Roger Waters of Pink Floyd turns 70 years old today. Waters was the prin­ci­pal song­writer and dom­i­nant cre­ative force dur­ing the band’s famous 1970s peri­od, when it released a string of pop­u­lar and influ­en­tial con­cept albums such as Dark Side of the Moon, Wish You Were Here and The Wall. But today we thought it would be inter­est­ing to take you all the way back to 1967, when Waters was 23 years old and the band was led by his child­hood friend Syd Bar­rett.

The video above is from a May 14, 1967 broad­cast of the BBC pro­gram The Look of the Week. Pink Floyd had­n’t released an album yet. Only two nights ear­li­er the band had staged its atten­tion-get­ting “Games for May” con­cert at the Queen Eliz­a­beth Hall. In the TV broad­cast, Pink Floyd plays its ear­ly favorite “Astron­o­my Domine” before Waters and Bar­rett sit down for a rather tense inter­view with the clas­si­cal­ly trained musi­cian and crit­ic Hans Keller. It’s amus­ing to watch Keller’s face as he express­es his extreme irri­ta­tion at the band’s loud, strange music. “My ver­dict is that its a lit­tle bit of a regres­sion to child­hood,” he says with a gri­mace. “But after all, why not?”

Waters and Bar­rett man­age to hold their own dur­ing the inter­view. Bar­rett comes across as lucid and well-spo­ken, despite the fact that his heavy LSD use and men­tal insta­bil­i­ty would soon make him unable to func­tion with­in the band. By Decem­ber of 1967, Pink Floyd would add gui­tarist David Gilmour to the line­up to com­pen­sate for Bar­ret­t’s errat­ic behav­ior. By March of 1968 — only 10 months after the BBC broad­cast — Bar­rett would quit the group.

We’ll close with an even ear­li­er video of Pink Floyd onstage. Filmed on Jan­u­ary 27, 1967 at the leg­endary UFO club in Lon­don, the clip is from the Feb­ru­ary 7, 1967 Grana­da TV doc­u­men­tary So Far Out It’s Straight Down. It shows the band play­ing anoth­er major song from its psy­che­del­ic era, “Inter­stel­lar Over­drive.”

Relat­ed Con­tent:

Pink Floyd’s David Gilmour Sings Shakespeare’s Son­net 18

Watch Pink Floyd Plays Live in the Ruins of Pom­peii (1972)

Pink Floyd’s Roger Waters Per­forms The Wall at the Berlin Wall (1990)

Singer/songwriter War­ren Zevon died of lung can­cer ten years ago tomor­row. I remem­ber the day of his pass­ing well, but at the time I was a lit­tle baf­fled by the enor­mous num­ber of trib­utes to the musi­cian, who I vague­ly thought of (stu­pid­ly) as a nov­el­ty song­writer vague­ly asso­ci­at­ed with the L.A. soft rock scene. How wrong I was. I arrived at the Zevon par­ty late, but I final­ly showed up, and came to under­stand why almost every musi­cian from the sev­en­ties and eight­ies that I admire deeply admires War­ren Zevon and his hard­bit­ten, wit­ty, and unsen­ti­men­tal nar­ra­tive style. There’s so much Zevon in so many trou­ba­dours I love: Joe Jack­son, Tom Waits, Spring­steen. Always on the cusp of star­dom but nev­er quite a star like peers and for­mer room­mates Lind­sey Buck­ing­ham, Ste­vie Nicks, and Jack­son Browne, Zevon was nev­er­the­less one of the most well-regard­ed writ­ers of the L.A. rock scene. Whether it was his mis­an­throp­ic com­mit­ment to his cynicism—as All­mu­sic describes his per­son­al­i­ty—that side­lined him or his strug­gles with acute alco­holism isn’t entire­ly clear, but he always had his cham­pi­ons among crit­ics and peers alike.

In addi­tion to the afore­men­tioned lumi­nar­ies, Zevon’s career was boost­ed by mem­bers of R.E.M., with whom he record­ed under the name Hin­du Love Gods, and—most vis­i­bly and consistently—by David Let­ter­man, who had a twen­ty year rela­tion­ship with Zevon as his guest and some­time sub­sti­tute band leader. At the top of the post, you can see Zevon’s final appear­ance on Letterman’s show. The two attempt light ban­ter but lapse occa­sion­al­ly into awk­ward paus­es as they dis­cuss Zevon’s diag­no­sis. The talk is frank and filled with mor­dant wit, as was Zevon’s way, and Let­ter­man con­fess­es he’s astound­ed at his long­time friend’s abil­i­ty to keep his sense of humor. When Let­ter­man asks Zevon if he’s learned some­thing Dave doesn’t know about life and death, Zevon responds with the end­less­ly quotable line, “not unless I know how much you’re sup­posed to enjoy every sand­wich.” In the clip above, watch one of Zevon’s final per­for­mances on the same show. He plays the pow­er­ful bal­lad “Muti­neer,” a song with a fit­ting epi­taph for Zevon’s life: “ain’t no room on board for the insin­cere.”

