldn't get much higher," only to leave them unedited in the live performance.

STAFF PICKS:
Brown Eyed Girl by Van Morrison
Lynch launches the staff picks with this hit single off Morrison's debut album, which peaked at number 10 on the Billboard Hot 100. The nostalgic lyrics which seem tame today were considered too suggestive for the time and were banned by some radio stations. However, it remains popular today, and as of 2015 was the most downloaded and played song of the entire 60's decade.
The Letter by The Box Tops
Rob features a short song with a blue-eyed soul feel. The Box Tops took this song to number 1 on the charts, making it The Box Tops best seller. Joe Coker would cover this in 1970, and take it to number 7 on the charts. The producer overdubbed the song with an airplane sound he located at a local library.
Testify by Parliament
Wayne brings us an early hit from George Clinton and Parliament before their Funkadelic days. Actually, George Clinton is the only member of Parliament who is recorded on this song. The group was based in New Jersey and the other members were not able to travel to Detroit for the recording. As a result, Clinton is joined by local session musicians and singers to complete the song.
Funky Broadway by Wilson Pickett
Bruce closes out the staff picks with a song that Pickett picked up from Arlester “Dyke” Christian. Dyke Christian was living in Phoenix and playing with a group called Dyke & the Blazers. Unfortunatley in 1971 Dyke Christian was shot to death at the age of 27. This is the first charting single with the word "funk" in the title.

INSTRUMENTAL TRACK:
Groovin' by Booker T. & the M.G.'s
We finish off with an instrumental cover of the ballad made famous by The Rascals.
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NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.
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**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.
32 min
January 08, 2024 1970 - July: Crabby Appleton “Crabby Appleton”
We may have an obscure album for your listening pleasure today. Crabby Appleton was a short-lived band that was formed by the combination of musicians from an acid blues band called Stonehenge and singer-songwriter frontman Michael Fennelly. The band is out of the Laurel Canyon counterculture, which produced many groups like The Mamas & the Papas, Jim Morrison, Carole King, and Jackson Browne. The group gets its name from a character on the late 50's cartoon series Tom Terrific, which was a part of the children's television show "Captain Kangaroo." Their debut album was eponymously named Crabby Appleton.
In addition to Michael Fennelly, the group consisted of percussionist Felix "Flaco" Falcon, Casey Foutz on keyboards, Phil Jones on drums, and Hank Harvey on bass. Phil Jones was the catalyst in the formation of the group after he met Fennelly in a club on the Sunset Strip and asked him to join Stonehenge as lead singer and guitarist. The group signed with Elektra Records, and had a top 40 single with "Go Back." Their second album was called "Rotten to the Core" and was recorded in 1971. After experiencing disappointing sales with this sophomore effort the group split up. They would get some mileage out of their initial success before this happened, and would appear on American Bandstand as well as opening for a number of groups including the Doors, Three Dog Night, ABBA, and the Guess Who.
Wayne takes us through this lesser known rock album. Friend of the show Bill Cook sits in for Bruce on this podcast.

Peace by Peace
This song grooves with the Hammond organ and talks about getting back what you give. If you lead with a gun others will respond in kind, while if you lead with peace others will respond with peace. It has a sound similar to the Doors, or Emerson, Lake and Palmer.
Try
The lead song from side two starts and ends with an upbeat groove with a Santana-esque percussion jam sandwiched in the middle. The lyrics are about a relationship that could go several ways. “We can try or we can throw it away.”
Catherine
A slower jam, this short acoustic-based ballad feels like Crosby, Stills, and Nash. It is about a guy who longs for a woman who is in another relationship.
Go Back
This is the hit from the record, which went to number 36 on the Billboard Hot 100. This was called a proto-power-pop single. The song is about a woman in a new relationship who can't give up her love for her ex. “And you know it's not right when you kiss me tonight and you pretend his lips are mine.”

ENTERTAINMENT TRACK:
Main Theme from the motion picture “Chisum”
You can't go wrong with John Wayne. This western was set in 1870's New Mexico.

STAFF PICKS:
Ride Captain Ride by Blues Image
Rob launches the staff picks with a song which got its initial lyrics from the number of keys that singer-guitarist Mike Pinera had on his keyboard. “Seventy-three men sailed up from the San Francisco Bay.” The band is out of Tampa Florida, and this was their only top 40 hit, reaching #4 on the Billboard Hot 100.
Signed, Sealed, Delivered by Stevie Wonder
Lynch brings us a grooving, soulful song that would be the anthem for Motown at the time. It went to number 3 on the Billboard Hot 100. The song itself is about a guy who has some back to his love, realizing that what he has is all he wants, never to roam again.
The Long and Winding Road by the Beatles
Bill features a song off the Beatles “Let It Be” album. It was written by Paul McCartney and was released as a single the month after the group broke up. The original recording was more sparse, and the orchestration was added by Phil Spector. McCartney hated the Spector “wall of sound” arrangement, citing the treatment of the song as one of six reasons for justifying the dissolution of the Beatles partnership.
Ohio by Crosby, Stills, Nash, and Young
Wayne's staff pick takes a political turn with a protest song inspired by the shootings at Kent State. Neil Young wrote and sang lead on this song. Student protests of the expansion of the Vietnam Wars led to a standoff at Kent State in which the National Guard killed four people and wounded nine.

