On this date in 1978, the American comedy series TAXI premiered on ABC television, (September 12th 1978)
Masterminded by future Simpsons producer James L Brooks along with Ed Weinberger, Stan Daniels and Dave Davis, TAXI was first broadcast on ABC on 12 September 1978, running to 114 episodes over the course of five seasons before wrapping in May 1982, having won 18 Emmys.
This takes me back a few years, oh to go back to those times knowing with what's going on in the world today.
On this date in 1981, Terry Hall, Lynval Golding and Neville Staples left The Specials to form Fun Boy Three.
The video here is Fun Boy Three's first 45, the steamy tropical spell weave of THE LUNATICS (HAVE TAKEN OVER THE ASYLUM), an atmospheric and expertly conceived piece.
“I've seen the faces of starvation But I just can not see the points 'Cause there's so much food here today That no one wants to take away The lunatics have taken over the asylum…”
On this date in 1979, THE SELECTER released the single ON MY RADIO (October 5th 1979.
If Jerry Dammers' independent spirit was the force behind The Specials, then Pauline Black was The Selector's secret weapon.
The self-assured vocalist gave their irresistible single, the Neol Davies-penned ON MY RADIO just the right amount of assertiveness. Released in October 1979, the single raced into the UK Top 10 just as The Specials' next release, the equally hummable `A Message To You Rudy', also began its climb towards the top of the UK charts.
On this date in 1979, JOE JACKSON released his second studio album, 'I'm The Man' (Oct 5, 1979).
Joe Jackson always had a special gift for capturing those moments when anger and understanding battled it out for the internal upper hand – what you do feel versus what you know you ought to feel.
He nailed it with tight, natural words and the bittersweet air of fluent melodies expressed through that awkward, pungent voice and delicately refined piano work.
IT’S DIFFERENT FOR GIRLS was a shining example of this talent.
On this date in 1979, JOE JACKSON released his second studio album, 'I'm The Man' (Oct 5, 1979).
Joe Jackson always had a special gift for capturing those moments when anger and understanding battled it out for the internal upper hand – what you do feel versus what you know you ought to feel.
He nailed it with tight, natural words and the bittersweet air of fluent melodies expressed through that awkward, pungent voice and delicately refined piano work.
IT’S DIFFERENT FOR GIRLS was a shining example of this talent.
I have several of his albums. The early New Wave stuff was great. But he has always kept evolving. From Punk to Classical, Swing to Jazz. He just loves music.
His 18th studio album was "The Duke". Reworkings of all Duke Ellington's finest songs. With guests as diverse as Ahmir Questlove Thompson, Regina Carter, Steve Vai and Iggy Pop.
On this 21st day in October 1977, the iconic Bat Out Of **** album was released. To say it was an easy accomplishment is a huge understatement, rather it was quite an uphill battle for both Meat and Jim. As Meat said, executives didn’t just dislike it, they were incensed by it. But thankfully Cleveland International stepped in and rock history was made. So much so, it still remains one of the greatest selling albums of all time.
Lemmy had his ashes put into bullets to give to his closest friends.
Former MTV host Riki Rachtman and Ugly Kid Joe singer Whitefield Crane are among those who received the special Lemmy-engraved bullets
It has been revealed that revered rock ‘n’ roll icon Lemmy had his ashes placed into bullet casings after he passed away, which were later gifted to his closest friends.
The news should come as no surprise really, given that "Lemmy" and "badass" go hand in hand, with the bullets serving as a reminder that the bass guitar legend was rock 'n' roll through and through right up to the very end.
Riki Rachtman, former host of MTV show Headbangers Ball, took to Twitter to share the news, posting a picture of his very own silver “Lemmy”-engraved bullet that he received from the late Motörhead frontman.
Of the piece, Rachtman wrote, “Before his death #Lemmy asked for his ashes to be put in some bullets & handed out to his closest friends. Today I received a bullet & was literally brought to tears.”
