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November 19, 2018 by mike@wyep.org

 

91.3 WYEP celebrates the 50th anniversary of The Beatles, the only double album of original material released by The Beatles. The record, one of the few major albums in rock history that is rarely called by its correct title (mostly called by its nickname The White Album), was originally released on November 22, 1968 (three days later in the U.S.). Here’s a look at the songs on the White Album in the original vinyl record sequence:

 

Side A:

 

1. Back in the U.S.S.R. (written by Lennon-McCartney, primarily Paul) Ringo Starr made an enormous contribution to the success of The Beatles, from his distinctive and tasteful drumming to his quick wit at early press conferences to his superior acting abilities in A Hard Day’s Night. However, he was surrounded by such towering talents that he often got the short end of the stick in recognition, certainly from the public but even from his bandmates at times. During the recording of the White Album everything came to a dramatic apex when, on the evening of August 22, 1968, Ringo became the first Beatle to quit the band. He stormed out of Abbey Road studios, and promptly left the country to go on holiday. To add insult to injury, the rest of the band recorded “Back in the U.S.S.R.” quite well without him, as the Fab Three with Paul on drums, taking a mere two days to complete the track, making Ringo seem indeed superfluous. The song was a Paul composition, a nifty pastiche of Beach Boys and Chuck Berry musical and lyrical ideas. Of course, some anti-rock & roll crusaders took the song as final admission once and for all that the band was an elaborate Iron Curtain plot to destroy a generation of Western youth. The well-known Beatles detractor David Noebel, author of such pamphlets as “Communism, Hypnotism and The Beatles,” wrote of “Back in the U.S.S.R.,” “obviously the lyrics have left even the Reds speechless.” (later covered by Chubby Checker and Billy Joel)

 

 

 

2. Dear Prudence (composed by Lennon-McCartney, primarily John) When The Beatles went on an extended retreat to India for meditation with the Maharishi Mahesh Yogi, John took advantage of the pastoral setting and wrote a particularly productive number of songs. It was quite the scene at the Maharishi’s ashram in Rishikesh; not only were The Beatles and their wives in residence, but the singer Donovan as well as actress Mia Farrow. “Dear Prudence” was written about Farrow’s younger sister, who was also at the retreat in India. Prudence Farrow became a virtual hermit in almost constant mediatation, and Lennon sang of his and George’s efforts to get her to leave her room and join the others in communal gatherings. (later covered by Siouxsie & The Banshees, The Five Stairsteps, and the Jerry Garcia Band)

 

 

3. Glass Onion (composed by Lennon-McCartney, primarily John) John Lennon’s compositions on the White Album are chock full of the clever and imagistic wordplay that was his hallmark. He also delved into montage, from the song quilt “Happiness Is a Warm Gun” to the sound collage “Revolution 9″ to the tour of Beatles songs past, “Glass Onion.” As put by a 1968 album review, the “Glass Onion” has “fun with all the Ph. D. candidates doing theses on their lyric content” with “all sorts of references to characters in their earlier works.” The song alludes to five previous Beatles songs, including “Strawberry Fields Forever,” “I Am the Walrus,” “Lady Madonna,” “The Fool on the Hill,” and “Fixing a Hole.”

 

 

4. Ob-La-Di, Ob-La-Da (composed by Lennon-McCartney, primarily Paul) Paul McCartney knew a Nigerian-born percussionist in London named Jimmy Scott who frequently used a Yoruba language expression “ob-la-di ob-la-da,” or “life goes on.” The Beatle plucked the saying for use in a song. From the beginning the song gave The Beatles headaches in the studio trying to record it. The band did numerous takes and retakes of the song, trying to satisfy the increasingly perfectionist McCartney. In the early versions, the song had an acoustic guitar-based arrangement. After one otherwise flawless run-through of the song, Paul realized that he mixed up the lyrics. Instead of singing, “Molly stays at home and does her pretty face” as he had written, he sang “Desmond” instead of Molly. After consideration, he decided to leave the mistake as is to give fans something to ponder. Of course, at this stage of The Beatles’ career, listeners didn’t need any assistance trying to decode hidden meanings in the band’s lyrics. One contemporaneous reviewer, reading a little tenuously into the song’s title, wondered if there was significance that the title was an anagram for “diablo,” Spanish for “devil.” The song used a ska beat, not very common at the time in mainstream pop songs. The beat is a little obscured in The Beatles’ recording, but it’s emphasized more in other cover versions. After so many attempts to get the sound right for the song, one night John walked into the studio in a fairly altered state of mind and sat down at the piano. Declaring to the others that “this is it!” he smashed the piano keys with a faster, harder, and somewhat more ragged intro to the song. That difference in energy turned out to be just the change that the song needed. (later covered by Marmalade, Youssou N’Dour, and Jimmy Cliff)

 

 

5. Wild Honey Pie (composed by Lennon-McCartney, primarily Paul) A bit of a nonsense song which merely repeats “honey pie” several times over some quirky music and concludes with a sung “I love you, honey pie!” Exactly the sort of song that makes one understand why George Martin wanted to trim the White Album to a single disc. (oddly, later covered by The Pixies)

 

 

6. The Continuing Story of Bungalow Bill (composed by Lennon-McCartney, primarily John) Written by Lennon in India after observing an American woman and her teenage son go tiger hunting and then returned to the meditation camp to continue their spiritual studies. It was described by one reviewer as “a cunningly simple ditty that flashes with hints of America’s burgeoning violence and shrinking mythology.” The song also marks the first time that a Beatles’ significant other sang a lead vocal, if only for one line (the line “not when he looked so fierce..”). Both Yoko Ono and Ringo’s wife Maureen sing on the recording, but only Yoko gets a feature line.