And in the clip above, see Zevon’s first appear­ance on Let­ter­man in 1982, play­ing “Excitable Boy” and “The Over­draft.” Watch­ing these ear­ly and late per­for­mances, I’m baf­fled again—this time by why War­ren Zevon wasn’t a major star. But it doesn’t mat­ter. Those who know his work, includ­ing near­ly every major singer/songwriter of the last forty years, know how amaz­ing he was. For more of Zevon’s amaz­ing­ness, check out this full 1982 con­cert film from an appear­ance in Pas­sa­ic, New Jer­sey. And please, remem­ber to enjoy every sand­wich.

Relat­ed Con­tent:

Tom Waits and David Let­ter­man: An Amer­i­can Tele­vi­sion Tra­di­tion

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

I have many mem­o­ries grow­ing up of gin­ger­ly plac­ing my father’s Abbey Road LP on the turntable and spend­ing the after­noon lying on the floor and peer­ing at the pho­tos inside the album cover’s gatefold—trying to wrap my head around what kind of hairy genius­es could make music like this. I had no inkling that this was their final record­ing togeth­er, that the band was about to come apart. None of that mat­tered to me. I didn’t quite grasp how this band evolved from the teen pop sen­sa­tions in iden­ti­cal suits and hair­cuts with their legions of flail­ing school­girl fans and goofy com­e­dy troupe ban­ter. This seemed like an entire­ly dif­fer­ent entity—and the par­tic­u­lar sub­lim­i­ty of the med­ley on side 2 (lis­ten to it here) had me lift­ing up the nee­dle and drop­ping it back at the intro to “You Nev­er Give Me Your Mon­ey” over and over.

That med­ley is such an impres­sive demon­stra­tion of The Bea­t­les’ range of voice and sen­si­bil­i­ty that it almost func­tions as a cap­sule for the sound of their whole lat­er career—all the weird nar­ra­tives, blues, bal­lads, and gor­geous­ly lush hymns and lul­la­bies. What remains con­stant through­out every Bea­t­les’ record—even before George and Ringo’s song­writ­ing contributions—is the vocal and lyri­cal inter­play of Lennon/McCartney, and it’s all on fine dis­play in the med­ley.

George Har­ri­son described side 2 in 1969 as “a big med­ley of Paul and John’s songs all shoved togeth­er.” Lennon gave George and Ringo more cred­it for the med­ley in an inter­view that same year:

We always have tons of bits and pieces lying around. I’ve got stuff I wrote around Pep­per, because you lose inter­est after you’ve had it for years. It was a good way of get­ting rid of bits of songs. In fact, George and Ringo wrote bits of it… lit­er­al­ly in between bits and breaks. Paul would say, ‘We’ve got twelve bars here– fill it in,’ and we’d fill it in on the spot. As far as we’re con­cerned, this album is more ‘Beat­ley’ than the dou­ble (White) album.

How­ev­er it all came about, it’s the med­ley’s strange lyri­cal twists, mélange of vocal styles, and pow­er­ful har­monies that stay with me, and that I find myself singing soft­ly, even after hav­ing gone sev­er­al years with­out hear­ing the album in full. Per­haps you do this too. Now we can hear what The Bea­t­les’ them­selves sound­ed like in the stu­dio sans instru­ments with the iso­lat­ed vocal tracks for the side 2 med­ley at the top of the post. Hear the full album ver­sion here and see the Med­ley track­list below.

You Nev­er Give Me Your Mon­ey

Sun King

Mean Mr. Mus­tard

Poly­thene Pam

She Came in Through the Bath­room Win­dow

Gold­en Slum­bers

Car­ry That Weight

The End

via Eric Alper

Relat­ed Con­tent:

A Short Film on the Famous Cross­walk From the Bea­t­les’ Abbey Road Album Cov­er

John Lennon’s Raw, Soul-Bar­ing Vocals From the Bea­t­les’ ‘Don’t Let Me Down’ (1969)

The 10-Minute, Nev­er-Released, Exper­i­men­tal Demo of The Bea­t­les’ “Rev­o­lu­tion” (1968)