Last year, retired tennis star Pat Cash shared another picture of an engraved bullet on Instagram, which had been gifted to Ugly Kid Joe singer Whitefield Crane.
“#Lemmy (RIP) from #Motorhead asked that his ashes be put in some bullet and given out to his closest friends, last night one was presented to my mate Whitefield Crane,” Cash's post reads.
A touching letter accompanying the bullet read, “We all know Lemmy knew many people, but had few that he considered friends and even fewer that he considered family. Being that you are one of those people he considered family, we would like to share a little piece of him with you.
“Lemmy touched all of our lives in a way we don’t think any of us could forget, but with these ashes you know… you keep Lemmy with you forever. He was Lemmy. He played Rock ‘n’ Roll. Don’t forget him.”
Decade 77-87 - a grown up disco: new wave, punk, postpunk, goth & indie.
Celebrating the 45th Anniversary of the release of NEVER MIND THE BOLL OCKS, HERE’S THE SEX PISTOLS (Oct 28, 1977).
Even those who knew the songs from gigs were surprised at the sheer attack and overwhelming density of the sound when they first heard NEVER MIND THE BOLL OCKS – unlike a lot of groups at the time the Pistols and producers Bill Price and Chris Thomas got a killer sound right first time.
The album may have had competition from the ‘real live sound of the Pistols’ on the ‘Spun k’ bootleg, released just a couple of weeks before, but NMTB remains a compelling and game-changing release.
The result was a raging wall of gut-wrenching power chords from Steve Jones (plus fine bass playing), Paul Cook's powerhouse drumming, Glen Matlock’s writing contribution (however big or small), all topped with Rotten's phenomenal voice, which could slide from spine-chilling no-feelings coldness to frenzied manic wailing.
Here Lydon packed the maximum punch and effect into every syllable he delivered. And his sneering whine on 'EMI', a big raspberry to the two dopey record labels who stupidly let the Pistols plop from their grasp, was rarely bettered.
My excitement at listening to this album for the first time was exactly matched by my disappointment with the so-called follow up "The Great Rock n Roll Swindle".
On this date in 1978, THE CLASH released their second studio album, GIVE 'EM ENOUGH ROPE, (November 10th, 1978).
GIVE ‘EM ENOUGH ROPE took the energy of punk rock and combined it with sharply conceived arrangements and inspired instrumental performances. The sound was enthralling – stacked up cascading guitars that clearly displayed Mick Jones' uncelebrated abilities as a rock guitarist, Joe Strummer's voice had a wider range and variety than ever before, and Paul Simonon's pulsating bass lines and the superb power drumming of Topper Headon provided a forceful foundation.
One of the highlights was TOMMY GUN, all urgent riffs and chunky chords, an anti-war polemic as musically lethal as its subject.
This week in 1979, JOE JACKSON released the single, IT’S DIFFERENT FOR GIRLS (Dec 1979) The first of two ballads on Joe Jackson's second studio album ‘I’m The Man’, IT’S DIFFERENT FOR GIRLS was one of 1979’s most achingly passionate and truthfully desperate songs. An overwhelming cry of pain at the way sexual stereotypes and conditioning screw people up.
It also played around with gender stereotypes: the lyrics carrying a twist in which the listener might assume the male protagonist was looking for sex and his female partner was looking for love, the opposite was revealed to be the case. “It was something that I heard somewhere that struck me as a cliché,” explained Jackson. “The sort of thing that someone might say. And again, I thought, What could that be about? And that maybe the idea was to turn it on its head and have a conversation between a man and a woman and what you'd expect to be the typical roles are reversed.”
