Darlene Love performed Christmas (Baby Please Come Home) every year on Late Show with David Letterman for 28 years.
In the 1960s Darlene Love sang as part of the Phil Spector’s Wall of Sound, for whom she sang both lead as well as background vocals on a host of hit songs. She’s the uncredited lead vocalist on The Crystals’ 1962 hit He’s a Rebel, she sang background on The Ronettes’ Be My Baby, she sang background on the Elvis ’68 Comeback Special, etc. Darlene Love’s voice can be heard all over the hit songs of the ‘60s.
Despite her talent Love’s career stalled in the 1970s and she found herself cleaning houses for a living. She’s said that she heard her own Christmas (Baby Please Come Home) on the radio while cleaning a home and decided she had to stage a comeback – enter David Letterman. In 1986 Letterman invited Love to perform Christmas (Baby Please Come Home) on his show which became an annual tradition. For the next 29 years Love came back every year to perform the song (with the exception of 2007 during the writer’s strike). This Christmas tradition earned her the nickname of the “Christmas Queen”. In 2011 she was inducted into the Rock and Roll Hall of Fame.
Added info: During her comeback, Love sang backup on the cover of her own song when she sang background vocals on the 1987 U2 version of Christmas (Baby Please Come Home). Love has also had an acting career, notably playing Roger Murtaugh’s (Danny Glover’s) wife in the Lethal Weapon series.
The song about an Egyptian girl that became a surf rock classic.
At its height the Ottoman Empire controlled lands across North Africa, through the Middle East, Asia Minor (modern day Turkey), and up into the Balkans. By the early 20th century the empire had greatly reduced in size but culturally it was still a diverse mix of elements from the lands it once ruled as well as its neighbors. It’s in this environment that Rebetiko music was formed.
Rebetiko is Greek urban music that began in the early 20th century in Asia Minor. It’s a blend of styles pulling from Greek, Turkish, Armenian, Arabian, and Jewish music. It’s been referred to as the Blues of Greece due to its working class origins and its sometimes scandalous themes.
The song Misirlou is a rebetiko song of the early 20th century (its exact origins are unknown). The title is a Greek pronunciation of the Turkish word “Misirli” which translates as “Egyptian girl”. It’s a passionate song about the singer’s longing desire for a beautiful Egyptian girl. Played in the traditional style the Middle Eastern influences are easy to hear. The earliest known recording of the song was by Theodotos Demetriades in 1927. Since then numerous other versions have been recorded in the rebetiko style but the song reached new audiences through 1960s American surf rock.
The King of Surf Guitar
Surf Rock began in the late 1950s in Southern California. It started as instrumental music with lots of reverb, later evolving into vocal surf with bands such as the Beach Boys, Jan and Dean, etc. While a host of bands contributed to the creation of instrumental surf, perhaps the most notable pioneer was Dick Dale aka “The King of the Surf Guitar”.
In 1962 Dale (whose Lebanese-American uncle used to play Misirlou on the oud) recorded an instrumental version of Misirlou, changing the spelling to Miserlou. At a blistering pace of 173 beats per minute (the traditional version is around 78 bpm), Dick Dale’s surf rock version of Miserlou is one of the most famous instrumentals. Miserlou found new fans when it was used in the opening of 1994’s Pulp Fiction. The film brought new life to both Miserlou and Dick Dale’s career.
The most sampled drum beat of all time used in thousands of songs and helped launch new genres of music.
The 1963 film Lilies of the Field stars Sidney Poitier as a traveling jack-of-all-trades who encounters a group of German speaking nuns in the Arizona desert. As he performs odd jobs for them he also helps teach them English through song, and in particular he teaches them the song Amen. The song is a traditional gospel song which, along with the movie, were inspiring to a young Curtis Mayfield who recorded a new version of the song in 1964 with his band The Impressions.