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Sep­tem­ber hav­ing begun, let us lis­ten to its song. Rather, let us lis­ten to 38 of its songs. Or, speak­ing even more pre­cise­ly, 38 ver­sions of one of its songs: “Sep­tem­ber Song,” orig­i­nal­ly writ­ten by Kurt Weill and Maxwell Ander­son for the 1938 musi­cal Knicker­bock­er Hol­i­day, which has since made its way into the Amer­i­can pop song­book. A few Sep­tem­bers ago, Ken Freed­man of famed inde­pen­dent radio sta­tion WFMU tried to spin every ver­sion of “Sep­tem­ber Song” he pos­si­bly could on his show. Toward the end of the month, he post­ed on WFMU’s Beware of the Blog a roundup of the 38 finest ver­sions he found. “Noth­ing beats the James Brown ver­sion from his 1970 LP Soul on Top,” says Freed­man, ”on which he was backed up by the Louis Bell­son Big Band, with arrange­ments by Oliv­er Nel­son.” You can hear it just below:

Some of these 38 only broad­ly count as a ver­sion of “Sep­tem­ber Song,” which, of course, only makes the col­lec­tion more inter­est­ing. Take, for instance, John Lennon’s “cov­er,” which occurs acci­den­tal­ly in the course of an unre­lat­ed record­ing. Freed­man describes it as “a work in progress called ‘Dear John,’ report­ed­ly one of the last songs Lennon was work­ing on before his death. It’s includ­ed here only because his melody and lyrics stum­ble into ‘Sep­tem­ber Song’ mid-way through the tune, elic­it­ing a chuck­le from Lennon.” Lis­ten to it, and con­tin­ue your month’s true musi­cal begin­ning, below:

Queen’s con­junc­tion of the high­ly the­atri­cal with the musi­cal­ly vir­tu­oso set the bar for rock opera as high as it will go. Fred­die Mer­cury and Bri­an May were such extra­or­di­nar­i­ly tal­ent­ed musi­cians that it seems impos­si­ble for any­one to do their com­po­si­tions jus­tice in cov­er ver­sions, and I can’t think of any­one who has. Until now, per­haps. Because now, I have seen pianist Natalia Pos­no­va cov­er Queen’s 1980 movie theme song “Flash,” writ­ten for the, shall we say, less-than-mem­o­rable Flash Gor­don film of the same year. The orig­i­nal song is an almost ridicu­lous­ly cool oper­at­ic rock anthem, fea­tur­ing every­thing we love about the clas­sic Queen song: John Deacon’s tense, thump­ing bassline, Roger Taylor’s explo­sive drum fills, Bri­an May’s gui­tar arpeg­gios, and, of course, vocal har­monies the likes of which the Mor­mon Taber­na­cle Choir might envy.

Natalia Posnova’s ver­sion fea­tures none of these things. Only a piano, and in the video, her shiny red Flash Gor­don-themed out­fit. Nev­er­the­less, she man­ages to com­plete­ly cap­ture the dra­ma of the orig­i­nal in her ver­sion, titled “Flash Fan­ta­sy.” She cer­tain­ly con­vinced Bri­an May, who writes on his blog, “THIS WOMAN IS EXTRAORDINARY! I just ‘dis­cov­ered’ Natalia Pos­no­va. She is an amaz­ing pianist and inter­preter of songs. And I do not use this term light­ly. This video clip is worth a mil­lion hits. I hope it gets them … I have seri­ous­ly,  in all these years, nev­er seen or heard any­thing like this. To see this amount of beau­ty, tal­ent,  inno­va­tion and pure bravu­ra in one shot is astound­ing.” He hopes to see her live some­day. Above, she tack­les anoth­er the­atri­cal Queen song, “Who Wants to Live For­ev­er,” this time in suit­able evening wear for the hyper­dra­mat­ic bal­lad. Posnova’s ren­di­tions bring to the fore­ground the clas­si­cal har­monies embed­ded in these songs. For more on Posnova’s inter­pre­ta­tions of Queen, see Fred­die Mercury’s friend Peter Free­stone and Pos­no­va her­self dis­cuss her approach in the video below, and enjoy her take on anoth­er love­ly bal­lad, “Don’t Try So Hard.”

HT to OC read­er, Dirk, for send­ing this along.

Relat­ed Con­tent:

Gui­tarist Bri­an May Explains the Mak­ing of Queen’s Clas­sic Song, ‘Bohemi­an Rhap­sody’

Queen Doc­u­men­tary Pays Trib­ute to the Rock Band That Con­quered the World

Lis­ten to Fred­die Mer­cury and David Bowie on the Iso­lat­ed Vocal Track for the Queen Hit ‘Under Pres­sure,’ 1981

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Some of the great­est rock and roll songs are also dire apoc­a­lyp­tic warn­ings. When rock stars pull their heads out of their hedo­nis­tic you-know-whats and look around, things can look pret­ty grim indeed. Think, for exam­ple, of The Stones’ “Gimme Shel­ter” or CCR’s “Bad Moon Ris­ing.” Nei­ther is either band’s scari­est song, but they’re both chock full of dis­as­ter, nat­ur­al and oth­er­wise, speak­ing to the sense of doom most every­one seemed to feel in 1969 when both tracks were released.

