Steve Forbert's Ode To A Shakespearian Legend

One of those songs from my childhood that echoed faintly in my memory during my mid 20s was an agreeable folk-rock ballad called ‘Romeo’s Tune’. Actually it didn’t echo sufficiently loud for me to even remember the name of the song, let alone the artist behind it. I recall seeing an episode of the Australian satirical comedy ‘Frontline’ (brilliant show) and the central character Mike Moore was driving along in his car and the song playing on his car radio suddenly increased the volume on that faint echo in my memory banks. It prompted me to think “I remember that song, now if only I could remember who did it”. My memory circa age 40 is now so decrepit that I can’t recall the process that led me to eventually discover that the song was indeed ‘Romeo’s Tune’, and from there I could determine from an old chart records book (well it was new back then) that the artist was Steve Forbert. I tracked down a good quality vinyl 45 copy of the track soon after, and back around 2002 I finally scored a copy of the song on CD via an import copy of the CD ‘The Best Of Steve Forbert. What Kinda Guy?’. The liner notes gave a bit of an insight into the song and the man behind it, and the story (with appropriate embellishments) goes a little something like this:

Steve Forbert was born and raised in Mississippi, learning the guitar from age eleven and going on to play in a number of semi-professional bands during his college years. He grew up on an eclectic diet of music, including Van Morrison, the Rolling Stones and Lou Reed/Velvet Underground. At the age of 21 Forbert quit his job as a truck driver and hit the road to New York City in search of a dream (the only dream seeking road more frequently travelled is the one to L.A.). The dedicated singer/songwriter wasn’t afraid to do the hard yards, starting out singing for change at Grand Central Station, before slowly working his way up the pecking order at various Manhattan clubs, also playing legendary venues such as Folk City and the famed CBGB’s, displaying early on his diversity as an artist with an act that cohesively fused elements as potentially disparate as folk, rock, blues and country.

He eventually landed a recording contract with the CBS affiliate label Nemporer during 1978. His debut album ‘Alive On Arrival’ arrived on the charts during mid 1979 and proved to have sufficient life in it to climb to a very respectable #82 on the U.S. album chart, gaining an even better reception in Britain (#56). It featured finely crafted tracks such as ‘Goin’ Down To Laurel’ that captured a purity of story telling very much in the mould of a Neil Young or Bruce Springsteen. In fact many music critics were so impressed with his work, particularly his talents as a wordsmith, that Forbert was being hailed as a new age Dylan of sorts. Replete with wailing harmonica and occasional off-key vocals, Forbert’s sound also echoed more than a hint of America’s great folk troubadour. The track ‘What Kinda Guy?’ was later re-recorded by the daughter of another story telling singer Johnny Cash, with Roseanne Cash scoring a country hit with her gender switching version. In amongst the disco circus and punk mayhem of the late 70s, it was good to see finely crafted and heartfelt music still registering with record buyers - the age of the story telling singer/songwriter wasn’t completely passed.

The promise shown on his debut album was realised on Forbert’s sophomore effort ‘Jack Rabbit Slim’ (US#20/UK#54/OZ#22), released in late ‘79. It yielded Forbert’s best known song, the aforementioned up tempo folk-rock ballad ‘Romeo’s Tune’, which is rumoured to have been a dedication to the late Supremes’ singer Florence Ballard, though the subject of the song was a girl from Forbert’s home town of Meridian. It fell agonisingly short of the U.S. top 10 (#11) in early 1980, and followed suit here in Australia (#13), but strangely missed the British singles charts. The follow up single ‘Say Goodbye To Little Jo’ (US#85) didn’t fare so well in commercial terms. In some circles the album was criticised as being too much of a departure from the formula that worked so well on ‘Alive On Arrival’. Stylistic elements such as big brass sections and R&B rhythms, though unsettling to the folk-rock purists, reflected an artist willing to take a chance on what felt right, rather than sticking to safe ground. It’s worth noting that Forbert often took the same approach in his dealing with the media, not afraid to spin wise cracking tongue in cheek answers, in place of the bland, media savvy sound bites offered up by some of his contemporaries.

Forbert returned later in 1980 with his third album in the space of two years, though ‘Little Stevie Forbert’ (US#70/OZ#55) fell short of the sales its predecessor racked up, and didn’t produce any hit singles. One possible explanation may lie in the fact that some of those wise cracking tongue in cheek answers Forbert had served up previously to the media, came back to bite him when Time magazine ran a much publicised article exposing some of Forbert’s ‘tall tales’ - trust the media not to appreciate a good yarn. It was poor timing that took the focus off an album that reflected a maturing artist just hitting stride in his work.

Undeterred Steve Forbert released one more album through his Nemporer/CBS association, with 1982’s self titled set (US#159). But by the early 80s the age of the singer/songwriter was probably as far distant from its glory days of the mid 70s as possible, with the new MTV generation more attuned to an artist’s image than the substance of their music (thankfully that imbalance didn’t last). That whole MTV notion didn’t sit well with Forbert, the singer getting his label offside when he refused to participate in a big budget video for the song ‘Ya Ya’, which had been identified as potential hit single material. Instead a home movie of Steve and his band on a tour bus was offered up as the music video. It’s worth noting that, in a twist of irony, for many of that MTV generation Steve Forbert may be most familiar for his cameo appearance in the promotional video to, the then unknown, Cyndi Lauper’s song ‘Girls Just Want To Have Fun’. Forbert played the part of Lauper’s tuxedo wearing boyfriend.

Unhappy with the relationship with Nemporer, Forbert was granted a release and signed direct with Columbia (CBS), who previously had acted as distributor only. He began work on a new album with producer Neil Geraldo. Geraldo was guitarist/producer for Pat Benatar (not to mention her husband) and it was thought he might be able to offer the key to unlock Forbert’s commercial potential. It’s rumoured that Forbert recorded some of his best work during these sessions, but sadly Forbert and Geraldo couldn’t convince the suits at Columbia to accept what they were offering as an album package. The usual battle for control of the songs ensued, with Forbert eventually requesting, and being granted, a release from the ties that Columbia had over him.