The version of Amen recorded by The Impressions then served as inspiration in 1969 for an even funkier instrumental version of the song by The Winstons titled Amen, Brother. At 1:26 the song breaks for a 5.2 second drum solo by drummer Gregory Coleman. This drum solo has become one of the most prolific drum solos of all time.
Sampling and the rise of Hip Hop
In 1980s New York the sampler, combined with the turntable, helped create hip hop. The sampler allowed musicians to take pieces of music, especially drum beats, and transform them into new songs. They could loop audio clips, rearrange the notes, change the pitch, change the tempo, etc. An additional asset in this new genre were bootleg records of collected beats that artists could sample. In 1986 Amen, Brother was included on Ultimate Breaks and Beats which was immediately popular for the drum solo which became known as the “Amen break”.
The beat that launched a thousand songs
The Amen break soon became a staple of sampling. Its popularity and influence can be heard throughout early hip hop. The Amen break became even more versatile once it was broken down into its individual components where each sound was isolated, allowing musicians to rearrange the pieces. Entirely new genres of music such as Hardcore, Jungle, Drum and Bass, etc. wouldn’t exist without the Amen break. While early hip hop tended to slow down the Amen break (such as in NWA’s Straight Outta Compton, DJs in Jungle sped it up into a frenzy (as heard in Incredible by M-Beat).
The Amen break can be found in at least 5,617 songs. Some examples of songs using the Amen break include Salt-N-Pepa’s I Desire, Jay-Z’s Can’t Knock the Hustle, UK Apachi’s Original Nuttah, The Invisible Man’s The Beginning, the theme song to the TV show Futurama, etc.
Success or “Success”
The Winstons were never compensated for any of this. The Amen break took on a life of its own without the band. Today, you would clear the use of a song and pay royalties to the original artist but the Amen break became popular at a time when artists weren’t concerned with copyright laws and were more focused on their art. Richard Spencer of The Winstons says he only became aware that the drum solo from Amen, Brother had become the Amen break in 1996, at which point the beat was everywhere.
Over the years there have been multiple attempts to raise money for Spencer and for The Winstons’ drummer Gregory Coleman to compensate them for the unlicensed sampling of the song, but to mixed success. In 2006 Gregory Coleman died, reportedly homeless, having never seen any royalties from his contribution to music history.
Added info: the Winstons’ Amen, Brother was actually the B-side to Color Him Father, which won the 1970 Grammy award for Best R&B song.
Another incredibly popular sample of the time was the Think break from the 1972 song Think (About It) by Lyn Collins and James Brown, famous for it’s “Woo! Yeah”. The Think break is perhaps most famously used in 1988’s It Takes Two by Rob Base and DJ E-Z Rock.
One of, if not thee, greatest Grateful Dead concert of all time (thanks to taping).
Having over 2,300 concerts to choose from, to try and pick just one Grateful Dead show as the best is both subjective and impossible (as well as controversial). That said, one show that is mentioned over and over as one of (if not thee) best is the May 8, 1977 Barton Hall concert at Cornell University in Ithaca, New York.
The band were in especially good form during the 1977 tour. The Barton Hall concert is a legendary show partially because the music is accessible – it’s enjoyable for hardcore Deadheads and casual fans alike. But perhaps even more importantly the show is accessible in a more literal sense. Grateful Dead audio engineer Betty Cantor-Jackson recorded over 1,000 tapes of live concerts for the band and the Barton Hall show is one of her most famous recordings. The “Betty Board” recording of the Barton Hall concert is of excellent quality, without which the concert likely would not be held in such high esteem.
“Everybody’s favorite fun game, move back …”
Recording Grateful Dead concerts, and the Shakedown Street style trade of concert tapes, is an entire sub-culture of the band. More than 2,000 of the estimated 2,300 concerts have been preserved by tapers. The non-profit Internet Archive has an entire section just for Grateful Dead recordings with over 16,000 entries. Instead of being anti-piracy the band embraced tapers, giving them their own space behind the mixing desk. As drummer Mickey Hart said “We can’t be cops.” The decision inadvertently worked like a viral marketing campaign. Fans would record shows, they would trade tapes with other people, and in the process millions more people were exposed to the band’s music. Today the band’s website has a “Taper’s Section” devoted to highlighting taped recordings from each week’s concerts in the band’s history.