 

 

7. While My Guitar Gently Weeps (composed by Harrison) George Harrison’s greatest contribution to the White Album, and high up on the list of his crowning achievements on any Beatles album, was his song “While My Guitar Gently Weeps.” The history of the track was interesting, beginning with the randomness which informed its very genesis. Inspired by the I Ching, Harrison picked up a book selected arbitrarily, opened up to a random page, and would write a song based on the first words he saw. The phrase was “gently weeps.” The song began life as an acoustic guitar number, one which had that same plaintive emotion found in the final version. Originally, the song had an extra verse that George cut before recording the final version (“I look from the wings at the play you are staging/While my guitar gently weeps/As I’m sitting here, doing nothing but aging/Still my guitar gently weeps”). On September 6, 1968, while driving in London, George was telling his buddy Eric Clapton about recording this song and finally asked him to perform on it. While The Beatles had plenty of little known session musicians on their records, they had never had a guest star play on one of their records. However, the public wouldn’t be initially aware of this musical cameo, as Clapton was never credited in the album’s liner notes. After hearing his performance, Clapton was unsure how it worked with the song, thinking the solo didn’t didn’t sound “Beatley” enough. So they mixed the guitar part through an electronic device designed for John Lennon to use for his vocals, and the result was deemed quite suitable by all. (later covered by Peter Frampton, Jeff Healey Band, and Marc Ribot)

 

 

8. Happiness Is a Warm Gun (composed by Lennon-McCartney, primarily John) On this song, Lennon stitched together three different new song snippets to form the one final composition. There was the “I need a fix” section, the “Mother Superior jumped the gun” piece, and the section which gave the song its title (the “happiness is a warm gun, bang bang, shoot shoot” section). (later covered by Tori Amos, U2, and The Breeders)

 

 

Side B:

 

1. Martha My Dear (composed by Lennon-McCartney, primarily Paul) Dan Wilson, formerly of the band Semisonic, underscores how a song can be diminished when you know its backstory with McCartney’s tune “Martha My Dear.” Actually written about McCartney’s sheepdog Martha, Wilson says that when he found out that fact, “I was just deflated by the revelation — I had had my own mental images… and to learn that” it was a dog “was such a letdown.” (later covered by Slade)

 

 

2. I’m So Tired (composed by Lennon-McCartney, primarily John) John’s companion piece to his earlier “I’m Only Sleeping.” Following Lennon’s “I’m So Tired,” one can hear him mumbling, ostensibly saying “Monseiur, monseiur, how ’bout another one?” Listeners had been scouring Beatles’ releases to divine special messages and hidden meanings for a long time, and beginning in 1969, the practice evolved into the “Paul is Dead” rumor, that McCartney had died in a car crash and was replaced by a lookalike, illustrated by a string of clues scattered throughout the band’s albums. These rumor proponents believed that Lennon’s mumbling was a backwards message saying “Paul is a dead man, miss him, miss him.”

 

 

3. Blackbird (composed by Lennon-McCartney, primarily Paul) A song partially inspired by the civil rights movement in the U.S., but its message was horribly mangled by at least one listener. The mass murderer Charles Manson thought that the White Album was a personal message to him to try to start a race war and the word “rise” was scrawled at one of the murder sites, supposedly because of McCartney’s use of “arise” in this song. (later covered by Bobby McFerrin and Sarah McLachlan)

 

 

4. Piggies (composed by Harrison) George’s writing was often about the mystical and the sublime, he was also sometimes rather cynically worldly in his songs. Like “Taxman” several years before, Harrison mocked establishment types and English society in “Piggies.” Originally, George had slightly different lyrics in the line about the piggies clutching forks and knives (“clutching forks and knives to cut their pork chops”) but Lennon suggested switching “pork chops” to “bacon” making the metaphorical suggestion of cannibalism more clear.

 

 

5. Rocky Raccoon (composed by Lennon-McCartney, primarily Paul) A country-folk storytelling number. The Chicago Tribune’s initial review of the album proclaimed it the critic’s favorite from the record. (later covered by Richie Havens and Jack Johnson)

 

 

6. Don’t Pass Me By (composed by Starkey) Up until the White Album, Ringo’s songwriting credits included merely one-third of “What Goes On,” the lone Lennon-McCartney-Starkey composition in the Beatles’ catalogue, and the Magical Mystery Tour instrumental “Flying,” attributed to all four band members. But Ringo finally completed a song that he had been working on since the group’s early days, “Don’t Pass Me By,” Ringo’s first song recorded with The Beatles. (later covered by The Georgia Satellites)

 

 

7. Why Don’t We Do It in the Road? (composed by Lennon-McCartney, primarily Paul) The White Album was a sprawling collection of styles, from heavy blues-rock to folk-pop to fiddle-drenched country to old-time music hall. This diversity was a strength to some listeners and a weakness to others, particularly when contrasted to the previous year’s masterpiece, Sgt. Pepper’s Lonely Hearts Club Band. As Time magazine put it in their review, “skill and sophistication abound, but so does a faltering sense of taste and purpose.” Producer George Martin suggested to The Beatles that they cut the number of songs down by half, but the songwriters didn’t want to compromise their individual visions. Paul McCartney’s contributions to the set were a large part of that sonic diversity, contributing the Beach Boys take-off “Back in the U.S.S.R.” as well as the spare “I Will.” But while all of Paul’s songs are memorable, a number are clearly fluff, or at least ranking in the lower echelons of the Lennon-McCartney catalogue. Just as Lennon was adding to album’s the signal-to-noise ratio with his sound effect pastiche “Revolution 9,” McCartney was similarly adding empty calories to the album with several non-songs, like the two-line, raunch-rock of “Why Don’t We Do It in the Road?” (later covered by Lydia Lunch)

 

 

8. I Will (composed by Lennon-McCartney, primarily Paul) “I Will” was a fairly straightforward song, a typical Paul dreamy love song made distinctive by its clip-clop percussion. Some complained that it wasn’t even terribly original, sounding rather similar to the band’s song “I’ll Follow the Sun” from four years previous. Still, it turned out rather popular over the years with other folk-leaning performers, from Art Garfunkel to Hugh Masekela to Ben Taylor to Alison Krauss.