Disillusioned with this string of events, Forbert promptly headed to Nashville during 1985 in an effort to reinvigorate his ailing career. He spent the next few years dedicated to his song writing muse and establishing a firm base of fans on the local live music scene. Forbert was then signed to the Geffen label and re-emerged with a new album ‘Streets Of This Town’ in 1988. The album was produced by Garry Tallent (famed for his role as bass player with Springsteen’s E-Street Band), and was well received by fans who had stuck with him since ‘Alive On Arrival’. He recorded one more album for Geffen with 1992’s ‘The American In Me’, produced by high profile country artist Pete Anderson, but again poor sales figures prompted another label to cut ties with Forbert. Soon after Columbia released a compilation of Forbert’s work from his old label Nemporer/CBS, titled ‘The Best Of Steve Forbert. What Kinda Guy?’ (the CD I bought).

In 1995 Steve Forbert released ‘Mission Of The Crossroad Palms’ on the Warner Bros. affiliated Giant/Cantador label, quickly followed by ‘Rocking Horse Head’ (1996). He then officially became an ‘indie’ artist with the release of the 1997 live set ‘Here’s Your Pizza’. His next two albums ‘Evergreen Boy’ (2000) and ‘Any Old Time’ (2002) reflected a more countrified side to Forbert’s work, in fact ‘Any Old Time’ was a tribute to country music legend Jimmie Rodgers. In between times Forbert kept his fan base satisfied with a number of live recordings and two compilations of rare and previously unreleased recorded material, ‘Young, Guitar Days’ (2001) and ‘More Young, Guitar Days’ (2002). 2004’s ‘Just Like There’s Nothin’ To It’ showed Forbert hadn’t forgotten how to write and record new material. His latest offerings are the live set ‘On Stage At World Café’ (2007) and the studio album ‘Strange Names And New Sensations’ (2007).

Forbert has maintained a strong and loyal fan base over the last thirty years, and has won the respect and admiration of many music critics and fans alike in appreciation of the dedication he has to the craft of singer/songwriter, of his ability to reflect and encapsulate our common dreams and experiences in his songs, and of his penchant for telling it how it is, or maybe how it should be.

Diamond Dave Vs. Slammin' Sammy - Round One

Anyone who’s been a fan, hardcore or casual, of hard rock legends Van Halen, would probably have a firm opinion on which of the band’s two long term lead singers is their favourite. From most of the opinion’s I’ve read or heard over the years, the majority would come down in favour of ‘Diamond’ David Lee Roth. I’ll go out on a limb and say for mine, Sammy Hagar is my preferred option. Sure Diamond Dave had more style, more flare, more panache, more stage presence, more outrageous humour, more ‘rock star’ charisma, more high kicks, more affability…..but for me it comes down to Sammy Hagar simply being a better vocalist. That said it’s not that I don’t have a lasting appreciation for all that ‘Diamond’ Dave did (and once again does) contribute to one of my all time favourite artists. Rather than focus on what both Roth and Hagar have done for Van Halen, I thought I’d take a closer look at what both did post and pre their tenures with the band. Oh and I’m not forgetting Gary Cherone’s short stint with Van Halen, but I’ll explore more of his career via a future post on Extreme.

In the blue corner, born in Bloomington Indiana in 1955, the hyperactive, flamboyant, high kicking David Lee Roth. During his childhood he was exposed to the music of Ray Charles, Frank Sinatra, Louis Prima and the like, which would surface later on in his career. Roth moved to Pasadena as a teenager, became hooked on rock music, and soon found himself fronting a hard rock outfit calling themselves Mammoth during 1973, recruited from rival band Red Ball Jets. Within two years Mammoth was extinct, but in its place was Van Halen, comprising Roth on lead vocals, Michael Anthony on bass, and the Van Halen brothers, Eddie on guitar and older brother Alex on drums. During Roth’s residence with the band they went from popular covers band on L.A.’s Sunset Strip to arguably the biggest hard rock/metal band in the world. In all Van Halen released six full length studio albums with Roth at the helm, from 1978’s eponymous debut to 1984’s ‘1984’. They had also become one of the biggest stadium headline acts in the world, with high energy over the top stage antics a trademark, and David Lee Roth was the cornerstone of that act.

Following the runaway mainstream success of the ‘1984’ album (US#2/OZ#11/UK#15) which featured Van Halen’s biggest hit single ‘Jump’ (US#1/OZ#2), the band undertook a sell out world tour during which Roth’s death defying stage antics reached new heights, as did his hamstring stretching high kicks (thank goodness for spandex). But Roth’s personality was always in danger of proving too big for Van Halen. In early 1985 he released the EP ‘Crazy From The Heat’ (US#15/UK#91), which featured Roth doing what Roth does best - having a ball! The first single lifted was a cover of the Beach Boys’ classic ‘California Girls’, featuring backing vocals from Beach Boys’ legend Carl Wilson. The accompanying promo video was simply brilliant, throwing political correctness out the door in favour of tongue in cheek lewdness. The video was an MTV staple, helping to push ‘California Girls’ up to #3 on the U.S. Hot 100 in early ‘85, the song also rocketing to #6 in Australia soon after (UK#60). The follow up single ‘Just A Gigolo/I Ain’t Got Nobody’ was a high energy take on the classic medley arrangement originally recorded by Louis Prima back in 1956 (the song ‘Just A Gigolo’ had originally been a U.S.#1 for Ted Lewis in 1931, whilst ‘I Ain’t Got Nobody’ harked back to 1921 when it was a U.S.#3 for Marion Harris). Once again the promo video was pure brilliance, with Roth’s sly, mischievous, and at times self effacing humour, shining through. The single was rewarded with a peak position of #12 in the U.S. and #13 in Australia. It was mooted that Roth was trying to raise the finance to produce a full length film around his music.