On this date in 1980, THE BEAT released the single TOO NICE TO TALK TO (Dec 5, 1980). Dealing with shyness and social discomfort, the song was driven by an up and down bass riff that was pure menace. A skankin’ dance groove with sinister undercurrents, TOO NICE TO TALK TO peaked at #7 on the UK Singles Chart in January 1981. Dave Wakeling said that the inspiration for the song came from the legendary Barbarella's nightclub in Birmingham where "they used to have this dastardly trick at 20 past 2 every morning, because they closed at 2:30, it didn't matter what was happening, whatever record was playing, they would just scratch the record off and turn on the lights".. "It was a story really about wanting to go and dance with somebody and just spending too long, and going over in your mind what you would say, or what you ought to say, or having your friends going, 'Go on, go and talk to her.' And you waited that long for it, you took a big breath and strode towards the dance floor, all the lights in the club went on and the record got scratched up, 'Okay, thank you, good night.' Oh, it's too late now, it's 20 past 2, I've spent all night just watching you. But yeah, it's to do with that shyness to the point of discomfort. And then finally making the bold move just a moment too late."
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Masterminded by future Simpsons producer James L Brooks along with Ed Weinberger, Stan Daniels and Dave Davis, TAXI was first broadcast on ABC on 12 September 1978, running to 114 episodes over the course of five seasons before wrapping in May 1982, having won 18 Emmys.
This takes me back a few years, oh to go back to those times knowing with what's going on in the world today.
The video here is Fun Boy Three's first 45, the steamy tropical spell weave of THE LUNATICS (HAVE TAKEN OVER THE ASYLUM), an atmospheric and expertly conceived piece.
“I've seen the faces of starvation
But I just can not see the points
'Cause there's so much food here today
That no one wants to take away
The lunatics have taken over the asylum…”
If Jerry Dammers' independent spirit was the force behind The Specials, then Pauline Black was The Selector's secret weapon.
The self-assured vocalist gave their irresistible single, the Neol Davies-penned ON MY RADIO just the right amount of assertiveness. Released in October 1979, the single raced into the UK Top 10 just as The Specials' next release, the equally hummable `A Message To You Rudy', also began its climb towards the top of the UK charts.
Joe Jackson always had a special gift for capturing those moments when anger and understanding battled it out for the internal upper hand – what you do feel versus what you know you ought to feel.
He nailed it with tight, natural words and the bittersweet air of fluent melodies expressed through that awkward, pungent voice and delicately refined piano work.
IT’S DIFFERENT FOR GIRLS was a shining example of this talent.
I have several of his albums. The early New Wave stuff was great. But he has always kept evolving. From Punk to Classical, Swing to Jazz. He just loves music.
His 18th studio album was "The Duke". Reworkings of all Duke Ellington's finest songs. With guests as diverse as Ahmir Questlove Thompson, Regina Carter, Steve Vai and Iggy Pop.
Wonder how much we owe them now.
Lemmy had his ashes put into bullets to give to his closest friends.
Former MTV host Riki Rachtman and Ugly Kid Joe singer Whitefield Crane are among those who received the special Lemmy-engraved bullets
It has been revealed that revered rock ‘n’ roll icon Lemmy had his ashes placed into bullet casings after he passed away, which were later gifted to his closest friends.
The news should come as no surprise really, given that "Lemmy" and "badass" go hand in hand, with the bullets serving as a reminder that the bass guitar legend was rock 'n' roll through and through right up to the very end.
Riki Rachtman, former host of MTV show Headbangers Ball, took to Twitter to share the news, posting a picture of his very own silver “Lemmy”-engraved bullet that he received from the late Motörhead frontman.
Of the piece, Rachtman wrote, “Before his death #Lemmy asked for his ashes to be put in some bullets & handed out to his closest friends. Today I received a bullet & was literally brought to tears.”
Last year, retired tennis star Pat Cash shared another picture of an engraved bullet on Instagram, which had been gifted to Ugly Kid Joe singer Whitefield Crane.
“#Lemmy (RIP) from #Motorhead asked that his ashes be put in some bullet and given out to his closest friends, last night one was presented to my mate Whitefield Crane,” Cash's post reads.
A touching letter accompanying the bullet read, “We all know Lemmy knew many people, but had few that he considered friends and even fewer that he considered family. Being that you are one of those people he considered family, we would like to share a little piece of him with you.