In 2017 on the 40th anniversary of the Barton Hall concert Tompkins County, NY (where Cornell is located) declared the day “Grateful Dead Day.” In 2011 the Barton Hall Concert was entered into the National Recording Registry of the Library of Congress alongside other culturally significant recordings such as Martin Luther King Jr.’s 1963 “I Have a Dream” speech, George Gershwin’s Rhapsody in Blue, Dolly Parton’s Coat of Many Colors, Vince Guaraldi Trio’s A Charlie Brown Christmas, etc.
One of the most legendary and sought-after guitars in the world.
In 1952 the Gibson Guitar company began to sell a solid-body guitar. The guitar was a collaboration with “The Wizard of Waukesha” guitarist & inventor Les Paul. The Gibson Les Paul guitar was created as an answer to the Fender Telecaster, created two years earlier becoming the first mass produced solid-body guitar. Despite some initial success Gibson sold fewer and fewer Les Pauls over the next 5 years. By 1958 Gibson decided to redesign the style of the guitar and turned to the sunburst finish of their hollow-body electric guitars for inspiration. They replaced the Les Paul’s gold painted finish with a cherry sunburst finish. This was the dawning of “the Burst”, some of the most famous guitars ever made.
The 1958-1960 era of Gibson Les Pauls are some of the most collectible guitars in the world but they didn’t start out that way. Officially called the Gibson Les Paul Standard, but nicknamed the “Burst”, the guitar went relatively unnoticed until 1964 when a young Keith Richards bought a 1959 Burst from Selmer’s Music in London. He used it to record many of the Rolling Stones’ early hits including Satisfaction, Get Off My Cloud, and Let’s Spend the Night Together. Perhaps as importantly Richards was also seen with the guitar – in publicity photos, on tour, and in 1964 during the Rolling Stones appearance on the Ed Sullivan Show.
Because of the great sound the guitar produced, other early blues-rock guitarists wanted to try it. Richards lent his 1959 sunburst to Jimmy Page (then a studio musician, pre-Led Zeppelin) as well as to Eric Clapton. Later the classic combination of Gibson Les Paul played through a Marshall amp was created by Clapton who used the combo on the highly influential 1966 album Blues Breakers with Eric Clapton. Whether Clapton used a 1960 sunburst or a 1959 is an item of debate.
Soon other musicians wanted the sound & style of the 1959 sunburst. The problem was supply. In 1959 Gibson only made 643 Les Paul sunbursts. Even the whole of the sunburst run from 1958-1960 only produced somewhere around 1406-ish guitars. So by the late 1960s lots of musicians wanted one, but there weren’t enough to go around. This began a storied history of 1959 sunbursts being bought & sold, changing hands, and creating some very famous (and extremely valuable) guitars.
While the guitar itself is a great guitar, the who’s who of rock guitarists who have played 1959 sunbursts adds to their value. The provenance of these guitars is what makes them famous.
Keith Richards: In 1967 Keith sold his sunburst to Mick Taylor, who had replaced Peter Green in John Mayall & the Bluesbreakers (… who had replaced Eric Clapton in the Bluesbreakers). The “Keith Burst” would rejoin the Rolling Stones two years later when Taylor was brought in to replace Stones’ guitarist Brian Jones. In 1971 the guitar was either stolen, or maybe sold, but around 1977 it was sold to Bernie Marsden of Whitesnake who held onto it for about a week before selling it to Mike Jopp. In 2004 it went to an anonymous Swiss collector who supposedly paid $1 million for it.