Throughout the first half of 1985 rumours were also prevalent that Roth was intending to pursue a solo career as a fulltime concern amid on going animosity between he and Eddie in particular. The split from his Van Halen band mates was confirmed during June 1985, leaving Van Halen to carry on as a trio until they could decide on a replacement vocalist for Roth (but that story will be explored further in ‘Round Two’). ‘Diamond’ Dave then made a few calls and soon had a crack line-up of rock talent on duty to record his debut full length solo album ‘Eat ‘Em And Smile’ (US#4/UK#28/OZ#26), including Steve Vai (guitar) and ex-Mr. Big bassist Billy Sheehan. Released in mid ‘86, the album garnered rave reviews from the rock press, yielding the US#16 hit single ‘Yankee Rose’ (OZ#33). Roth imbued every track with his fervent vocal energy, backed by an infectious showmanship which shone through in the promotional videos for the follow up singles ‘Goin’ Crazy!’ (US#66) and ‘That’s Life’ (US#85 - the old Frank Sinatra hit) later in 1986. The album also featured Roth’s take on the old Nashville Teens hit ‘Tobacco Road’. It was a first class response from David Lee Roth to the mammoth success his old band mates in Van Halen were enjoying during the same period with their new album ‘5150’, featuring new front man Sammy Hagar.

Roth’s next album ‘Skyscraper’ (US#6/UK#11/OZ#15) appeared on the musical skyline in January ‘88. The album’s cover featured the singer posing whilst climbing a sheer cliff face (I’m surprised he wasn’t attempting a high kick at the same time). The first single ‘Just Like Paradise’ was one of my favourite tracks of the year, and the high energy track was indicative of the larger than life, almost action blockbuster, feel to the album. ‘Just Like Paradise’ climbed all the way to an altitude of #6 on the U.S. Hot 100, whilst ascending to #27 in Britain and #14 in Australia. The follow up ‘Stand Up’ (US#64/UK#72) didn’t quite manage to find its feet on the charts though.

Prior to the release of Roth’s next album, his sidekicks from the last two sets Steve Vai and Billy Sheehan departed the scene, leaving 1991’s ‘A Little Ain’t Enough’ (US#18/UK#4/OZ#20) lacking some of the instrumental verve of previous efforts. All the same the album went platinum and yielded the hit overseas single ‘A Lil’ Ain’t Enough’ (UK#32/OZ#40). Roth was reportedly disappointed with the overall reception afforded the album, that disappointment no doubt magnified by the fact the Hagar model of Van Halen notched up their third consecutive U.S. #1 album during 1991 with ‘For Unlawful Carnal Knowledge’ (you can decipher the acronym for yourself).

In the ensuing few years Roth relocated to New York City and recruited an all new band for his next album. Personal problems led into the recording of 1994’s ‘Your Filthy Little Mouth’ (UK#28/US#78), produced by the omniscient Nile Rodgers. In April 1993 Roth had been arrested while purchasing $10 worth of marijuana in Washington Square Park (for which he received one year’s probation). No doubt the quality of the album suffered as a result of Roth’s loss of focus (from the arrest not the marijuana), and the only songs lifted from the set that charted were the singles ‘She’s My Machine’ (UK#64), and ‘Night Life’ (UK#72), which had originally been recorded by Willie Nelson of all people. An attempt to break into the lucrative Vegas circuit also received a tepid reception, and it seemed by the mid 90s that ‘Diamond’ Dave had lost some of his sparkle on the American scene, though when confronted by a microphone he was never short of a memorable quote. It was fortuitous then that this coincided with a period when all was not well within the Van Halen camp, leading to a split between Hagar and the group, and an unexpected but welcome reunion between Roth and his former outfit (cue the brown M&Ms!).

At the 1996 MTV Video Music Awards Roth appeared alongside the other three Van Halen members in a show of born again solidarity. They had already recorded a number of new tracks in the months prior, two of which were included on the 1996 Van Halen release ‘Best Of: Volume 1’ (‘Can’t Get This Stuff No More’ and ‘Me Wise Magic’). But the solidarity apparently didn’t extend back stage as Eddie and Dave almost came to blows. Apparently someone let the cat out of the bag regards Van Halen having already hired ex-Extreme frontman Gary Cherone as their new singer.

As is often the way with disgruntled celebrities, Roth penned a warts and all biography in 1997 title ‘Crazy From The Heat’, and a ‘Best Of’ album was released on Rhino Records soon after. In 1998 ‘Diamond’ Dave released his first new album in four years titled ‘DLR Band’ (US#172). It was a stripped down, back to basics sound that focused on kick ass rock with attitude. Critics and Roth fans alike were glowing in their praise for the set, a stark contrast to the reception offered the Cherone led ‘Van Halen III’. That particular disaster led to the prompt dismissal of Cherone from Van Halen, and once again the rumour mill went into overdrive regards Roth’s return to the Van Halen fold. In April 2001 Roth announced that he and Van Halen had indeed recorded some new material in the studio, but any thought of an immediate reunion was put on hold by Eddie Van Halen’s battled with cancer over the ensuing 12 months. Roth got back to his own solo career with 2003’s ‘Diamond Dave’ (US#18), a collection of rock covers echoing some of his classic Van Halen work, that received a warm reception all round. In early 2006 Roth tried his hand as a ‘shock jock’ on radio, and recorded the low key album ‘Strummin’ With The Devil: The Southern Side Of Van Halen’, a bluegrass style tribute to the music of his old band, a strong indicator that Roth still held the band close to his heart.

In January 2007 the announcement most Van Halen fans had been waiting more than 20 years for finally materialised. David Lee Roth would be joining Eddie, Alex and Eddie’s son Wolfgang on an extensive tour. The tour took a while to actually get off the ground, due mainly to Eddie’s ongoing substance abuse issues and subsequent stints in rehab. The tour finally launched in September 2007 and over the next nine months they played 74 sell out shows on their North American tour, with Roth still able to out high kick a Vegas showgirl. A new album and world tour are reportedly in the works, but as with anything Van Halen and Roth related - we’ll believe it when it happens.

Diamond Dave Vs. Slammin' Sammy - Round Two

In the red corner, the ‘The Red Rocker’ himself Sammy Hagar, hard rock journeyman with a set of lungs to match his vocal chords. The boxing metaphor isn’t entirely coincidental, given that as a teenager Sammy Hagar was a promising pugilist with ambitions to follow his father into a career in boxing. But music was equally as alluring, and given it was the mid 60s where the youth were encouraged to ‘make love not war’, Hagar opted to pursue his love of music.