“Lemmy touched all of our lives in a way we don’t think any of us could forget, but with these ashes you know… you keep Lemmy with you forever. He was Lemmy. He played Rock ‘n’ Roll. Don’t forget him.”
Celebrating the 45th Anniversary of the release of NEVER MIND THE BOLL OCKS, HERE’S THE SEX PISTOLS (Oct 28, 1977).
Even those who knew the songs from gigs were surprised at the sheer attack and overwhelming density of the sound when they first heard NEVER MIND THE BOLL OCKS – unlike a lot of groups at the time the Pistols and producers Bill Price and Chris Thomas got a killer sound right first time.
The album may have had competition from the ‘real live sound of the Pistols’ on the ‘Spun k’ bootleg, released just a couple of weeks before, but NMTB remains a compelling and game-changing release.
The result was a raging wall of gut-wrenching power chords from Steve Jones (plus fine bass playing), Paul Cook's powerhouse drumming, Glen Matlock’s writing contribution (however big or small), all topped with Rotten's phenomenal voice, which could slide from spine-chilling no-feelings coldness to frenzied manic wailing.
Here Lydon packed the maximum punch and effect into every syllable he delivered. And his sneering whine on 'EMI', a big raspberry to the two dopey record labels who stupidly let the Pistols plop from their grasp, was rarely bettered.
But, sadly, the only proper album they ever did.
My excitement at listening to this album for the first time was exactly matched by my disappointment with the so-called follow up "The Great Rock n Roll Swindle".
Which was dreadful.
GIVE ‘EM ENOUGH ROPE took the energy of punk rock and combined it with sharply conceived arrangements and inspired instrumental performances. The sound was enthralling – stacked up cascading guitars that clearly displayed Mick Jones' uncelebrated abilities as a rock guitarist, Joe Strummer's voice had a wider range and variety than ever before, and Paul Simonon's pulsating bass lines and the superb power drumming of Topper Headon provided a forceful foundation.
One of the highlights was TOMMY GUN, all urgent riffs and chunky chords, an anti-war polemic as musically lethal as its subject.
This week in 1979, JOE JACKSON released the single, IT’S DIFFERENT FOR GIRLS (Dec 1979)
The first of two ballads on Joe Jackson's second studio album ‘I’m The Man’, IT’S DIFFERENT FOR GIRLS was one of 1979’s most achingly passionate and truthfully desperate songs. An overwhelming cry of pain at the way sexual stereotypes and conditioning screw people up.
It also played around with gender stereotypes: the lyrics carrying a twist in which the listener might assume the male protagonist was looking for sex and his female partner was looking for love, the opposite was revealed to be the case.
“It was something that I heard somewhere that struck me as a cliché,” explained Jackson.
“The sort of thing that someone might say. And again, I thought, What could that be about? And that maybe the idea was to turn it on its head and have a conversation between a man and a woman and what you'd expect to be the typical roles are reversed.”
Dealing with shyness and social discomfort, the song was driven by an up and down bass riff that was pure menace.
A skankin’ dance groove with sinister undercurrents, TOO NICE TO TALK TO peaked at #7 on the UK Singles Chart in January 1981.
Dave Wakeling said that the inspiration for the song came from the legendary Barbarella's nightclub in Birmingham where "they used to have this dastardly trick at 20 past 2 every morning, because they closed at 2:30, it didn't matter what was happening, whatever record was playing, they would just scratch the record off and turn on the lights"..
"It was a story really about wanting to go and dance with somebody and just spending too long, and going over in your mind what you would say, or what you ought to say, or having your friends going, 'Go on, go and talk to her.' And you waited that long for it, you took a big breath and strode towards the dance floor, all the lights in the club went on and the record got scratched up, 'Okay, thank you, good night.' Oh, it's too late now, it's 20 past 2, I've spent all night just watching you. But yeah, it's to do with that shyness to the point of discomfort. And then finally making the bold move just a moment too late."