Peter Green: Purchased around 1965 from the same shop as Keith Richards’ sunburst, Peter Green’s 1959 sunburst “Greeny” can be heard on 1967’s A Hard Road by John Mayall & the Bluesbreakers. The guitar went with him to the newly formed Fleetwood Mac and can be heard on their early blues-based albums including 1969’s Fleetwood Mac in Chicago. In the early 1970s he sold it to Gary Moore of Thin Lizzy where it can be heard on their albums. Moore sold it in 2006 for perhaps £300,000 or somewhere between $750,000-1.2 million, depending on the story. It further traded hands and most recently was sold in 2014 to Metallica’s Kirk Hammett. As for the price, it’s been reported that Hammett bought the guitar for $2 million but he’s said “I made a deal with the person I bought it from that I would never say what I paid for it. But it wasn’t $2 million. It wasn’t $1 million. It wasn’t even $500,000. That’s all I’ll say about it.”
Jimmy Page: The guitar that Jimmy Page calls his “Number One” is the 1959 sunburst that he bought off of Joe Walsh in 1969 while on tour in America. Incidentally after Joe Walsh joined the Eagles in 1975 he and Don Felder both played sunbursts including on the band’s biggest hit Hotel California. As for Jimmy Page his “Number One” has become one of the most iconic versions of the guitar. It can be first heard on 1969’s Led Zeppelin II. Page went on to own more than one 1959 sunburst and used them throughout the band’s career, part of which can be seen in their 1973 concert film The Song Remains the Same.
Billy Gibbons: Founder and front man of ZZ Top, Billy Gibbons purchased “Pearly Gates” from a rancher outside of Houston, Texas in 1968. After hearing Eric Clapton play a Les Paul sunburst he knew he had to have one. Gibbons named the guitar after a former car which in turn was named because it miraculously survived a drive from Texas to Hollywood. He’s played “Pearly Gates” on every ZZ Top album since. At one point he was offered $5 million for the guitar but declined.
Duane Allman: While Allman was more famous for his 1957 gold top Les Paul, he sold it in a deal to buy a 1959 sunburst. That sunburst is most famously heard on the Allman Brothers Band’s 1971 live album At Fillmore East. Today it sits in the Rock and Roll Hall of Fame.
Joe Perry: Unsure exactly who he traded guitars with, or when, Joe Perry ended up with a 1959 sunburst at some point in the 1970s. He played it on the early Aerosmith albums and can be seen playing it on the album art for Aerosmith’s Live! Bootleg album. Around 1982 Perry needed money and sold it for $4,500. It changed hands a few times, eventually going to Eric Johnson who offered to sell it back to Perry for what he paid for it, but Perry didn’t have any money and declined. It was sold again and by the time Perry had the money and went in search of his old guitar it was owned by Slash of Guns N’ Roses. The Joe Perry Les Paul can be seen in the November Rain video. In 2000 as a surprise 50th birthday present, Slash gave Perry back his old guitar.
Because of their iconic status the 1958-1960 Les Pauls have inspired many knock-offs. Some 1957s were refinished to look like 1958s, while others are just very convincing fakes. This leads to variations of the joke that between 1958-1960 Gibson made around 1,500 sunbursts and there are only about 3,000 left.
Of the sunbursts the 1959 is still the most valuable. The “Holy Grail” of guitars, the 1959 sunburst is so popular that Gibson currently makes a reissued version of it which you can buy new for just around $7,000. This is relatively inexpensive given that original 1959 sunbursts, even those with no particularly interesting provenance, sell for a few hundred thousand dollars each.
Viking warriors didn’t wear helmets with horns or wings on them.
There’s no evidence that Viking warriors wore helmets with horns or wings. There are actually very few Viking helmets of any kind in existence and none have been found with horns or wings. Medieval sources show Vikings more commonly wearing simple headgear (perhaps made of leather or iron) while others have nothing on their heads at all. Vikings who wore metal helmets were probably in the minority and all of those helmets were fairly plain.
South of Scandinavia, Germanic and Celtic tribes did have religious headpieces with horns, antlers, wings, etc. but these were purely ceremonial and never worn in battle. To wear a helmet with large decorative extensions in combat would be impractical.