For several years the young singer/guitarist supported his quest by playing with various and sundry bar bands across Southern California, including Skinny and the Fabulous Catillas. The hard yards and long nights paid off for Hagar when during 1973 he came to the attention of guitarist Ronnie Montrose. Montrose was a well established player having worked with the likes of Van Morrison and the Edgar Winter Group and was looking to form his own band. He enlisted session players Bill Church (bass) and Denny Carmassi (drums), then took a punt on Sammy Hagar to handle the vocals and rhythm guitar. Montrose released their eponymous debut album in November 1973. There were no singles released from the album (very Led Zeppelin like) but the hard rock band had already built up a strong fan base and the album sold well enough (US#133/UK#43) to encourage a follow up. Worth noting is that a song from the debut album ‘Space Station No. 5’ was released in the U.K. as a single during 1980 (#71). 1974’s ‘Paper Money’ (#65) made plenty of real currency and confirmed Montrose as a serious player on the U.S. hard rock/metal scene, and one of the key influences on another band, then in its formative ‘Mammoth’ stages, by the name of Van Halen. By this time bassist Church had already left the scene, replaced by bassist/keyboardist Alan Fitzgerald.

With a fractious relationship having evolved between the explosive Hagar and his unofficial boss Montrose during the course of the ‘Paper Money’ sessions , Hagar split from Montrose following the release of the second album to pursue a solo career (Montrose went on to release three more albums during the 70s, with varying line-ups, before reuniting in 2002 and releasing 2004’s ‘Inertia’). Released on Capitol Records in 1976, Hagar’s first album ‘Nine On A Ten Scale’ didn’t quite live up to the promise of its title but did feature an interesting cover of Van Morrison’s ‘Flamingos Fly’ (I wonder if there was a subtle message there for Montrose, who had of course played with Van Morrison). Hagar penned several of the album tracks and also handled much of the guitar work on the album.

For his sophomore effort, Hagar recruited two other Montrose alumni in bassist Bill Church and keyboardist Alan Fitzgerald. The self titled 1977 album (US#167) quickly became known as ‘The Red Album’, in part due to the colour theme of the album’s cover, and the opening track ‘Red’, which for many Hagar devotees remains one of the best rock anthems of his career. Drummer Scott Matthews and guitarist David Lewark rounded out the playing roster and formed the line-up for the first incarnation of the Sammy Hagar Band. Another former Montrose man Denny Carmassi replaced Matthews on the drums in late 1977 as the Sammy Hagar Band toured extensively in support of some of the biggest arena acts of the late 70s, including Boston, Kansas and KISS. A 1978 live album ‘All Night Long’ (US#89) captured the Hagar magic on stage, and featured the first recorded version of ‘I’ve Done Everything For You’. Also released in 1978 was the album ‘Musical Chairs’, which featured the first single to chart for Hagar in ‘You Driving Me Crazy’ (US#62).

Following the stand alone cover single ‘(Sittin’ On) The Dock Of The Bay)’ (US#65) in mid ‘79, Sammy Hagar released the album ‘Street Machine’ (UK#38/US#71) during September, the album yielding the minor hit singles ‘Plain Jane’ (US#77) and ‘This Planet’s On Fire (Burn In Hell)’ (UK#52). During this period former Journey guitarist Neil Schon joined Hagar’s band (a key collaborator in future years). In January 1980 Sammy Hagar released ‘I’ve Done Everything For You’ as a single (UK#36), the song later covered by Rick Springfield in 1981 to greater success (US#8/OZ#31). Hagar’s 1980 album ‘Danger Zone’ (US#85/UK#25) realised the minor hit single ‘Heartbeat’ (UK#67), but a major hit single still eluded the talented vocalist.

Hagar then made the move to the Geffen label, releasing a breakthrough album for the U.S. market in ‘Standing Hampton’ (US#28/UK#84), featuring the singles ‘I’ll Fall In Love Again’ (US#43) and ‘Piece of My Heart’ (US#73/UK#67). The ‘Red Rocker’ then released the single that would finally crack the top 20 in the U.S. ‘Your Love Is Driving Me Crazy’ was pure commercial rock, and quickly featured on radio playlists across the U.S. following its December ‘82 release. It climbed to #13 Stateside, and featured on Hagar’s next album ‘Three Lock Box’, which unlocked #17 on the album charts for Hagar, also yielding the hit single ‘Never Give Up’ (US#43).

Since it was all the fashion during the 80s to have a flirtation with a supergroup, Hagar thought why not try it too, resulting in the quartet Hagar, Schon, Aaronson, Shrieve. Neil Schon (ex-Journey guitarist) had been playing with Hagar since 1980’s ‘Danger Zone’, whilst bassist Kenny Aaronson (ex-Stories) and drummer Mike Shrieve (ex-Santana) completed the impressive line-up. Hagar, Schon, Aaronson, Shrieve only recorded the one album together, with 1984’s ‘Through The Fire’ (US#42/UK#94), which was a live set. They also recorded a studio version of the Procol Harum classic ‘A Whiter Shade Of Pale’ (US#94) - Hagar doing Gary Brooker…interesting. The same year Hagar released his next solo album ‘VOA’ (US#32). The platinum selling set yielded two top forty hits in ‘Two Sides Of Love’ (US#38) and the surging track ‘I Can’t Drive’ (US#26), which was Hagar’s version of a protest song in response to the lowering of highway speed limits (Hagar has a bit of a penchant for fast cars).

Following ‘Diamond’ Dave’s exodus from Van Halen, Eddie and the lads were in the market for a lead singer who could tackle the unenviable task of replacing the charismatic Roth. Sammy Hagar was their choice, and in most respects it was a choice that worked for Van Halen. Hagar’s decade long tenure with the band started auspiciously with three consecutive U.S. #1 albums - ‘5150’ (1986), ‘OU812’ (1988) and ‘For Unlawful Carnal Knowledge’ (1991). It’s fair comment to say that the first two albums represented a shift in style to a more accessible commercial rock sound, which had been signalled already by Roth’s last chapter with the band ‘1984’, but ‘For Unlawful Carnal Knowledge’ was as hard edged as any of the Roth-era sets.