 

 

9. Julia (composed by Lennon-McCartney, primarily John) The White Album featured one song that ranked among the most personal of John’s career, his ode to his late mother, “Julia.” Lennon began the song with a reference to poet Khalil Gibran’s 1926 piece “Sand and Foam.” Gibran wrote “Half of what I say is meaningless, but I say it so that the other half may reach you.” John’s version was “Half of what I say is meaningless, but I say it just to reach you, Julia.” “Julia” was the only song in the Beatles catalog that Lennon recorded solely by himself without any assistance from his bandmates. (later covered by Ramsey Lewis and Medeski, Scofield, Martin & Wood)

 

 

Side C:

 

1. Birthday (composed by Lennon-McCartney, primarily Paul) Despite Paul’s reputation of tending towards schmaltz and syrupy pop in his songwriting, he always had a passion for Little Richard style belters and full-on rock ‘n’ roll. On the evening of Sept. 18, 1968, The Beatles took a break from recording and went a couple of blocks away to Paul’s house to watch a BBC screening of the 1956 movie The Girl Can’t Help It, which featured Little Richard himself, Gene Vincent, Fats Domino, Eddie Cochran, and The Platters. Afterwards, they went back to Abbey Road studios and immediately recorded “Birthday.” “Birthday” was a song that Paul essentially wrote in the studio that same day it was recorded. (later covered by Underground Sunshine, in a version which charted in the U.K.)

 

 

2. Yer Blues (composed by Lennon-McCartney, primarily John) One of John Lennon’s legacies as a songwriter is the absolutely fearless confessional style he evolved, particularly notably in his early solo albums. His songs for the White Album were a key part of this development in his approach. As early as the 1965 single “Help!,” Lennon was trying to stretch the boundaries of pop music away from its usual light romantic fare and into expressions of his own insecurities. However, not all of John’s musical expressions of misery and woe should be taken at face value. “Yer Blues” is full of heavy emotional imagery, but it was intended as a parody of blues and not a confessional at all. And yet in retrospect, one can’t help but compare the lyrics to some of Lennon’s early solo work. Just as “Yer Blues” refers to Bob Dylan’s “Ballad of a Thin Man” (“feel so suicidal, just like Dylan’s Mr. Jones”) and proclaims rock & roll as little salvation from life’s troubles (“feel so suicidal, even hate my rock and roll”), so too does Lennon’s solo song “God” refer to Dylan, using his real last name (“I don’t believe in Zimmerman”) and proclaims a disbelief in both Elvis and The Beatles as figures of salvation (“I don’t believe in Beatles”).

 

 

3. Mother Nature’s Son (composed by Lennon-McCartney, primarily Paul) Paul wrote “Mother Nature’s Son” while in India with the rest of the Beatles at a meditation retreat run by the Maharishi Mahesh Yogi. The Maharishi gave a lecture on nature one day that had strong impact on both McCartney and John Lennon. It inspired Paul to write “Mother Nature’s Son” and John composed “Child of Nature” which several years later turned into “Jealous Guy.” In another sign of growing tensions within the band, there was a moment while recording “Mother Nature’s Son” when Paul was working with producer George Martin and several horn players hired for the session. Everybody was having a good time when John and Ringo walked into the room. Suddenly, in the words of a studio engineer present, “you could cut the atmosphere with a knife.” The other Beatles stayed for only ten minutes or so, and then the tenseness disappeared as quickly as it came on. (later covered by Harry Nilsson, John Denver, and Sheryl Crow)

 

 

4. Everybody’s Got Something to Hide Except Me and My Monkey (composed by Lennon-McCartney, primarily John) A number of Lennon’s songs are written about his then-new relationship with Yoko Ono, including “Everybody’s Got Something to Hide Except Me and My Monkey.” During the sessions for the White Album, Lennon first brought Yoko with him to the studio. Not only was Yoko present but she felt free to offer suggestions and criticisms, ratcheting up the discontent and tensions between The Beatles. (later covered by Fats Domino and The Feelies)

 

 

5. Sexy Sadie (composed by Lennon-McCartney, primarily John) Originally titled “Maharishi,” the song bitterly detailed how betrayed Lennon felt after the spiritual advisor (Maharishi Mahesh Yogi) was accused of a romantic entanglement with one of his students, leading John and George to leave India and cease studying with the Maharishi. The song was written after the two Beatles had just left the ashram, actually in the car angrily heading away. George convinced John to retitle and slightly rework the song, so it wasn’t so directly slanderous.

 

 

6. Helter Skelter (composed by Lennon-McCartney, primarily Paul) Called upon its release as “perhaps the most frantic, compelling number the group has ever done.” In fact, the song is a result of Paul’s one-upmanship. He heard an interview with Pete Townshend of The Who talking about their famously loud, raucous sound, and Paul decided The Beatles needed to record a track as loud and sweaty as any band in the music scene. And rambunctious it was. Ringo’s famous concluding yell (“I’ve got blisters on my fingers!”) was the result of intense jamming on the heavy rock number. In fact, one unreleased take of the song is perhaps the most sought-after Beatles recording never to be bootlegged or heard by the public thus far: an epic 27 minute long version of the song. The song was among those that mass murderer Charles Manson interpreted as a personal message to him, assigning the name “Helter Skelter” to the violent race war that he believed it was his mission to start. The lyrics are actually written about a children’s playground slide. (later covered by Siouxsie & the Banshees, U2, Pat Benatar, and even Mötley Crüe)

 

 

7. Long, Long, Long (composed by Harrison) The Beatles were always open to sonic accidents when recording their music. Sometimes it was a little touch and other times major, but one of these can be heard at the end of another George composition, “Long, Long, Long.” A wine bottle left on top of a speaker began to rattle when a certain note was played on the organ. They kept it in the final version of the song to add a mysterious-sounding touch. (later covered by Low and Tanya Donnelly)

 

 

Side D:

 

1. Revolution 1 (composed by Lennon-McCartney, primarily John) The first song that The Beatles recorded in the studio for the White Album. It eventually became the only song on the album to also be released as a single, albeit with a different arrangement, and it was quite a rocker. The album one, officially titled “Revolution 1,” is remembered for being the slower, somewhat bluesy version, compared to the harder-edged single. The Lennon-penned number began life as a chaotic, caterwauling epic, with one take running to more than 10 minutes long, but “Revolution 1,” the less-intense album version, was John’s original intent. Always looking for a way to make his voice sound different, John tried recording the vocals while lying on the studio floor. Perhaps the vibe was a touch too laid back, though; George and Paul didn’t think the song was upbeat enough for the group’s next single, so John goosed the tempo and ferocity for the single arrangement.