Fast-forward to the early 19th century, the Romanticism movement produced works that turned away from classical Greek & Roman influences and embraced medieval history from other European cultures further north (such as the Germanic and Celtic cultures). Within Romanticism was the Viking Revival in which the Swedish painter August Malmström is believed to have been one of the first to paint Viking warriors with wings on their helmets. In the spirit of the Mark Twain quote, “Never let the truth get in the way of a good story.” there are a variety of historical inaccuracies in Malmström’s paintings and the winged helmets are a big one … but they make for some great paintings. The fact that winged headpieces were purely ceremonial and probably Celtic (and not Viking), seems to have been lost on Malmström.
Over time the Valkyries’ wings were replaced with horns, giving us the idea of a female opera singer with a horned helmet. This spread across pop culture most notably in the comic strip Hägar the Horrible, the Minnesota Vikings football team logo, Julianne Moore’s character in the Gutterballs dream sequence from The Big Lebowski, and the legendary 1957 Warner Bros. cartoon What’s Opera, Doc? which pulls from several Wagner operas and features Bugs Bunny and Elmer Fudd in winged/horned Wagnerian costumes.
The nostalgic song toasting times gone by that has spread around the world.
Auld Lang Syne started as a traditional Scottish folk song. The lyrics were written down, added to, and made famous by 18th century Scottish national poet Robert Burns in 1788. In the late 18th century Burns was touring Scotland collecting folk songs & poetry when he recorded Auld Lang Syne and submitted it to The Scots Musical Museum.
Burns contributed hundreds of songs to the Museum whose intention was to preserve the fading Scots language & culture which was becoming increasingly influenced by English culture. Auld Lang Syne is written partially in English but also partially in Scots (which is a Germanic derived Scottish language, different than “Scottish” which is a Celtic Gaelic derived language). The lyrics were originally set to a few different melodies but in 1799 they were paired with the melody we know today.
What is it and why New Year’s Eve?
Because the lyrics are partially in Scots most people don’t know exactly what the song means. The title “auld lang syne” in Scots translates to “old long since” or more loosely as “for the sake of the good old days gone by”. The song is a toast to friendship and to the fond memories of days gone by.
Given the song’s spirit of looking back while looking forward it became a standard sung every Hogmanay (the Scottish New Year’s Eve). Its association with New Year’s in North America was because of Guy Lombardo. On New Year’s Eve 1928 Guy Lombardo and The Royal Canadians big band hosted a concert at the Roosevelt Hotel in New York City and at the stroke of midnight they played Auld Lang Syne. For the next 47 years they played NYE concerts and every midnight they played Auld Lang Syne, earning Lombardo the nickname of “Mr. New Year’s Eve”. When Dick Clark created Dick Clark’s New Year’s Rockin’ Eve from Times Square in 1972 he too played Lombardo’s version of Auld Lang Syne at midnight. Since then the song has become synonymous with New Year’s.
Around the World
While the song is internationally recognized as the unofficial theme song of New Year’s Eve the melody has been used in other ways. The Korean national anthem Aegukga originally used the melody of Auld Lang Syne until 1948 when it was replaced with an original melody. It was also the melody of the national anthem of the Maldives, Qaumii salaam, until 1972 when it too was replaced with an original melody.
The Dutch song Wij houden van Oranje (which translates to “We Love Orange”) is a national soccer chant set to the melody of Auld Lang Syne. Also in Japan the melody is used for for the graduation ceremony song Hotaru no Hikari, the melody is used to mark the end of the day in department stores, etc.
Toasting the Past, Looking Forward
Like the Roman god Janus, Auld Lang Syne is a seasonal reminder to look back at the days gone by but also look ahead to the future. It’s a nostalgic song that toasts the people with us today as well as the people with us in spirit.
The haunting crying instrument that you’ve heard in thriller / horror movies.