NOVELTY TRACK:
Killer Joe by Quincy Jones
We finish up the podcast with a jazzy number that was popular at the time in 1970.
Thanks for listening to “What the Riff?!?”
NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.
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**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.
35 min
January 01, 2024 1993 - December: Ian Moore “Ian Moore”
Ian Moore may have been born in Berkeley, California, but the sound from his eponymously named debut studio album reflects Austin, Texas, the place he called home. Moore began playing violin at a young age, but switched to guitar as a teen under the influence of artists like Albert King and Stevie Ray Vaughan. Moore's influence runs well beyond the blues genre, however, from Curtis Mayfield to Stevie Wonder, and from Sly & the Family Stone to the Rolling Stones.
Moore's debut album is based in the blues and roots rock. Comparisons to Stevie Ray Vaughan, another Austin guitarist, come naturally with Moore's songwriting lyrics and his obvious guitar skills. The album's success was a testament to Moore's ability to bridge the gap between traditional blues roots and contemporary rock sounds.
While Ian Moore got his start in blues rock, he has been hard to pigeonhole into a single genre. The record company wanted Moore to be a continuation of Stevie Ray Vaughan's legacy, but Moore had other ideas. After his third album submission reflected a more power pop and roots rock sensibility, Capricorn Records dropped him. Moore would continue a career as a touring musician and singer-songwriter, giving up greater fame for greater freedom as an artist to pursue his own path.
Rob brings us this lesser known blues album for this week's podcast
Nothing
The bluesy southern rock opening track to the album is a call back to a far-away love, perhaps reflecting life on the road. “Miles and miles from nowhere but it's always someplace new. My time is spent with strangers but my mind is spent with you.”
Revelation
This funky song reminds us of the Black Crowes. Even the background singers are eerily similar, but beautiful. It chronicles the discovery that the singer's girl is lying to him, and the revelation of her true character. Unlike other lovers, the singer is going to break free of her trap.
Harlem
Inspired by the energy of Harlem, Moore's lyrics explores the ways we are separated from each other by neighborhoods and experiences, even through physical barriers when you're “riding through Harlem in my bulletproof car.”
How Does It Feel
This song tells a story about a girl who continues to break up with a guy only to come back over and over. It was one of the songs that received airplay at the time the album had been released, along with “Nothing.” It starts slowly and builds to the chorus.

ENTERTAINMENT TRACK:
Main Theme from the motion picture “Wayne's World 2”
“Party on, Wayne!” “Party on, Garth!” This second outing from Mike Myers and Dana Carvey dropped in December 1993.

STAFF PICKS:
Good by Better Than Ezra Wayne kicks off the staff picks with a hit from the indie band Better Than Ezra. The band came out of Baton Rouge where they attended LSU. The song is about the positive things that come from the end of a relationship. While there is always drama and hurt feelings, there are also good things on which to reflect when the dust settles.
She Hates Me by Puddle of Mudd
Lynch was able to find a clean version of this song for the podcast. Wes Scantlin wrote this song along with Jimmy Allen, the original guitarist. By the time the demo tape was heard and a decision was made to sign the band, the original group had broken up. Scantlin was set up with new bandmates when signed to Flawless Records, and people didn't hate the song or the band.
Purple Haze by The Cure
Bruce brings us a cover of a famous piece by Jimi Hendrix. A tribute album called “Stone Free: A Tribute to Jimi Hendrix” was released in 1993, and The Cure provided this take on Purple Haze. It went to number 2 on the Billboard Modern Rock Tracks chart.
Like the Weather by 10,000 Maniacs
Rob closes out the staff picks with an acoustic rendition of this song recorded for “MTV Unplugged.” The song originally came out in 1987 on their third album. Natalie Merchant would leave the group for a solo career shortly after this live performance.

NOVELTY TRACK:
(I Know I Got) Skillz by Shaquille O'Neal featuring Def Jef
Celebrity rap songs were in vogue at the time, but we think Shaq's skills were better exhibited on the basketball court.
Thanks for listening to “What the Riff?!?”
NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.
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**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.
44 min
December 25, 2023 1983 - July: The Police ”Synchronicity”
Synchronicity would be the most commercially successful, fifth, and final studio album from the Police. The trio of percussionist Stewart Copeland, guitarist Andy Summers, and bassist and front man Sting would be known as “The Biggest Band in the World” after the release of this album but would never produce a studio album again.
Like “Ghost in the Machine,” the Police's previous album, Synchronicity drew its name from the works of Artheur Koestler, an author of whom Sting was an avid reader. Unlike that album, Synchronicity toned down both the reggae influences and the overdubbing. The resulting album increased the use of synthesizers and utilized a sequencer for the first time. It also drew on world music influences on several songs.
The album hit number 1 on the Billboard 200 album charts in late July and would spend 17 total weeks at the number one position on the chart, an achievement that meant it had to interrupt the reign of Michael Jackson's Thriller. It would also produce the number 1 song of the year with “Every Breath You Take.”
Sting was beginning both his solo work and becoming more involved with film at the time, and between this and contentious egos of the members, the Police would not record another album after this. An attempt was made at a sixth studio album, but Stewart Copeland broke his collarbone just before they entered the studio and progression to the album was scuttled.
Lynch features this iconic trio at the height of the Second British Invasion for this week's podcast. Friend of the show Bill Cook sits in for Bruce in this episode.