 

 

2. Honey Pie (composed by Lennon-McCartney, primarily Paul) Continuing Paul’s forays into the music hall mannerisms he showcased on Sgt. Pepper’s “When I’m 64″ and in Magical Mystery Tour‘s “Your Mother Should Know.” (later covered by Tuck & Patti and even Barbra Streisand)

 

 

3. Savoy Truffle (composed by Harrison) George’s songs were finally starting to get their due with the White Album. Rather than his usual allotment of one song per album, this time he was accorded exactly one song per vinyl side. “Savoy Truffle” was inspired by George’s close friend Eric Clapton, who had a vicious sweet tooth and simply could not pass up chocolates. George took many of the sweets mentioned in the song (the cream tangerine, ginger sling, and so forth) copied straight off the box of a candy sampler. Included in the lyric was a swipe at the sometimes toxic atmosphere between The Beatles in the studio during the recording of the album. George sings “we all know ob-la-di, bla-da” referencing both Paul’s song and the Yoruba language translation of the phrase, “life goes on.” Perhaps reminded of the endless takes the band attempted of “Ob-la-di, Ob-la-da” due to Paul’s perfectionism, George also sings “But what is sweet now, turns so sour.” (later covered by They Might Be Giants and Ella Fitzgerald)

 

 

4. Cry Baby Cry (composed by Lennon-McCartney, primarily John) Coming on the heels of the band’s disastrous Magical Mystery Tour film, which took a merciless drubbing by the critics, the White Album was the real start of the band’s latter-era intractable tension. Ringo quit the band for a couple of days at one point, only to be coaxed back. It wasn’t only the band who was affected; during the recording of “Cry Baby Cry,” one of the band’s talented studio engineers, Geoff Emerick, who had no small contribution to the sound of Revolver and Sgt. Pepper’s walked out, unable to deal with the strained atmosphere. Even producer George Martin departed in the middle of recording to go on vacation and left his assistant in charge of recording The Beatles. But despite the unpleasantness, the music was still inspirational. John Lennon wrote a few classics for the White Album, but many of his more run-of-the-mill compositions were still top-notch. One example is “Cry Baby Cry.” A critic wrote upon the album’s release that “‘Cry Baby Cry’ demonstrates anew The Beatles’ knack for rendering an Alice-in-Wonderland vision in a melancholy modern vein.” Interestingly, after “Cry Baby Cry” concludes on the album, but before the next track begins, the “Revolution 9″ sound montage, an unrelated Paul McCartney song pops in briefly. This brief snippet of song (which could be called “Can You Take Me Back,” from its lyrics) is not included on the album tracklisting, is not part of the album lyrics that were part of the original packaging, and is not among the songs officially published by the band. It’s almost like a brief, official bootleg of an otherwise unreleased song by the group. (“Cry Baby Cry” later covered by Richard Barone, Throwing Muses, and interestingly, punk band Samiam)

 

 

5. Revolution 9 (composed by Lennon-McCartney, primarily John) Lennon’s vision for the song was to have the song “Revolution” segue into a montage of music and sound effects which would sonically depict the revolution sang about in the musical portion. The “Revolution 9″ piece was eventually moved away from its parent song, and tucked away at nearly the album’s end, but it remained a brutal assault on the ears, resembling not so much a revolution as a waking nightmare. While the other Beatles and producer George Martin were strongly opposed to its inclusion on the final album, John and his then-new girlfriend Yoko Ono were proud of it as avant garde art and successfully fought for it to remain. Despite “Revolution 9″ being perhaps the most despised and least-listened to track on any Beatles’ album, it does have its fans. The band Phish once covered the entire White Album in concert from start to finish, even doing a surprisingly faithful live rendition of the piece.

 

 

6. Good Night (composed by Lennon-McCartney, primarily John) Traditionally, Ringo was given one spotlight lead vocal per album, usually written for him by one of the others. Ringo had often tried his hand at songwriting, but without much success. He liked to joke that whenever he wrote a song, the others would laugh as they pointed out that he had merely copped the melody of another song. On the White Album, John contributed a song to be a Ringo’s vocal turn. John had written “Good Night” as a lullaby for his son Julian, and he instructed producer George Martin to score an overly lush Hollywood-style orchestral arrangement for the track. Although it was tucked away at the end of the album after the ominous “Revolution 9,” the piece attracted notice with both critics and fans. The Chicago Tribune opined that it “should prove once and for all that the Beatles can do anything.” (later covered by The Carpenters, Kenny Loggins, and Manhattan Transfer)

 

written by Mike Sauter

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November 12, 2018 by cindy@wyep.org

Singer-songwriter Jeff Buckley would have turned 52 on November 17, 2018. He tragically died at the age of 30 in 1997, drowning in Wolf Harbor on the Mississippi River in Memphis, TN. Although he only released one studio album during his life (the masterpiece Grace, which included his epic cover of Leonard Cohen's "Hallelujah"), his music remains revered among fans and music creators. Buckley's estate has posthumously released several albums of his music: from demos done in the studio to live recordings. These songs show what could have been from this brilliant musician taken too soon. They also explore Jeff's unique musical taste from his cover songs that he chose to perform.

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In 2016, Jeff Buckley's Record Collection was released online showcasing his eclectic tastes: from Edith Piaf to Metallica. On the occasion of Jeff Buckley's birthday, we’ve created a unique playlist featuring music from Jeff Buckley's discography matched with music from his greatest influencers. Take some time to remember this unique individual: his style and his wide breadth of influences. An artist like Jeff Buckley comes along once in a lifetime.

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November 5, 2018 by joey@wyep.org

It’s hard to describe the music of Grand Piano.

Is it punk rock?
Probably not. Too many horns.

Is it jazz, then?
No, not those kinds of horns.

So it’s just good old fashioned rock-n-roll?
Well…

It’s probably best to just sit down and have a listen. Or stand up and see them live for a better picture. Pittsburgh’s Grand Piano are back with a new record called Lost In the Diamond Labyrinth and it’s their most adventurous album to date. And that’s coming from a group that has an album about sea creatures and another about bugs.

We’re excited to premiere the video for “Escape or Skate and Die!” At the onset, the song and video take inspiration from classic Nintendo games of the 1980’s like “Skate or Die” or even “Bad Dudes” (guitarist Thomas Cipollone is also a prolific composer of 8-bit music), but the song quickly escalates to a hard-charging, dizzying array of gravelly vocals (Zak Kane), inventive drumming (Nick DeAngelo), deep squonking saxophone (Dr. Ryan Booth), and powerful bass (Wesley Conroy).