Invented around 1968 by Richard Waters, the waterphone is an atonal musical instrument which has vertical metal rods of different lengths attached to a metal resonator pan/bowl. Inside the resonator is a bit of water, similar to a water drum, so when the vertical rods are played (with a mallet or more frequently with a bow) the resonator can echo and bend the sounds. The effect ranges from spacey to creepy.
Given its haunting sound the waterphone has been used to create tension and uneasiness in a variety of TV shows, theatrical productions, and movies. You can hear it in ALIENS, Poltergeist, Star Trek: The Motion Picture, etc. It’s used for jump scares such as in The Matrix when Neo’s new cellphone rings. It’s been used in multiple productions of A Midsummer Night’s Dream. Mickey Hart of the Grateful Dead has used the waterphone, Tom Waits has used the waterphone, as well as a host of contemporary classical composers.
Waterphones aren’t all scary though. Composer and activist Jim Nollman used the waterphone on Playing Music With Animals, where he played a waterphone to orcas.
The metal hand sign is from an Italian gesture to ward off the evil eye.
Ronnie James Dio, considered one of the greatest metal vocalists, fronted a host of legendary bands – Rainbow, Dio, and Black Sabbath. In 1979, when he was replacing Ozzy Osbourne in Sabbath, he wanted to set himself apart from his predecessor. Ozzy would flash the peace sign during concerts and Dio wanted to do something different. He thought back to the hand gesture his Italian grandmother would use to ward off the “malocchio” or “the evil eye.” From this, Dio began to flash the “mano cornuto” or the “horned hand” gesture.
The mano cornuto is related to the Italian cornicello charm of a single horn that looks a bit like a chili pepper. They’re both used as protection against the evil eye. The hand gesture has the index and pinky fingers extended and may have evolved from the idea of the two extended fingers “poking the eyes” of the person giving you the evil eye.
Because Dio was using the sign as the vocalist for Black Sabbath, he helped popularize the gesture in heavy metal culture. Soon other musicians, as well as fans, began to make the same gesture and today it’s used all over pop culture. Dio never claimed to have invented the sign but he certainly did more to make it a part of heavy metal than anyone else.
Added info: Gene Simmons of KISS, never one to pass up an opportunity to shamelessly profit off of something, filed an application to trademark a strikingly similar hand sign. In 2017 he tried to trademark the metal hand sign but with the thumb extended instead of tucked in. What Simmons claimed was his also happens to be the sign for “I love you” in American Sign Language. He later withdrew his application but not before Dio’s widow, Wendy Dio, said of Simmons“To try to make money off of something like this is disgusting. It belongs to everyone; it doesn’t belong to anyone. It’s a public domain; it shouldn’t be trademarked.”
For an album of greatest hits Tom Petty wrote yet another greatest hit.
For his 1993 album Greatest Hits Tom Petty was asked to record two new songs. The album already included 16 of his best songs from the previous 17 years, but MCA wanted a few bonus songs (as was the style at the time, to include some bonus material on compilation albums). Petty was not interested in having to write new material so he dug around through some old song ideas. Producer Rick Rubin picked a fragment of a song that had a good riff and potential to be a good song.
Petty took the riff he created 5-ish years earlier, and wrote Mary Jane’s Last Dance. The song was a hit and peaked around #14 on the Billboard Hot 100. So, when pressured to write a new song for an album full of his greatest hits, Tom Petty wrote a song that itself became another one of his greatest hits.
Kim Basinger, dead woman
A driver of the song’s commercial success was the accompanying music video. The video (which has nothing to do with the lyrics) has Petty playing a morgue assistant who becomes infatuated with a beautiful dead woman (played by Kim Basinger). He takes her home, he tries to dance with her, he props her up at the dinner table, but eventually he release her body into the waves of the ocean.
Talent to Spare
It’s hard enough to write one hit song let alone a hit song to accompany your other hit songs. While Petty may have written the song under duress, it’s a testament to his talent that he still wrote one of his best songs. Regarding Mary Jane’s Last Dance, Petty later said “I complained about that [song] so much … I’m really glad I did it now.”