King of Pain
Sting wrote this second US single from the album when considering the effects of his separation from his wife. The psychological effects are inspired by thoughts from Carl Jung and Arthur Koestler. It went to number 3 on the Billboard Hot 100.
Synchronicity II
The final song on the first side of the album went to number 16 on the US charts as a single. The lyrics toggle between a man's increasing anxiety and paranoia and the symbolic rise of the Loch Ness Monster in parallel. "and every single meeting with his so-called superior is a humiliating kick in the crotch."
Wrapped Around Your Finger
The fourth US single was written by Sting as a dark song about turning the tables on someone who had been in charge of your life. There is a Faustian feel in the lyrics, which also feature references to Greek mythology like Scylla and Charybdis - from which we derive idioms like "between a rock and a hard place," and "between the Devil and the deep blue sea."
Every Breath You Take
Despite its beautiful music, this single is actually quite dark in its obsessive and controlling lyrics. Sting wrote the song after his separation from his wife and the beginning of a new relationship. The lyrics came to him in the middle of the night, and he wrote the song on piano in a half hour. It would be biggest commercial single he ever wrote, hitting number 1 on the US charts for 8 weeks, and becoming the best selling single of 1983. Interestingly, it was the only number 1 hit by the Police.

ENTERTAINMENT TRACK:
Stayin' Alive by the Bee Gees (from the motion picture "Staying Alive")
John Travolta starred in this sequel to the 70's Disco hit "Saturday Night Fever." It was directed by Sylvester Stallone.

STAFF PICKS:
Our House by Madness
Wayne brings us a group from Northern London that was a bigger hit in the UK than the US. It has a lot going on musically between the piano, violins and saxophone. Lyrically it hearkens back to childhood days, slices of mundane domestic life in England. Madness performed this song as a part of the closing ceremonies for the 2012 Olympics
Big Log by Robert Plant
Rob's staff pick is the first hit for Plant as a solo artist. As he often did in Led Zeppelin, the title of the song does not appear in the lyrics. It was written in the middle of winter, and the artists had run out of fuel for the fire. They found a large tree trunk and burned one end of it in the fireplace, pushing the "big log" in as it burned. Drum programming was provided by Phil Collins.
Rock and Roll is King by ELO
Bill Cook features the Electric Light Orchestra in a 50's rhythm and blues throwback that would be their last top 20 hit. It was written by Jeff Lynne for their album "Secret Messages."
Electric Avenue by Eddie Grant
Lynch closes out the staff picks with a song time stamped in the early 80's. It was inspired by an area of Brixton, South London, called Electric Avenue because it was the first area of the city to be lit by electricity. Guyanese-British singer-songwriter Eddie Grant sings about the tension of unemployment and racism experienced by the primarily Caribbean immigrants who lived there at the time.

INSTRUMENTAL TRACK:
An Ending by Brian Eno
Brian Eno wrote this instrumental piece in 1983 for the documentary "For All Mankind."
Thanks for listening to “What the Riff?!?”
NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.
Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.
Of course we'd love for you to rate the show in your podcast platform!
**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.
41 min
December 18, 2023 1974 - November: Linda Ronstadt ”Heart Like a Wheel”
Linda Ronstadt's fifth solo studio album would be her breakout one. Heart Like a Wheel is a folk/country/rock mixture of covers and originals, and was the last album Ronstadt released on the Capitol Records label after she had moved to Asylum records. It would reach the top of the Billboard 200, spend 51 weeks on the chart, and fuel Ronstadt's rise to the first "arena class" female rock star.
Linda Maria Ronstadt is the third of four children born to a family of Mexican and German descent and a long history in Arizona. Her professional start is considered to be the folk rock trio called the Stone Poneys, who had a hit in 1968 with the song "Different Drum." Ronstadt is famous for touring in the early 70's with a backing band that included Don Henley, Glenn Frey, Bernie Leadon, and Randy Meisner - artists who would go on to form the Eagles. Her four earlier albums produced only moderate success before her fortune turned dramatically upward with "Heart Like a Wheel."
While Ronstadt's style is often referred to as country rock, she called it "Mexican bluegrass" in 1968. Over time she would record songs in a variety of styles from rock to folk and country, including some Spanish language songs and even rock songs reimagined as lullabies. Her ability to cross genres contributed both to her success and her share of criticism from those expecting something different. Success did not always agree with her, as she felt she was encouraged to project a tough rock image that did not accurately reflect her true self.
Linda Ronstadt was inducted into the Rock and Roll Hall of Fame in 2014, shortly after her retirement from music in 2011.
Bruce presents this breakthrough country rock album in this week's podcast.