Take a journey into (and hopefully out of) the diamond labyrinth with Grand Piano. Lost in the Diamond Labyrinth is available to preorder now.

 

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October 29, 2018 by mike@wyep.org

 

In the aftermath of Saturday's shooting at the Tree of Life Synagogue, here are some community and online resources you might be able to use:

 

  • The Resolve Crisis Network is a 24-hour crisis and mental health helpline with trained crisis experts at your service. Their phone number is 1-888-7YOUCAN (796-8226).

 

 

 

  • Advice for parents in talking to their children about mass shootings: here and here.

 

 

 

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October 26, 2018 by mike@wyep.org

 Ghosts and ghouls and monsters and maybe even Yoda are coming for you!

 

 They'll be heading up your doorstep on Halloween to ring your bell and shout "trick or treat!" at you. You are busy   preparing your kingdom for the invasion by stocking up on bags and bags of variously-shaped sugary items. And   decorating everything with fake cobwebs. And maybe prepping your own frightful costume. The last thing you need to   add to your Halloween to-do list is to make a playlist of music to play through your front window as you hand out candy.   So we've got you covered, with a WYEP-curated Spotify playlist of fun music that's spooky enough for the occasion but   not too scary to make a pint-sized Spiderman or Ariel run away in tears.

 

 

However, you might be the sort of person who enjoys a good, occasional peek across the River Styx and see what terrors lie beyond. So we put together another set of music that we call our Seriously Creepy playlist. This one has songs that are a bit more freaky. Enjoy this one in the witching hour, preferably with thunder in the distance and a disconcerting creak emanating from your floorboards.

 

 

 

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October 19, 2018 by mike@wyep.org

 

WYEP is celebrating one-hit wonders all day on Wednesday (10/24). We’ll be playing only artists who only hit the top 40 of the U.S. pop chart on one single occasion. Some of these artists only had one song of note in their resume, while others are legends of rock, country, rap (or some other genre) but only had a brief and possibly flukish flirtation with pop listeners.

 

Obviously, there are a great many artists who neither court nor care about top 40 chart success. The fact that the Grateful Dead, Beck, Jimi Hendrix, Emmylou Harris, and Patti Smith each only had one top 40 pop hit to date is a mere footnote to their long and storied careers. But it is fascinating to note those occasions when their art intersected with mainstream interest.

 

Other members of the one-hit wonder club are seen as amusing novelties. The Buggles, Steam, Dexys Midnight Runners, The Lemon Pipers, Kajagoogoo, and Right Said Fred (perhaps better known by their respective single hits “Video Killed the Radio Star,” Na Na Hey Hey Kiss Him Goodbye,” “Come On, Eileen,” “Green Tambourine,” “Too Shy,” and “I’m Too Sexy”) seem lucky to even have that one hit by which people remember them.

 

But let’s take a peek into an even more exclusive club: artists who have managed the unusual feat of topping the American singles chart but never again made even one appearance in the pop chart at all (a.k.a., the “hot 100”).

 

“Surely,” you might think, “if an artist had the skills and/or luck to get to #1, they'd have some further or previous success, right? Even if they never manage another top 40 hit, surely they’d be at least be able to sneak in a #99 single sometime!”

 

While that is usually true, it turns out that the feat has been accomplished a number of times.

 

Some of the instances this has happened have been technical, in that a one-off star duo hit #1 without any other charting single under that duo name: Barbra & Neil, Brandy & Monica, Dionne & Friends, Puff Daddy & Faith Evans. I throw these occasions out the window as not truly a #1-and-done.

 

Similarly, the chart-topping 1992 hit from the TV show The Heights, "How Do You Talk To An Angel" could fall under this category as well. The lead singer, Jamie Walters, also had a #16 solo hit two years later.

 

Another ad hoc band that was #1-and-done was USA For Africa with "We Are the World." But, again, I don’t consider this a true example as it was a project always intended to only record one song.

 

A borderline case is "Slow Motion" by the rapper Juvenile. Although Juvenile had other hits, “Slow Motion” was officially credited as “featuring Soulja Slim.” Soulja Slim, who had died prior to the song’s release, never had another song in the hot 100. However, he isn’t included in the list below as he is not the primary artist for the single.

 

Here are, then, the occasions when this feat has truly happened, when an artist topped the U.S. singles chart and never appeared in the hot 100 before or since:

 

1958 – The Elegants, “Little Star”

 

 

1963 – The Singing Nun, “Dominique”

 

 

1969 – Zager & Evans, "In the Year 2525"

 

 

1979 – M, "Pop Muzik"

 

 

1982 – Vangelis, "Chariots of Fire"

 

 

1985 – Jan Hammer, "Miami Vice Theme"

 

 

1988 – Bobby McFerrin, "Don't Worry, Be Happy"

 

 

1989 – Sheriff, “When I’m With You”

 

 

2001 – Crazy Town, "Butterfly"

 

 

2006 – Daniel Powter, "Bad Day"

 

 

 

A fascinating, if perhaps dubious, accomplishment for all!

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October 15, 2018 by cindy@wyep.org

WYEP has been on the search for your most hilarious, embarrassing and downright weird mondegreens (misheard lyrics). You can share yours here. To jog your memory, WYEP's on-air hosts have graciously offered their most exasperating tales of personal mondegreen-woe. Sit back, relate and LOL away the day with these very funny misheard lyrics from people who should probably know better. 


Kyle Smith
Music Director/Midday Mix Host
Mondegreen: Neil Diamond, "Forever in Blue Jeans" (well, techincally it's his mom's)

There were plenty of misheard lyrics growing up on A.M. radio in southern MN.  Somehow I think the scratchiness of the signal played into mishearing some of the lyrics, and made for some pretty good laughs with my family.  It was around 1979 when I first heard a new single titled ”Forever in Blue Jeans” from Neil Diamond, while riding in the car with my mother.  It was a pretty straightforward Country-pop tune that Neil was known for.  Somehow my mother heard the lyrics as “A Reverend In Blue Jeans” and a few weeks later caught her signing that.  I argued and laughed about what she thought she’d heard and my mother was adamant about her version being the correct one.  There was no quick way to check at the time, so there was quite the debate until I called an on-air dj, then purchased the 45’ at the record store at the mall for my mom for Christmas that year.  We still laugh about it to this day.