Hagar was contracted to record one more solo album for Geffen, resulting in the Eddie Van Halen produced ‘Sammy Hagar’ (US#14/UK#86) album in 1987. The album had been preceded by Hagar’s musical contribution to the Sylvester Stallone train wreck ‘Over The Top’, the single ‘Winner Takes It All’ (US#54). Following the release of 1987’s ‘Sammy Hagar’, MTV launched a viewer competition to find an alternative title for the album (possibly to gain added publicity and also differentiate it from his self-titled effort of a decade earlier). The winning entry was ‘I Never Said Goodbye’. The album was criticised for being over produced and too synth-oriented, but charted higher than any of Hagar’s previous solo efforts, and did yield the hits ‘Give To Live’ (US#23) and ‘Eagles Fly’ (US#82). During his stint with Van Halen two more Sammy Hagar releases surfaced, with 1992’s ‘Red Hot’ (live) and the 1994 box set ‘Unboxed’ (US#51).

Following his acrimonious split from Van Halen during 1996, Hagar immediately resumed his solo endeavours with the album ‘Marching To Mars’ (US#18), well it was the ‘red planet’ after all, for new label MCA. It was a reclamation of his identity as a quality hard rocking vocalist and musician in his own right, and was warmly received by the press and fans alike, aided by guest contributions from Huey Lewis, Slash and Bootsy Collins. 1999’s ‘Red Voodoo’ (US#22) delivered more of the same, and in many respects both Roth and Hagar were similarly revitalised in their music careers in their respective ‘immediately post-Van Halen’ enterprises, contrasting markedly with the dip in fortunes for Van Halen during the corresponding periods.

It was during his post-Van Halen years that Hagar established his new backing band the Waboritas, featuring Vic Johnson (guitar), Jesse Harms (keyboards), Mona (bass) and David Lauser (drums - who had played with Hagar back in the 60s with the band Justice Brothers), with ‘Red Voodoo’ (and subsequent albums) actually credited to Sammy Hagar and the Waboritas. 2000’s ‘Ten 13’ (US#52) was titled in reference to Hagar’s birthday, the celebrations for which had taken on legendary status each year at the singer’s famed ‘Cabo Wabo’ bar and restaurant in Mexico (‘Cabo Wabo’ had been a track title from Van Halen’s 1988 album ‘OU812’).

Over the last decade Hagar has continued to solidify his status as one of rock’s true survivors, releasing several more albums (‘Not 4 Sale’-2002, ‘Live: Hallelujah’ - 2003, ‘Livin’ It Up’ - 2006), and continuing to play regularly with the Waboritas. Former Van Halen band mate Michael Anthony plays and tours with Hagar, on occasion playing in a support band called The Other Half’ (a tongue in cheek reference to how Hagar and Anthony perceived their status in Van Halen).

In 2007 Hagar was inducted into the Rock and Roll Hall of Fame as a member of Van Halen, though of all the band’s members only he and long time bassist Michael Anthony attended the induction ceremony. Hagar’s latest single is 2008’s ‘I’m On A Roll’ and it’s reported that he’s currently recording material with the proposed ‘supergroup’ project Chickenfoot, comprising Hagar, Michael Anthony, Chad Smith (drummer with Red Hot Chili Peppers) and guitar virtuoso Joe Satriani.

Rock And Roll Girls Follow The Old Man Down The Road

To take a welcome break from the essay length posts, I thought I’d focus on a particular album from the mid 80s that is one of my favourites, with a side glance at the artist behind it. It happens to be by a man who became a popular music legend during the late 60s/early 70s through his stewardship over one of the most popular and influential acts of that time. The man is John Fogerty, and the band of course was Creedence Clearwater Revival.

Creedence notched up nine U.S. top 10 hits in the space of just over two years from May ‘69 to July ‘71, with the dubious honour of scoring five number two singles in that period. Among the songs that would become synonymous with that era in rock history, were ‘Proud Mary’, ‘Bad Moon Rising’, ‘Down On The Corner’ and ‘Lookin’ Out My Back Door’. As much as the band’s infectious down home tinged hybrid of rock ‘n’ roll, country and R&B , Fogerty’s unique soul filled vocal style became a signature for Creedence.

Immediately following Creedence Clearwater Revival splitting, Fogerty formed The Blue Ridge Rangers, a bluegrass/country fusion outfit, and scored the 1973 hit ‘Jambalaya’ (US#16/OZ#12) , a cover of the 1952 Hank Williams’ hit. A couple of minor solo hits followed in the mid 70s, including 1975’s ‘Rockin’ All Over The World’ (US#27/OZ#55 - re-recorded by Status Quo) from his self titled album. In the decade following Fogerty largely retreated from the spotlight (partly due to unresolved contractual issues from his Creedence days and partly to enjoy family life on his farm), but he would bounce back in style during 1985.

From the opening riff on the southern style guitar intro of ‘The Old Man Down The Road’, it was clear this was the guy from Creedence Clearwater Revival. Fogerty’s vocal dexterity hadn’t diminished with the years and the song had all the hallmark’s of a Fogerty penned classic - so much so in fact that Fogerty was sued by the owner of Creedence’s old label ‘Fantasy’ for plagiarizing his own songs. Sure it had echoes of half a dozen Creedence tracks, but it was claimed in the law suit that it borrowed from the chorus of ‘Run Through The Jungle’. Fogerty proved that his latest hit was a wholly distinct musical entity and rightly won the case (besides the court ruled there’s nothing wrong with sounding like yourself). ‘The Old Man Down The Road’ reached #10 in the U.S. and repeated the feat in Australia during the first half of 1985. For his legion of fans, old and new, it was like he’d never been away.

His comeback album ‘Centerfield’ (produced by Fogerty) was duly rewarded with the #1 spot on Billboard’s Top 200 chart, peaking at #4 in Australia (UK#48). The follow up track was the brilliant ‘Rock And Roll Girls’. It peaked at #20 in the U.S. and #26 in Australia, and is by far and away my favourite track from the album, lyrically and musically. The lines “Sometimes you think life is just a rodeo. The trick is to ride, and make it to the bell” are as good as anything from Fogerty’s Creedence days. The title track was the only other single to be lifted (US#44).