I Can't Help It (If I'm Still in Love with You)
This cover was originally written and recorded by Hank Williams back in 1951. It went to number 2 on the Billboard country singles chart back then. A bunch of people have covered this song, but Ronstadt's cover is the most successful, going to number 2 on the Billboard Hot Country Singles chart and winning her a Grammy in 1976 for Best Female Country Vocal Performance.
You're No Good
The first single released from the album went to number 1 on the Billboard Hot 100. It is a cover of a song written by Clint Ballard Jr. and first performed by Dee Dee Warwick in 1963. The success of this "glad to be broken up" song would set the template for Ronstadt over the next five years of doing remakes of classic rock and roll songs.
Faithless Love
An original recording rather than a cover, this deeper cut was written by J.D. Souther, who wrote or co-wrote songs for both Ronstadt and the Eagles. It would hit number 10 on the Billboard Hot Country Songs chart when Glen Campbell covered it in 1984.
Willin'
This song was first performed by Little Feat and was written by their front man, Lowell George. Ronstadt's cover was used in James Cameron's film "The Abyss" in 1989. Lowell wrote this song while he was a member of the Mothers of Invention.

ENTERTAINMENT TRACK:
Dance of the Reed Flutes (from the nature documentary "Animals Are Beautiful People")
In addition to its frequent use in the Christmas ballet "The Nutcracker," this piece was also used in the nature documentary

STAFF PICKS:
Whatever Gets You Through the Night by John Lennon
Lynch kicks off the staff picks with a song originally inspired by Lennon's habit of late night channel surfing. He caught the phrase from Reverend Ike, an evangelist on TV, and turned it into this song. It went to number 1 on the Billboard Hot 100. Lennon got Elton John to provide the vocal duet for this song, and in return Lennon appeared onstage with John during his Thanksgiving concert at Madison Square Garden - one of his last major live appearances.
I Can Help by Billy Swan
Wayne brings us a song we all thought was performed by Ringo Starr. Billy Swan was better known as a country songwriter than a solo artist, but this single would be his sole number 1 hit. It is a particularly positive song, with a nice reprise at the end of the album cut.
Must of Got Lost by the J. Geils Band
Rob features an early hit from the J. Geils Band, reaching number 12 on the charts. It has a funky hook, and a grammatically incorrect title, with lyrics that explore why a relationship went wrong.
Wishing You Were Here by Chicago
Bruce closes out the staff picks with a song off the Chicago VI album. Chicago gets some assistance from the Beach Boys, who contribute to the backing vocals on this song about missing the one you love while on the road with a touring band.

COMEDY TRACK:
Wildwood Weed by Jim Stafford
We finish off with a story in song about that whacky tobackey in a country setting
Thanks for listening to “What the Riff?!?”
NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.
Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.
Of course we'd love for you to rate the show in your podcast platform!
**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.
35 min
December 11, 2023 1983 - September: Eurythmics “Sweet Dreams (Are Made of This)”
One of the iconic British new wave bands from the MTV era was the pop duo of Annie Lennox and Dave Stewart, known as the Eurythmics. Lennox and Stewart began playing together in the punk scene in 1976, first as a part of the band the Catch, and later as the Tourists. The duo were drawn to electronics and synthesizer music, and became the Eurythmics in 1980. While their first album, “In the Garden,” was not a commercial success, they exploded in popularity with their second studio album, Sweet Dreams (Are Made of This).
Surprisingly, the album was made with limited means. They recorded in an attic in north London where the duo both lived and worked. They also recorded in a room in the Church Studios in London. Most tracks were recorded on an 8-track tape machine. Much of the instrumentation consisted of synthesizers and drum computers. Costs for the album ran around 5,000 pounds.
The synth heavy music pairing with Lennox's almost operatic voice found a receptive audience. The power of video was a noticeable contributor as well, with Lennox's striking red hair and androgynous look. The title track was particularly successful, becoming one of the iconic songs of the '80's.
The Eurythmics would be a mainstay of early 80's rock. While Lennox and Stewart would split in 1990, with Lennox moving on to studio work and Stewart transitioning into a record producer, they would reunite from time to time to release new material and compilations.
Lynch features this synth-pop powerhouse for this week's podcast.