Joey Spehar
Morning Mix Host
Mondegreen: Rod Stewart (kind of) and Dobie Gray, "Drift Away"

I used to think Jack Reynolds was my dad. He’s not. He just sang back-up on a Rod Stewart song. My parents, both together and separately, used to rock a lot of Rod Stewart tapes in the car when I was a kid. My mom’s a church organist and choir director, so hearing her sing was never out of the question. My dad, however, never really belted it. He would just tap his foot on the side of the brake pedal and turn it up a notch or two. Having said that, I always noticed him quietly singing along to “Country Comfort,” the Elton John cover on Gasoline Alley. I always liked hearing him in the background and just assumed that was the one that really, really spoke to him.

Fast forward to age 16. My own car. My own copies of Rod Stewart albums (although this time on CD). I’m cruising along and enjoying the music when “Country Comfort” comes on and, suddenly, I feel a little freaked out. I’m completely alone, yet there’s my dad singing along with Rod. The hell?? Turns out it was never my dad. I popped out the booklet from the CD case and checked the credits and saw that it was some guy named Jack Reynolds the whole time. I’ve probably only heard my dad sing “Happy Birthday” and my whole life is a lie.

I know that’s not technically a mondegreen, but it’s all I could think of until tonight. October 10, 2018. One night before this assignment is due.

I got a notification from WYEP’s Twitter on my phone. It was someone suggesting their own misheard song lyric. “Give me the Beach Boys and free my soul,” they said. The hell??? That’s not a misheard lyric. That’s “Drift Away.” I immediately dismiss this @nhodgeness person as misinformed and pull the lyrics up online and there it is: “Give me the beat boys and free my soul.” It turns out me and Dobie have not been singing the same thing all these years and my entire life IS a lie.


Cindy Howes
Digital Content Manager/Evening Mix Host

Mondegreen: Live, "Lightning Crashes"

I really loved “Lightning Crashes” from Live’s Throwing Copper album (I stole the CD from my brother). I was so proud that I learned all the words and felt every one of them. I loved the chorus: “Oh now feel it comin' back again/Like a rollin' thunder chasing the wind” … and I especially loved it when lead singer Ed Kowalczyk changed up the words later in the song to “Like a ruling mother bragging that she’s seen the way.” So. Deep. I contemplated on what a “ruling mother” was and how she got into the position of bragging about seeing the way. This was beyond me. I listen to that song so hard. I’m not quite sure exactly how or when it happened, but I remember being confused about when the “Ruling Mother” chorus came in. It then occurred to me that I had heard it incorrectly (WHOOPS). However, I actually think my version with the “Ruling Mother” chorus is far superior to the recorded version, so I stand by my initial interpretation. 


Mike Sauter
Director of Content
Mondegreen: Every song by The Police

I don’t know if it’s something to do with Sting’s voice or singing style, but The Police have often been a source of mondegreens. Some people have heard their song “Canary in a Coalmine” as “let’s get married in a coalmine.” In “Message in a Bottle,” my sister once thought that the line “a year has passed since I wrote my note” was “a year has passed since I broke my nose.”

After I first heard “Every Breath You Take,” I misheard “how my poor heart aches with every breath you take” and thought it was “I’m a pool hall ace with every breath you take.” It makes zero sense, but not all lyrics always makes sense, you know?

I realized my mistake a few years later, but flash forward to about 15 years after “Every Breath You Take” was a new song, and I was playing the song on a radio station in New Jersey. I admitted to listeners my misheard line from the song, and as soon as I got off the mic, the phone rang and a guy sheepishly told me, “Man, until you just said that right now, I have always thought it was ‘I’m a pool hall ace.’ “

So I’m glad it wasn’t just me. And that it didn’t take me 15 years to find out my mistake.


Brian Siewiorek
Production Director
Mondegreen: Nine Inch Nails, "Kinda I Want To" (on purpose!)

 
If I have any stories in my childhood about a misheard lyric, they were definitely tainted by a book I received in High School called, “Scuse Me While I Kiss This Guy: And Other Misheard Lyrics”.  The book’s title is a mondegreen in itself, a reference to incorrect Jimi Hendrix lyrics to “Purple Haze”. I was a burgeoning music nerd at this point in my life and even today when I hear some of the songs mentioned in the book, I think of the misheard lyrics.  A standout favorite was from Sade’s “Sweetest Taboo” - the lyric, “There’s a quiet storm that is you” was misheard as “There’s a croissant that is you”. The book inspired a game with a friend, where we began to make song lyrics more absurd by changing only one word in them repeatedly.  For example, on Nine Inch Nails’ “Kinda I Want To”, we changed all the uses of the word “to” to “shoes” with pretty hilarious results, or so we thought. For example: “kinda I want shoes/ Maybe just for tonight/We can pretend it's alright/What's the price I pay/I don't care what they say/I want shoes!”  Actually, this to/shoes mix-up works pretty well for all of the songs on Nine Inch Nails’ “Pretty Hate Machine”.
 

Posted in
October 8, 2018 by cindy@wyep.org

From Merriam-Webster:

Definition of let go of:

to stop holding or gripping (something or someone)
Let go of my hand. —often used figuratively
You need to let go of the past.

What are you holding onto that is no longer serving you? How would it feel to let it go? We carry around a lot of unnecessary guilt, shame, anger and pain. We hold our own selves back from achieving happiness and contentment. For what? Avoiding possible pain, change or losing something you don't want to give up?

Meditation teacher Jack Kornfield says, "To let go does not mean to get rid of. To let go means to let be. When we let be with compassion, things come and go on their own."

A season's change is a wonderful time to work on letting go. Is it corny to say that just like the trees shedding their leaves, we can also shed what is holding us back? It probably is, but I said it anyway. And yes, as part of our "WYEP Presents" restorative series, we've curated a looooong playlist featuring songs about "Letting go," "Release" and "Surrender." Thanks for your suggestions! More restorative playlists to come! If you have a suggestion for a restorative playlist topic, please let me know!

xo - Cindy

"You're much more than the struggle that you go through
You're not defined by your pain, so let it go
You' re not a victim, your more like a winner
And you're not in defeat, you're more like a queen."

- Mary J. Blige, "Each Tear"

 

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September 14, 2018 by joey@wyep.org

Nirvana's final studio album, In Utero, was released 25 years ago this week. We asked members of the Pittsburgh music community to pay tribute to the songs that inspired them.