The follow up album ‘Eye Of The Zombie’ (US#73/OZ#17) surfaced in 1986, but proved a huge disappointment, receiving poor reviews and failing to deliver on the promise offered by ‘Centerfield’. The title track reached #30 in Australia but only flirted with the lower reaches of the U.S. Hot 100 (#81), whilst the follow up ‘Change In The Weather’ (OZ#89) signalled Fogerty’s career was once again about to stall. Fogerty once more retreated to the seclusion of farm life, before mounting yet another comeback a decade later with 1997’s ‘Blue Moon Swamp’ (US#37). The album was roots rock at its purest and received rave revues and a Grammy Award for Best Rock Album. The live album ‘Premonition’ (US#29) followed in 1998, before Fogerty once again packed away the guitar case and retreated to the simple life.

The aptly titled ‘Déjà Vu (All Over Again)’ marked Fogerty’s return to the recording scene in 2004. In recent years he’s maintained a more regular touring schedule, perhaps freed up by the long awaited final resolution of the whole Creedence back catalogue fiasco. Most recently he released 2007’s ‘Revival’ (US#14) and launched a sell out world tour, including Australia in early 2008. Fogerty fans the world over will hope that this latest phase in his career will prove to be an extended one.

Sheena Struts Her Stuff - The Prince Era & Beyond

Figuring if the whole sex kitten makeover move could work for Olivia Newton-John, it could work for her too, Easton strutted into late 1984 with the platinum selling album ‘A Private Heaven’ (US#15/OZ#88). The album dispensed with the light pop/ballad formula in favour of a more funk based R&B tone. The brass-driven ‘Strut’ (US#7/OZ#13) worked a treat with record buyers, and benefited from a much played promo video featuring Easton doing her best sultry pout to camera (incidentally Bruce Hornsby, who appears in the video, was the keyboardist in Easton’s band during this period). The song was co-written by one Charlie Dore (‘Pilot Of The Airwaves’ - see earlier post). It was no coincidence that Easton’s revamped, vamped up pop vixen image arrived on the same album as her first collaboration with Prince. Though Prince, who as we all know loves a good pseudonym, went under the song writing/production credit of Alexander Nevermind for the provocative hit single ‘Sugar Walls’ (US#9/OZ#87).

Before the end of 1985, Easton had released the Nile Rodgers’ produced album ‘Do You’, though the soul styled dance set only yielded two minor hits in ‘Do It For Love’ (US#29), and a cover of the Holland-Dozier-Holland penned song ‘Jimmy Mack’ (US#65), a top 10 hit for Martha & The Vandellas in 1967. She also found time to record the Spanish language album ‘Todo Me Recuerda’, and won a second Grammy Award in 1985 for ‘Best Mexican/ American Performance’ (wasn’t she still Scottish?) for the duet ‘Me Gustas Tal Como Eres’ with Luis Miguel. 1986 was a relatively quiet year for Scotland’s, turned America’s, favourite lass, her only chart hit being ‘So Far So Good’ (US#43) from the soundtrack to the Rob Lowe/Demi Moore film ‘About Last Night’.

In 1987 Sheena Easton would make up for a quiet 1986. She made her acting debut in television via her role as Sonny Crockett’s (Don Johnson) wife for five episodes on the hit TV cop drama/farce ‘Miami Vice’. Easton also provided backing vocals for her new ‘creative collaborator’ Prince on the diminutive one’s hit ‘U Got The Look’ (US#2/UK#11/OZ#90), and found time to record another album ‘No Sound But A Heart’, though the album’s U.S. release was postponed (for 12 years), after the lead out single ‘Eternity’ failed to reach any of the U.S. charts. Such a flop could prove fatal to some artist’s careers, and indeed EMI acrimoniously parted ways with Easton soon after, but their were more successful chapters to be written in her career.

In 1989 Sheena Easton signed with MCA, and enlisted the production/writing talents of R&B powerhouses L.A. Reid and Babyface, for her next album ‘The Lover In Me’ (US#44/UK#30). The title track soared to #2 on the U.S. charts in early ‘89, also becoming Easton’s first solo British hit (#15) since 1983. Prince thought his name was ‘Joey Coco’ when he penned/produced the brooding dance number ‘101’ (UK#54), whilst ‘Days Like This’ (UK#43) also added to the album’s favourable reception back in Britain. Before the end of ‘89 Easton had contributed vocals to the Prince hit ‘The Arms Of Orion’ (UK#27/US#36/OZ#88), lifted from the ‘Batman’ soundtrack.

Easton recorded a reasonable facsimile of a Taylor Dayne album for her next effort ‘What Comes Naturally’ (OZ#35/US#90), featuring the hit title track which climbed to #19 in the U.S. in early 1991, soon after bolting to #3 in Australia. I recall seeing Sheena Easton in a promotional appearance on TV’s ‘Hey, Hey It’s Saturday’, and I remember wondering if she was the same Sheena Easton that had worn a green jumpsuit on the morning train a decade before - remarkably she was - though soon after the Scottish lass would become a U.S. citizen (from 1992).

Sheena Easton then took a mighty big leap of faith in her own vocal talent, with the 1993 album ‘No Strings’, featuring Easton doing her take on a line-up of pop standards. From all reviews Easton did a stellar job and did each and every classic due justice, but it didn’t win much support from MCA and consequently missed the charts altogether. She returned to the earlier song mix of up tempo pop offset by teary ballads, on her next album ‘My Cherie’. The title track owed much to the melodic style of ‘9 To 5’, but the single and album both failed to chart, indicating that the music buying public circa 1995 were not willing to return to Sheena Easton circa 1981. The only album to surface during the next five years in the Scottish diva’s name was the oddball compilation mix ‘Body And Soul’ in 1997. She had also continued a sporadic acting career throughout the 90s, appearing in the film ‘Indecent Proposal’, and various television series including ‘Body Bag’ and ‘Highlander’. Easton also performed in the Broadway production of ‘The Man Of La Mancha’, the stage revival of ‘Grease’, and the seasonal concert tour ‘The Colors Of Christmas’ with artists such as Roberta Flack and Melissa Manchester (see future post).