Love Is a Stranger
The opening track to the album was the second single released, but was actually a re-release. It originally came out in late 1982 but did not receive much airplay at the time. It would rise to number 23 on the Billboard Hot 100 in the US, and to number 6 on the UK Singles chart.
This Is the House
This song has the appearance of a deeper cut because it did not achieve the same commercial traction as some other songs. It was also released ahead of the album, then re-released after the success of the title track. It utilizes some more traditional instruments, with Dave Stewart playing harmonica. The lyrics are ambiguous, discussing aspirations, opportunities, and the fickle nature of success.
The Walk
The use of piano and string arrangements paired with an unusual time signature give this deeper cut a greater depth than some other tracks. The lyrics have a melancholy feel, with existential questioning and disillusionment. It is a nice contrast to some of the more synth-heavy pieces on the album.
Sweet Dreams (Are Made of This)
The iconic title track is easily the group's most famous song, reaching number 1 on the Billboard Hot 100. Despite it's lasting impact on music, the song itself was written in a single evening. The surreal video received heavy rotation on the MTV music station, solidifying the band's success.

ENTERTAINMENT TRACK:
On the Dark Side by John Cafferty & the Beaver Brown Band (from the motion picture "Eddie and the Cruisers")
John Cafferty contributed this song to the 60's-era music drama. He is often confused with Bruce Springsteen.

STAFF PICKS:
Trashed by Black Sabbath
Wayne brings us a Black Sabbath song with a punk rock tempo. Ian Gillan, the original lead singer for Deep Purple, was on tap as the front man for the group at this time, a position he would hold for only one album and tour. The tour for this album featured a mock-up of Stonehenge, which would go on to be lampooned in the mockumentary “This Is Spinal Tap.”
Walking In Your Footsteps by the Police
Bruce features a deeper cut from the Synchronicity album. This song compares the human race to the dinosaurs, and takes a lot of influence from world music. The science is more questionable, with lyrics referencing dinosaurs living “50 million years ago,” when they actually went extinct over 65 million years ago.
Don't Cry by Asia
Rob's staff pick is from the supergroup's second album, Alpha. It reached number 10 on the Billboard Hot 100. While critics panned the album, it was a commercial success, reaching number 6 on the Billboard 200 chart. The song was a last-minute addition to the album for a stronger commercial appeal.
Total Eclipse of the Heart by Bonnie Tyler
Lynch closes out the staff picks on a melancholy note. Jim Steinman, who was the writer for Meat Loaf's “Bat out of Hell,” also penned this one. Although the song had to be shortened for the single edit, it became Bonnie Tyler's biggest hit, spending four weeks at the top of the charts.

INSTRUMENTAL TRACK:
Stonehenge by Black Sabbath
This instrumental piece is considered the inspiration for the “Stonehenge” skit in “This Is Spinal Tap.”
Thanks for listening to “What the Riff?!?”
NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.
Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.
Of course we'd love for you to rate the show in your podcast platform!
**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.
42 min
December 04, 2023 Christmas Songs that Rock part VI
What the Riff!?! delves once again into the great (and not so great) Christmas songs to add a little cheer as you rock around the Christmas tree this year.
“Carol of the Bells” by Mannheim Steamroller
Mannheim Steamroller covers a Ukrainian carol from 1922. They highlight a 3 against 2 polyrhythm that is present in the original song, and add a major key change that is not present in the original. This is off their second Christmas album released in 1988 entitled "A Fresh Aire Christmas."
“O Come O Come Emanuel” by Bad Religion
This fast-paced rendition takes an 8th century song and puts a punk twist to it. It is a quick song, like most bad Religion tracks.
“Yellin' at the Xmas Tree” by Billy Idol
Rocker Billy Idol reminisces about times with his drunk father yelling at the Christmas tree. "Oh the Christmas bells are ringing and the carolers are singing, but Daddy, he don't hear 'em, he's yellin' at the Christmas tree."
“Space Christmas” by Shonen Knife
This Japanese punk-pop band was inspired by the girl groups of the 60's and the Ramones. This sci-fi Christmas track has a "bubblegum pop" sound with a punk edge.
“Taking Care of Christmas” by Bachman Turner Overdrive
When Rob covered "Bachman Turner Overdrive II" earlier this year we discovered this Christmas remake of their classic single. It is surprisingly catchy for a song overhauled for Christmas. Randy Bachman did an all-Christmas album in 2008 including this song.
“Christmas All Over Again” by Tom Petty and the Heartbreakers
This original song was penned by Tom Petty on a ukulele in 1992. It was used in the motion picture "Home Alone 2: Lost in New York," and also appeared in "Jingle All the Way." Jeff Lynne co-produced the song, played bells, bass, timpani, sang background vocals, and wishes for a Chuck Berry Songbook in the song.
“God Rest Ye Merry Gentlemen” by the REO Speedwagon
REO Speedwagon keeps the original feel of the carol in their rendition of this classic. It was released on their 2009 album, "Not So Silent Night...Christmas with REO Speedwagon." The original English carol dates back to the 1650's.
“Santa Claus” by The Sonics
This song with a fuzzy guitar appeared on the debut album from The Sonics back in 1965. The Sonics were a garage band out of Tacoma, Washington in the 60's, and influenced the punk and grunge movement. They are likely best known for their party song, "Louie, Louie."
“Santa's Messin' with the Kid” by Eddie C. Campbell
Blues guitarist and singer Eddie C. Campbell was well known in the Chicago blues scene and learned guitar from Muddy Waters. This song was released on his 1977 Christmas album.
“What Christmas Means to Me” by Stevie Wonder
This original song was released on Tamla records in 1967 on Wonder's eighth studio album entitled "Someday at Christmas." It was the final track on the album which consisted of a mix of Christmas standards and original music.
“Merry Christmas Darling” by the Carpenters
No Christmas playlist would be complete without Karen Carpenter's voice. This song was originally recorded by The Carpenters in 1970. The lyrics date back to 1946 when songwriter Frank Pooler wrote it about a love interest at the time. He had The Carpenters perform it when they were his music students at California State University, Long Beach.
“White Christmas” by Bing Crosby
Bing Crosby originally performed this song composed by Irving Berlin in 1940. It was performed for the first time in December 1941, and appeared in the motion picture "Holiday Inn" in 1942.
(and there might be a bonus song...)
We at What the Riff?!? wish every one a blessed and Merry Christmas!
Thanks for listening to “What the Riff?!?”
NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.
Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.
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**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.
44 min
November 27, 2023 1965 - April: The T.A.M.I. Show
A concert was held at the Santa Monica Civic Auditorium on October 28th and 29th, 1964 which would be released as a concert film called the T.A.M.I. Show. Free tickets were provided for local high school students to provide the audience. T.A.M.I. stands for either “Teenage Awards Music International” or “Teen Age Music International,” as both were used by the show's publicity team. The show included many of the top rock and roll and R&B musicians of the time, including the Beach Boys, the Rolling Stones, James Brown, Chuck Berry, and The Miracles. Jan and Dean were the emcees for the event.
Motown Records was represented by three of its biggest acts in the Miracles, Marvin Gay, and the Supremes. The Rolling Stones were featured as the grand finale. However, the performance by James Brown and the Famous Flames is perhaps the highlight of the show, as it features his dance moves at the height of his career.
Steve Binder and his personnel from The Steve Allen Show shot the film, and the legendary session musicians of The Wrecking Crew provided most of the instrumentation. The go-go dancers in the background were choreographed by David Winters and his assistant, a young Toni Basil.
This is a difficult film to locate due to copyright disputes on the show over the years. You'll need to go to YouTube to find the performances.
Wayne takes us through this concert footage of the early days of rock and roll.