Serve The Servants
Ernie Francestine (The Buckle Downs)

Nirvana was such a shock to my system as a kid. They were my favorite band and after “Nevermind”, I couldn’t wait for “In Utero”. I went to my local mall and picked up the CD on the first day it was released. Once I hit play, and “Serve The Servants” steadily revved up to its groove, I was totally enraptured in the melodic content of the rock n roll that was hitting my brain. I often say Kurt Cobain’s blessing and curse is that he couldn't write a bad melody if he tried and this song is a perfect example of that. It’s a mixture of things that shouldn't work, but come together to form a signature sound that no one has been able to come close to since. Nirvana taught me that music can be as deep as you want it to be and it can still appeal to a lot of people. “In Utero” is a perfect example of that. 


Scentless Apprentice
Andrew Belsick (LoFi Delphi)

Like most 30-something’s in 2018, I discovered Nirvana via Smells Like Teen Spirit on alternative rock radio in the early/mid 90’s.  I had never heard anything like that before and immediately dug in.  Once I wore out my Nevermind cassette, my first-ever CD purchase was In Utero.

I’m not sure how it happened, but I somehow accidentally skipped the first track and wound up with Scentless Apprentice as my introduction to In Utero.  From that point on, this disc held the top spot of my favorite Nirvana album and one of my all-time favorites.  Dave Grohl’s drumming absolutely punches you in the gut out of the gate and doesn’t let up for the duration of the song.  The raising guitar riff kicks in like nails on a chalkboard (in a good way).  The pre-chorus builds in such a way that it’s teetering out of control, and then just spins out once the chorus vocals hit.

I didn’t know anything about recording or production technique at the time, but I knew I gravitated toward the raw/unfiltered approach of In Utero over the slick production value of Nevermind.  I’m not sure that I understood the genius of the album at the time either, but it was absolutely a gateway drug away from mainstream radio to an entire new world of music. 

 


Heart-Shaped Box
Chris Fafalios (Punchline)

If "Smells Like Teen Spirit" kicked down the door into our angsty 90s hearts, it was "Heart-Shaped Box" that completely burned down the house. It’s amazing that Nirvana had such huge commercial success with lyrics like “I wish I could eat your cancer when you turn black”, the complete antithesis to  the other chart-topping songs at the time (such as Mariah Carey’s “Dreamlover”). Could this song be a hit in 2018? I doubt it. It was a perfectly-timed anthem for people who were tired of the fake and boring music that they were spoon-fed throughout their lives. The huge cultural impact of this song was apparent in everything from Wayne’s World sketches to Beavis and Butthead, and Anton Corbijn’s award-winning music video gave us some of the most iconic Kurt Cobain visuals. The song is both beautiful and ugly, which is the dichotomy that really defines Nirvana’s unique songwriting approach. It’s totally fitting that this is the last song that Nirvana ever played, as all of us who were influenced by them will forever be indebted to their priceless advice! Okay, that was dumb, but here’s a cool sidenote: I won my In Utero compact disc at a game at Kennywood. 


Rape Me
Morgan Erina

I don't even know where to start with why this song is important to me, the many reasons are trying to sort themselves out in my head. The first one that comes to the forefront, is the simple fact that Kurt Cobain made people listen to a topic that was and still is uncomfortable. He talked about it, in a melodic gritty beautiful way, which is hard to do with such an ugly disgusting act. An act that happened to me, I took comfort in his delivery, his voice soothed the anger inside of me. I learned how to play it, though my cover is more of a depressed angry whisper, like a ghost with an revengeful agenda, and I enjoy making the audience uncomfortable because they should be with this.  It's an anthem for generations and generations, for hundreds of women and men who had to go through this pain from another. It's taking the word and the rage and giving it back to the world and saying "screw you, you will listen to me and you will not hurt me anymore." 


Frances Farmer Will Have Her Revenge On Seattle
Bethany Conley (Balloon Ride Fantasy)

The unassuming Jaws-like intro of "Frances Farmer..." quickly unleashes into a full-on sonic assault. As characteristic in many Nirvana songs, its musically jarring weight is balanced by its unexpected melodic riffs, general pop structure and repetition. The catchiest part of the song “I miss the comfort in being sad” begs to be considered. Sarcastic lyrics like “It’s so soothing to know that you’ll sue me” are teeming with Cobain’s clever passive aggression. The song grew out of his disgust for the people and society who mistreated the outspoken mid-1900s Hollywood film actress Frances Farmer, a Seattle native who struggled with depression and substance abuse.  Nirvana’s iconic frontman cared deeply about the plight of women and was incensed by the hypocrisy of society, as with what happened to Farmer, the victim of a condemnatory public and the systemic horrors of 1940s psychiatric treatment. Cobain empathized with Farmer’s experience, fueled by his own turn on the receiving end of invasive media scrutiny.  Indulging a satisfying retribution, Cobain wailed, “She’ll come back as fire to burn all the liars / leave a blanket of ash on the ground” and avenged Farmer in a powerful piece of art that still endures.  


Dumb
Don Strange (Strange Monsters)

I was in college when In Utero came out. It’s an understatement to say it was one of the most anticipated albums of the year, because it was the anticipated album of that year. “Dumb” captured the 90s Nirvana vibe in a different way. The song was self-deprecating yet indulgently misanthropic. Much like the album closer, “All Apologies”, it said, You just really want to be thing you hate and you know it. That was the message in this mellow, almost poppy, tune from an otherwise loud and aggressive band. It was about catching yourself laughing at the same joke as some vacuous frat boys on your way to the commons or the computer lab. It was about being bored and not wanting to study while hating on those kids playing hacky-sack in the quad. It was about watching the girl you’re into fawn all over some musclehead outside the library. But ultimately, I think “Dumb” was as light-hearted as Kurt Cobain got. The tortured animosity and derision heard earlier on the album fell away. "Dumb" had a certain maturity to it, in its temperament, in its placidity; a quality that perhaps we would have seen more of in the future.