A more self assured Sheena Easton resurfaced for the 2000’s ‘Freedom’, the album’s sound and performer’s image hinting that Easton had found a level of personal freedom in her own career, free of the compromises perhaps made under the influence of other parties gone past. Her most recent album, 2002’s ‘Can’t Take My Eyes Off You’, saw Easton move to the Universal label. Easton played shows regularly in Las Vegas during 2003/2004. During 2005 she played the Narrator in a stage production of ‘Joseph and the Amazing Technicolor Dreamcoat’. Easton still tours regularly in balance with raising a family.

With global record sales exceeding 20 million, Sheena Easton can rightly lay claim to being one of the most successful solo female vocalists of the last 30 years. She also has the unique honour of being the only artist in the history of the U.S. Billboard charts to have scored a top 3 hit on Adult Contemporary, Dance, Pop, Country and R&B charts, emphasising her versatility and talent as a vocalist.

Sheena Catches The Morning Train - Scottish Lass Makes Good

From unknown girl next door to Prince produced vixen, Sheena Easton’s professional image/style certainly underwent a radical transformation in the decade between her first major hit ‘9 To 5 (Morning Train)’ in 1981, and her last ‘What Comes Naturally’ in 1991. But the events in between, and surrounding, both songs are worth taking a closer look at.

Born Sheen Orr in Bellshill, Scotland, she attended the Royal Scottish Academy of Drama and Art, graduating in June of 1979. Whilst still studying, Sheena Easton (Easton was her married name from 1979) often moonlighted as a singer in local nightclubs and pubs, playing with her first band Something Else at age 17. Easton was a qualified speech and drama teacher but chose instead to pursue singing as a profession, apparently inspired to do so when she saw Barbra Streisand’s performance in the film ‘The Way We Were’. In May 1979 she auditioned for a recording contract with EMI Records, under the watchful camera lens of a BBC-TV documentary crew (who had arranged the audition - with no assurances of success). Easton’s overwhelming talent overcame the reservations of EMI’s head of A&R Brian Shepherd, and she was signed up on the spot. During the following year the same BBC-TV documentary crew recorded the formative process involved in turning Sheena Easton from an unknown club singer to pop superstar. Her story was featured on the documentary ‘The Big Time’ which aired in mid 1980, immediately boosting her profile across Britain.

Her debut single ‘Modern Girl’ was released in February 1980. The upbeat synth-pop number crawled to #56 on the British charts at its first attempt, but Easton’s follow up single would prove a runaway train…I mean hit. ‘9 To 5’ clocked onto the British charts in July 1980, working overtime on its way to #3. During its strong run on the charts (which followed the high ratings airing of ‘The Big Time’ documentary) EMI re-released ‘Modern Girl’, and with the Sheena Easton publicity train under full steam, the song climbed to #8 in the U.K. on its second tilt at the charts, giving the Scottish lass the honour of being the first female performer to score two British top 10 hits simultaneously since Ruby Murray 25 years earlier. That November found 21 year old Sheena Easton performing for the Queen Mother at the Royal Variety Show, and by year’s end Easton had won a swag of awards in Britain. Over the next few months two more singles charted in the U.K., ‘One Man Woman’ (#14) and ‘Take My Time’ (#44), the title track from Easton’s debut album (UK#17/OZ#57). The album was released in the U.S. in early 1981 under the title ‘Sheena Easton’ (just to make it clear who she was) and went on to reach #24 on the Pop Album charts.

Much of its success in the U.S. was down to the lead out single there ‘9 To 5’, re-titled to avoid possible confusion with the Dolly Parton #1 hit of the same name (from the film ‘9 To 5’). The song was released as ‘Morning Train (Nine To Five)’ for the U.S. market, debuting in February ‘81 on the Hot 100, and reaching #1 by May, spending two weeks atop the charts. Just to add to the cost of type-setting at EMI, the song was released as ‘9 To 5 (Morning Train)’ for the Australian market, but that didn’t affect its performance, with the cheery pop love song also spending two weeks at the chart summit. The song also produced one of the best known promo videos of the era, featuring Easton appropriately enough riding a train (as well as a bike), and years later it featured in a couple of hilarious sequences from the sitcom ‘Seinfeld’. ‘Modern Girl’ was then released Stateside (#18) and in Australia (#24) and by mid ‘81, Sheena Easton was rivalling Olivia Newton-John for best known ‘girl next door’ on the charts (actually Newton-John would soon get ‘Physical’ in an attempt to dispense with that image). Easton went on to win the Grammy Award for ‘Best New Artist’ for 1981.

She soon became the first Scotswoman, but not the last (think Shirley Manson of Garbage) to have the honour of singing a theme song for a James Bond film (also appearing briefly in the film’s opening credits. ‘For Your Eyes Only’ (co-produced by Bill Conti) was released in mid 1981 to coincide with the release of the latest Bond feature. The sweeping ballad reached #4 in the U.S., #8 in Britain and #6 in Australia, making it one of the biggest selling Bond theme songs of all time (and garnered two Academy Award nominations). The song featured on Easton’s sophomore album ‘You Could Have Been With Me’ (UK#33/US#47), which was a passable mix of ballads and R&B flavoured pop, also yielding the minor hits ‘Just Another Broken Heart’ (UK#33) and ‘You Could Have Been With Me’ (US#15/UK#54) in late ‘81. The other hit the album produced was ‘When He Shines’ which charted in Britain (#12 - 5/81) and the U.S. (#30 - 4/82) almost a year apart.

Easton’s next album ‘Madness, Money And Music’ (UK#44/US#85/OZ#99) in 1982 was a moodier effort, more ballad and slow R&B based. It featured the minor chart hits ‘Machinery’ (UK#38/ US#57) and ‘I Wouldn’t Beg For Water’ (US#64), in addition to Easton’s take on the ballad ‘The Wind Beneath My Wings’ (recorded seven years before Bette Midler’s #1 version). Early 1983 saw Easton record the hit duet ‘We’ve Got Tonight’ (OZ#11/US#6/UK#28) with country crooner Kenny Rogers (a cover of the Bob Seger & The Silver Bullet Band song ‘We’ve Got Tonite’ from the 1978 album ‘Stranger In Town’). It featured on Easton’s fourth album in less than three years, ‘Best Kept Secret’ (US#33/UK#99), which was a bit of misnomer given Easton’s profile by that time. The album also yielded the synth-pop hit ‘Telefone (Long Distance Love Affair)’ (US#9/OZ#54), but it appeared by this time that Britain had lost interest in Easton, where it would be another six years before she would have another chart hit (in her own right). The follow up single ‘Almost Over You’ (US#25/OZ#68) proved the U.S. wasn’t quite over Easton.