(Here They Come) from All Over the World by Jan and Dean
The film starts with a song from Jan and Dean which is played over the credits. Jan and Dean co-hosted the concert and contributed this anthem written for the show. It has a surfing vibe and is easily confused for The Beach Boys who also participated in the concert.
Hey Little Bird by The Barbarians
The Barbarians were a precursor to the Punk movement, and their style was called garage rock in the day. The Barbarians had a one-handed drummer who utilized a drum stick in his left arm with a hook prosthetic. The group sported a pirate look with leather sandals, open necked shirts, and bloused sleeves.
Out of Sight by James Brown and the Famous Flames
Many consider the highlight of the show to be James Brown's performance, as it showcases his dance moves. The energy shown by Brown and his backing singers clearly influenced future acts like Michael Jackson and Prince.
Around and Around by The Rolling Stones
While the Rolling Stones were the final act, Keith Richards claims that choosing to follow James Brown on stages was the worst decision of their careers, because no matter how well they performed, they couldn't top him. They performed a cover of Chuck Berry's song - an interesting choice since Berry was also a performer for the concert.

ENTERTAINMENT TRACK:
Do the Clam by Elvis Presley (from the motion picture “Girl Happy”)
Elvis was making movies at the time, and would almost always be expected to sing songs in the picture.

STAFF PICKS:
Nowhere to Run by Martha & the Vandellas
Bruce leads off the staff picks with a group which would see a name change to Martha Reeves & the Vandellas later on. This Motown hit written by the legendary team called Holland-Dozier-Holland went to number 8 on the US charts. The song is about a woman trapped in a downward spiraling love affair that she just can't give up.
Land of 1000 Dances by Cannibal and the Headhunters
Rob features an iteration of a frequently covered song. Chris Kenner originally recorded it in 1962, but it was more successful as a cover by Cannibal & the Headhunters, going to number 30 on the Billboard chart. They also added the "na na na na na" hook to the original when front man Frankie Garcia forgot the lyrics. Sixteen dances are mentioned in the lyrics of the song.
Eight Days a Week by The Beatles
Lynch brings us an early hit penned by John Lennon and Paul McCartney. It would be the seventh number one single for the Fab Four in the United States, despite Lennon's feeling that it was a failed attempt at writing a single. The title is attributed to a statement Ringo Starr made regarding how busy the Beatles were at the time.
Satisfied by Lulu and the Luvvers
Wayne wraps up the staff picks with a high energy party song from a Scottish band. Lulu would go on to a successful solo career that included film songs like "To Sir With Love," and the title song for "The Man with the Golden Gun." Lulu was 17 at the time this song came out. She would go on to marry Maurice Gibb of the Bee Gees.