Fast for­ward ten years and rock and roll is most­ly dead, punk has peaked, and The Clash are try­ing to make it all new, inject­ing their music with reg­gae and rock­a­bil­ly and a lot of right­eous out­rage (tem­pered by a healthy sense of humor). In 1979, the band released their sem­i­nal dou­ble album Lon­don Call­ing, with its dire, apoc­a­lyp­tic title track (above), warn­ing of an ice age, the sun’s end, and a “nuclear error.” (Read the lyrics here.)  No longer are we just deal­ing with ho-hum war and mur­der or Bib­li­cal plagues. Joe Strum­mer and com­pa­ny took on the end of the world, ini­ti­at­ing the late cold-war nuclear anx­i­ety in 80s punk and new wave lyrics from The Dead Kennedys to The Smiths.

In a recent inter­view with the Wall Street Jour­nal, the three sur­viv­ing mem­bers of the band, all near­ing 60, looked back on the writ­ing and record­ing of that anthemic song, dis­sect­ing the line about “pho­ny Beat­le­ma­nia” and recall­ing the eco­log­i­cal and eco­nom­ic crises that angered and fright­ened them into inspi­ra­tion. Co-writer and gui­tarist Mick Jones dis­cuss­es the influ­ence of six­ties rock on the song’s com­po­si­tion, say­ing, “As musi­cians, you take the past with you, don’t you? The Bea­t­les, Stones, Kinks and Small Faces had done some­thing new and dif­fer­ent and I want­ed us to do that, too.” Bassist Paul Simonon, whose icon­ic bass-smash­ing pho­to graced the cov­er of the album, talks about the band’s his­to­ry and con­text:

In the ’70s, when we formed the band, there was a lot of ten­sion in Britain, lots of strikes, and the coun­try was an eco­nom­ic mess. There also was aggres­sion toward any­one who looked different—especially the punks. So the name the Clash seemed appro­pri­ate for the band’s name.

Drum­mer Top­per Head­on talks tech­nique, and all three mem­bers are open about their influ­ences and inspi­ra­tions for the song. The inter­view comes along just as the band pre­pares to release a 13-disc box set, Sound Sys­tem that Mick Jones—in a Rolling Stone interview—promises will be the band’s final state­ment. “This is it for me,” says Jones, “and I say that with an excla­ma­tion mark.” Read about his inten­tions for the col­lec­tion and more Clash his­to­ry in that excel­lent short inter­view here.

Relat­ed Con­tent:

Rare Live Footage Doc­u­ments The Clash From Their Raw Debut to the Career-Defin­ing Lon­don Call­ing

“Joe Strummer’s Lon­don Call­ing”: All Eight Episodes of Strummer’s UK Radio Show Free Online

The Clash Live in Tokyo, 1982: Watch the Com­plete Con­cert

Mick Jones Plays Three Clas­sics by The Clash at the Pub­lic Library

The Clash Star in 1980′s Gang­ster Par­o­dy Hell W10, a Film Direct­ed by Joe Strum­mer

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

One day Lenny Kravitz was sit­ting with some friends on a ter­race in New Orleans when he heard a famil­iar sound. A group of high school stu­dents from a bap­tist church in Texas was per­form­ing his hit “Fly Away” on the steps across Decatur Street from Jack­son Square in the French Quar­ter.

Kravitz decid­ed he want­ed to join in. One of his friends went down and asked the group’s direc­tor if that would be alright. He said yes, it would. So when the famous musi­cian arrived, the group start­ed play­ing the song again from the top. “It was one of the strangest things I’ve ever expe­ri­enced,” Kelvin Reed, direc­tor of the Voice of Praise choir from the First Bap­tist Church in Lewisville, Texas, told the Dal­las Morn­ing News after­ward. “All of my stu­dents said, ‘Kelvin, did you plan that?’ That was just one of those unique expe­ri­ences.”

The inci­dent hap­pened on June 25, 2010. Back then, Kravitz owned a Cre­ole cot­tage in the French Quar­ter and lived in New Orleans part-time. “It was prob­a­bly one of the most incred­i­ble things that’s ever hap­pened to me,” choir mem­ber and lead gui­tarist Michael Smeaton told the Morn­ing News. “This is a famous musi­cian. He just comes down and wants to jam with us. It makes you real­ize as a musi­cian you have this sense of kin­ship, and you all come from the same expe­ri­ences.”

via That Eric Alper

Relat­ed Con­tent:

A Paul Simon Feelin’-Very-Groovy Moment

13,500 Sing “Hey Jude” in Trafal­gar Square

Blind Gui­tarist Lives Out Dream at U2 Show