This Girl In The Mirror Ain't That Girl On The Wall

For mine one of the stand out Aussie pop-rock songs from the mid 1980s has to be Jane Clifton’s ‘Girl On The Wall’ from 1984. It would prove the only solo hit for Clifton, but represents just a fraction of an extensive multi-faceted career in arts and entertainment.

Jane Clifton was born in Gibraltar and grew up in Cardiff, Wales before emigrating to Australia with her family in 1961, aged 12. Her family relocated to Melbourne when Jane was 16, and she would make the city her creative base. She graduated from University with intentions to become an English teacher, but was drawn in to the exploding theatrical and music scene. She cut her acting teeth on stage at venues like Carlton’s ‘La Mama’ and ‘The Pram Factory’ during the early to mid 70s.

Not content with one string to her artistic bow, Jane Clifton gained invaluable experience as a singer with several local bands throughout the 1970s. She first fronted Lipp And The Double Dekker Brothers during 1971 and 1972, and a folk/rock vocal trio called Myriad during 1973. This landed her a gig as a support act on Frank Zappa’s 1973 Australian tour. Clifton then sang with Carlton ‘alternative’ rock outfit Scumbag during 1973, the band featuring a pre-Skyhooks Red Symons. The short lived band Toads (1975) was followed by new wave band Stiletto, who played from 1976 to 1978 and released several low key singles ‘Debutantes’ and ‘Licence To Rage’ on the independent Oz label, and even appeared on Countdown. Throughout this period Jane Clifton found time to keep an active role in local theatre productions with the A.P.G. (Australian Performing Group), and started to appear in guest roles on Australian TV dramas such as ‘Division 4’ and ‘Skyways’.

In 1980 Clifton scored the character role of Margo Gaffney in the popular Australian TV drama ‘Prisoner’, and would reprise the role intermittently over the next five years. During 1981 she fronted the R&B covers band Nighthawkes, and the following year saw the frenetic performance schedule for Clifton include minor roles in the motion pictures ‘The Clinic’ and ‘A Slice Of Life’ (which was apparently never released).

1982 must have been a full diary for Jane Clifton as Joe Camilleri invited her to join the latest line-up of his group Jo Jo Zep (now sans Falcons). She had worked with Camilleri back in the mid 70s at the musical theatre venue T.F. Much Ballroom. Clifton provided backing and co-lead vocals on the classic 1982 album ‘Cha’. The album featured the quirky brass-driven Latin-styled track ‘Taxi Mary’ (OZ#11), on which Clifton traded lead vocals with Joe Camilleri (see Jo Jo Zep post from April). Clifton remained with Jo Jo Zep until Joe Camilleri called an end to the band’s tenure during the second half of 1983.

Following Jo Jo Zep Clifton once again collaborated with Joe Camilleri in the recording studio on her first solo single ‘Girl On The Wall’. The Camilleri produced track was a fantastic pop-rock song with really clever lyrics, which took a sharp edged look at the whole question of self image for women. The inspiration for the song came from Jane Clifton’s role in the Robyn Archer penned cabaret show ‘Pack Of Women’. The song achieved a peak position of #13 on the Australian charts in mid ‘84. The follow up single ‘My Machines’ sadly flopped, and for the remainder of 1984 Clifton fronted the band Jane Clifton and The Go Go Boys (which also featured former Jo Jo Zep and future Black Sorrows guitarist Jeff Burstin). In 1985 Joe Camilleri worked with Clifton once again, this time playing on the jazz single ‘Turn To Dust’ released on Spirit Records.

The second half of the 80s saw the regular television work continue with roles on the popular TV dramas ‘The Flying Doctors’, ‘Sweet And Sour’ and ‘Home’, and a starring role in the ABC TV series ‘Dancing Days’ in 1985. During 1985 Jane Clifton also returned to stage in the cabaret show ‘On A Clear Day You Can See Jane Clifton’. The comedy/musical was written by comedienne Wendy Harmer and ran for over four months in Melbourne, with a six week season following in Sydney. Clifton also scored support roles in the films ‘As Time Goes By’ (1987) and ‘Garbo’ (1990).

The energetic balancing act across television, music, stage, film and radio continued through the 90s. Highlights included contributing songs to the ABC Records compilations ‘Moon Over Melbourne’ (1993) and ‘Going Home’ (1993), and recording work with So Nice, a nine piece Brasil ’66 covers band, the nationally touring stage production ‘Mum’s The Word’ (1998-2000), a role in the 1999 film ‘Trapped’, regular presenter on Melbourne radio station 3RPH, and roles in TV shows ‘The Passion’ and ‘Janus’.

The turn of the millennium did nothing to slow the pace of Jane Clifton’s creative endeavours. While the television and film work switched to the back burner, they were replaced with Clifton’s first published novel ‘Half Past Dead’. The comedic crime story was short listed for the prestigious Ned Kelly Award for ‘Best First Novel’ in 2002. Clifton’s second novel was 2005’s ‘A Hand In The Bush’, a comic thriller set in Melbourne, whilst a third novel ‘Flush’ is set for publication later in 2008. In 2003 Jane Clifton released her first (amazingly enough) solo album ‘The Marriage Of Style’ with a live tour in support. In amongst the creative chaos she’s also found the time and energy to raise a family.

It’s fair to say that this ‘girl on the wall’ has built an impressive career across the entire gamut of entertainment/arts mediums. While most of us would be rapped to excel in just one creative endeavour, Jane Clifton has spent the last 35 years excelling in several.
You can see the video clip for Jane Clifton's 'Girl On The Wall' via the following link (and just below it is the clip to the brilliant 'Taxi Mary' by Jo Jo Zep) -

http://www.youtube.com/watch?v=YwOUJSYiXS0A big thankyou to YouTube user gnowangerup for uploading the above clip for Jane Clifton's 'My Machines'.