INSTRUMENTAL TRACK:
Cast Your Fate to the Wind by Sounds Orchestral
This week's podcast ends with an instrumental song
Thanks for listening to “What the Riff?!?”
NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.
Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.
Of course we'd love for you to rate the show in your podcast platform!
**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.
32 min
November 20, 2023 1985 - July: Phil Collins “No Jacket Required”
Phil Collins wrapped up his commitments as front man and percussionist for Genesis and collaborative work with Eric Clapton in 1984, then commenced work on his third album, No Jacket Required. It was released in February 1985, and had hits on the charts in July. The name of the album was inspired by an incident where he was not allowed into The Pump Room restaurant in Chicago because he did not have the proper dress code jacket. His friend, vocalist Robert Plant, did have the correct attire and was let in. After he relayed the story in appearances with late night hosts David Letterman and Johnny Carson, restaurant management sent Phil a complementary sport jacket and apology letter, inviting him to come back wearing “whatever he wanted.”
Unlike previous albums Collins decided to make this third solo album more upbeat with several dance-oriented singles. Collins was also able to recruit a number of musicians to the effort, including former Genesis bandmate Peter Gabriel and Police front man Sting.
The result was a huge commercial success, reaching number 1 on the US albums chart for seven consecutive weeks and on the UK albums chart for five. The four singles released all went into the top ten of the Billboard Hot 100 charts, with two topping the charts. It was a critical success as well, bringing home three Grammy awards including “Album of the Year.” Collins would move from a successful musician to a celebrity on the strength of this album, which would be his highest selling solo effort.
Rob brings us this album for our podcast
Only You Know and I Know
Rob starts us with a deeper cut co-written by Phil Collins and Darryl Stuermer. Stuermer played bass for Genesis tours, and lead guitar for Collins' solo tours. The lyrics contain a number of contradictions. “When I ask you, what you see in me you say, 'Our love is blind.'”
Don't Lose My Number
While this song was not released as a single in the UK, it went to number 4 on the US charts. The lyrics were created in a stream-of-consciousness improvisation session, and Collins himself doesn't really know what they mean. The video is a comedic look at the decision process on theming the video, with Collins in multiple parodies of other videos popular at the time.
Inside Out
This track has a feel similar to some of the slower Genesis pieces. The lyrics describe a person who faces a crowd of people telling him what to say and what to do without regard to what is authentically himself. Collins uses a combination of drum machine and drum kit on this song.
We Said Hello Goodbye
This song was not originally on the album, but was a B-side to the single release of "Take Me Home" and "Don't Lose My Number" as well as a bonus track on the CD. The lyrics discuss leaving an old home and moving to a new one, but the emotions may reflect things left behind in life more broadly.

ENTERTAINMENT TRACK:
Main Theme from the motion picture “Back to the Future”
Marty McFly made his journey back from 1985 to interact with his 1955 parents in a tricked out DeLorean for this iconic picture released in 1985.

STAFF PICKS:
You Spin Me Round (Like a Record) by Dead or Alive We're a bit concerned about Wayne as he abandons his punk and hard rock sensibilities to bring us this danceable hit. Dead or Alive were a foursome from Liverpool, England. Lead singer Pete Burns would later be on the TV reality show “Celebrity Big Brother.”
The Confessor by Joe Walsh
Bruce brings us the title song from Walsh's seventh studio album. It is heavier and darker than many of Walsh's singles. “If you look at your reflection at the bottom of the well, what you see is only on the surface. When you try to see the meaning hidden underneath the measure of the depth can be deceiving. The bottom has a rocky reputation.”
Raspberry Beret by Prince and the Revolution
Lynch features a song about young romance and a summer fling. Although this song was released after Prince's success with “Purple Rain,” Prince still played most of the instruments, making the song primarily a solo effort. It is off off the album “Around the World In a Day,” and reached number 2 on the Billboard Hot 100.
And She Was by Talking Heads
Rob finishes the staff picks with a song penned by David Byrne from the Talking Heads, off the album “Little Creatures.” It is an unusual song about a girl levitating over everything, and the guy who loves her and wishes she would come down to the ground. It reached number 17 on the Billboard Hot 100.

INSTRUMENTAL TRACK:
Fundance by Stanley Jordan
Finger tapping jazz guitarist Stanley Jordan would set a record when his album “Magic Touch” spent 51 weeks at the top of the Billboard jazz charts.
Thanks for listening to “What the Riff?!?”
NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.
Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.
Of course we'd love for you to rate the show in your podcast platform!
**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.
42 min
November 13, 2023 1990 - April: The Black Crowes ”Shake Your Money Maker”
The Black Crowes got their start as “Mr. Crowe's Garden” when Chris and Rich Robinson formed the band while attending Walton High School in Marietta, Georgia. The name comes from the children's book “Johnny Crow's Garden” by Leonard Leslie Brooke. They changed their name after moving to New York City where they met producer George Drakoulias who introduced them to music like The Faces and Humble Pie, and signed them at Def American.
Their debut album, Shake Your Money Maker, gets its name from an old Elmore James blues song, though that song does not appear on the album. It was recorded in the summer of 1989 in Atlanta and Los Angeles. This debut turned out to be a rocket of an album, peaking at number 4 on the Billboard 200, and it has sold over 5 million copies. Readers of Rolling Stone magazine voted the Black Crowes “Best New American Band” at the end of 1990.
The Black Crowes are often compared to late 60's and early 70's acts like the Faces and the Rolling Stones. The group at the time consisted of Chris Robinson on vocals, Rich Robinson on guitar, Jeff Cease on guitar (the only Black Crowes album for which he would be a member), Johnny Colt on bass and Steve Gorman on drums.
The group would break up a couple of times, and reformed for a third time in 2019. They released an EP of newly recorded tracks called 1972 which consists of covers of songs released in 1972. They released a double live album in 2023 called Shake Your Money Maker Live.
Bruce presents this album which reinterprets the blues.

Jealous Again
The debut single from the band and the album would reach number 75 on the Billboard Hot 100, and number 5 on the Billboard Album Rock Tracks charts. The song is about jealousy and the inner turmoil that it causes. There was a lawsuit against Gretchen Wilson for her song “Work Hard, Play Harder,” which was settled out of court. Chris and Rich Robinson were given songwriting credits for the track, along with an undisclosed sum in the settlement.
Struttin' Blues
This deep cut will be unfamiliar to those who haven't played the album or CD, but it gives you a good flavor for the album as a whole. It is pretty much a straightforward blues piece. “My baby got her engine hummin' Struttin' blues gonna' find me again.”
Twice As Hard
This is the starting track to the album. The lyrics are about the difficulties of leaving a relationship for the second time, or perhaps about getting off drugs. One theory is that it is a little of both, with the first time being when the guy leaves his love over her use of drugs, and the second time when he says goodbye at her funeral.
She Talks to Angels
One of the bigger hits from the album, this song reached number 30 on the Billboard Hot 100 and number 1 on the Albums tracks. The riff and the lyrics are older, going back to their early days. The picture of the girl is an amalgam of girls they saw at clubs in Atlanta who would dress goth. Much of the lyrics were written early in Chris and Rich Robinson's life when hey really hadn't lived the drug lifestyle that they talk about. The song inspired Hootie and The Blowfish's song “Let Her Cry.”

ENTERTAINMENT TRACK:
Main theme from the television series “Twin Peaks”
David Lynch's quirky show got its start in this month.

STAFF PICKS:
Big Blue '82 by Daniella Dax
Wayne gets the staff pick party hopping with this deep but danceable cut. Danielle Dax is an experimental musician from England who tells a simple story of being newly in love with this song. Although not as well known in the States, Dax was big in the club circuit in Europe before switching to a career in interior design in 1996.
Nothing Compares 2 by Sinead O'Connor
Lynch brings us the unmistakable sound of O'Connor's biggest hit and cover of a song originally penned and performed by Prince. While the original was a funk and soul ballad, O'Connor strips the ballad down to a raw, emotional piece focusing on her powerful vocals.
Big Love by Robert Plant
Rob features Led Zeppelin's vocalist on a track from his third album, “Manic Nirvana.” This was the playful first single, and is filled with double entendres. Sexual innuendoes were common in Led Zeppelin songs, so this continues the tradition. It is about an affair with a flight attendant when it references “free air miles.”
Kiss This Thing Goodbye by Del Amitri
Bruce closes out the staff picks with a shuffle beat song off Del Amitri's second studio album, “Waking Hours.” Del Amitri will be better known to U.S. listeners for their 1995 single, “Roll to Me.” This song tells the tale of a love that has been over for a while, and the couple need to make the decision to move on.

LAUGH TRACK:
Heartbreaker (At the End of Lonely Street) by Dread Zeppelin
What do you get when you cross Led Zeppelin with an Elvis impersonator? Find out as we leave this week's podcast.
Thanks for listening to “What the Riff?!?”
NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.
Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.
Of course we'd love for you to rate the show in your podcast platform!
**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.
46 min

About What the Riff Next Gen

From the publisher's feed

Every episode of “WHAT THE RIFF NEXT GEN” brings a ROCK AND ROLL album that debuted on the U.S. Billboard charts during a random month between 1995 and 2005. Four Classic Rock fans discuss the artist and 4 tracks from the album as it plays in the background. Then we riff on 3 additional “staff picks” of other artists that were also on the charts during that month and year. You’ll hear Classic Rock bands that were still producing new work, as well as some newer Alternative and Grunge bands that were gaining momentum during this Millennium Y2K Period. We encourage you to find and purchase the tracks and albums from Apple Music, Spotify or your other favorite music service. Please subscribe so you don’t miss any release! In addition to “Next Gen” you can search our ORIGINAL “What the Riff?!?” episodes (1-373) covering 1965 - 1995. We also invite you to follow us and learn more about us @whattheriff on Facebook.

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