Pennyroyal Tea
Josh Verbanets (Meeting Of Important People)

I was in Elementary school when ‘In Utero’ was released, the era where indoor shopping malls had record stores in each corner, and you couldn’t escape those giant cardboard anatomical angels. My memory is that my parents were a little hesitant about some of the lyrics and subjects on In Utero (from what they had heard from other parents??)… So, I probably first knew ‘Pennyroyal Tea’ from the Kurt-solo Unplugged version, a nice clunky performance that he famously announces he will most likely ‘screw up.’

On the album, ‘Pennyroyal Tea’ is one of the more simple, straightforward, and poppy songs that In Utero offers, the perfect loud-quiet-loud mix of pretty and demented.  The rumor at the time was that the song’s lyrics included a recipe for a home-made abortion potion, and I think this was given credence in Kurt’s Journals published a decade later, mentioned in his own liner note drafts.  Dark view of reality or bored/ imaginative teenage voice trying to shock the listener??  Sounds like a little bit of both, in the same way that the overall album balances equal numbers of ‘noise’ songs with pop singalongs so beautifully.


Tourette's
Cindy Howes (WYEP)

There are a few complex things happening in this 92-second fit of a rock song. Cobain’s vocals scream nonsense words in a strained voice heard on other Nirvana songs like “Hairspray Queen” and “Negative Creep.” Barely understandable, there are actually lyrics to the song. Lines like “May day, every day, my day/Could've had a heart attack, my heart” repeat over and over. The only audible line is Cobain saying the phrase “Moderate Rock” at the start of the track, apparently taking a jab at the modern rock radio format that had turned the band into superstars just years earlier. “Tourette’s” showcases the Nirvana that deeply resonated with frustrated adolescents and scared the crap out of their parents. While Kurt did not have the neuropsychiatric disorder himself, his delivery and the frantic pace of the drums, bass and guitars create a certain anxious energy.


 

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September 7, 2018 by antonio

According to TMZ, Pittsburgh rapper Mac Miller has been found dead at age 26 in his California home of an apparent drug overdose.

Miller was born Malcolm McCormick and began his rap career while a student at Taylor Allderdice High School. His first album Blue Slide Park (with a name inspired by a Frick Park playground and its distinctive slide) debut at #1 on the album charts and was certified gold by the Recording Industry Association of America.

Miller had just released his fifth album, Swimming, last month, and performed a Tiny Desk concert for NPR in conjunction with its release.

Fellow Pittsburgh native Wiz Khalifa tweeted condolences to Miller's family, and other musicians and fans also took to Twitter to pay tribute and express their grief.

 

 

 

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August 31, 2018 by mike@wyep.org

For our Theme Thursday on August 26, we chose all of our music from the "Songs That Shaped Rock and Roll" list. James Henke, chief curator for the Rock and Roll Hall of Fame, put together this list in 2004 with input from a blue-ribbon group of music writers and scholars. It was initially a 500 song list, but it was later updated with another 160 songs.

Below is the list in full (in alphabetical order). Songs that we played on the air during our Theme Thursday have a "(WYEP)" after the song title.

 

? And The Mysterians, 96 Tears (WYEP)
2pac, Me Against the World (or Keep Ya Head Up)
2pac and Dr. Dre, California Love
Aaron Neville, Tell It Like It Is (WYEP)
AC/DC, Back In Black
AC/DC, Highway to Hell (WYEP)
Aerosmith, Dream On (WYEP)
Aerosmith, Toys in the Attic
Afrika Bambaataa & Soulsonic Force, Planet Rock
Al Green, Let's Stay Together
Alanis Morrisette, You Oughta Know (WYEP)
Albert King, Born Under A Bad Sign (WYEP)
Alice Cooper, I'm Eighteen
Amos Milburn, Chicken Shack Boogie
Amos Milburn, Let's Have A Party
Archie Bell & The Drells, Tighten Up (WYEP)
Aretha Franklin, (You Make Me Feel Like) A Natural Woman (WYEP)
Aretha Franklin, Chain Of Fools (WYEP)
Aretha Franklin, I Never Loved A Man (the Way I Love You) (WYEP)
Aretha Franklin, Respect (WYEP)
Arkie Shibley, Hot Rod Race
Arrested Development, Tennessee (WYEP)
Arthur Smith, Guitar Boogie
Average White Band, Pick Up the Pieces
B.B. King, Sweet Little Angel
B.B. King, The Thrill Is Gone (WYEP)
B.B. King, Three O’Clock
Barrett Strong, Money (That's What I Want)
Barry McGuire, Eve of Destruction
Bauhaus, Bela Lugosi’s Dead (WYEP)
Beck, Loser (WYEP)
Ben E. King, Spanish Harlem
Ben E. King, Stand By Me (WYEP)
Bessie Smith, Downhearted Blues
Big Brother & The Holding Company, Piece Of My Heart (WYEP)
Big Joe Turner, Roll Em Pete
Big Joe Turner, Shake, Rattle And Roll
Big Joe Williams, Baby Please Don't Go
Big Star, September Gurls (WYEP)
Bill Doggett, Honky Tonk
Bill Haley & His Comets, (We're Gonna) Rock Around The Clock (WYEP)
Bill Monroe, Blue Moon of Kentucky
Bill Monroe, Mule Skinner Blues
Billie Holiday, Strange Fruit
Billy Joel, Just The Way You Are
Billy Joel, Piano Man
Billy Lee Riley & His Little Green Men, Red Hot
Black Flag, T.V. Party
Black Sabbath, Iron Man
Black Sabbath, Paranoid
Blind Lemon Jefferson, Matchbox Blues
Blind Willie Johnson, Mother's Children Have a Hard Time
Blind Willie McTell, Statesboro Blues
Blondie, Heart Of Glass (WYEP)
Bo Diddley, Bo Diddley (WYEP)
Bo Diddley, Say Man
Bob Dylan, Blowin' in the Wind
Bob Dylan, Like a Rolling Stone (WYEP)
Bob Dylan, Subterranean Homesick Blues
Bob Dylan, Tangled Up In Blue
Bob Dylan, The Times They Are A-Changin'
Bob Marley & the Wailers, Get Up Stand Up (WYEP)
Bob Marley & the Wailers, I Shot The Sheriff (WYEP)
Bob Marley & the Wailers, Lively Up Yourself
Bob Marley & the Wailers, No Woman, No Cry (WYEP)
Bob Marley & the Wailers, Redemption Song
Bob Marley & the Wailers, Three Little Birds (WYEP)
Bob Seger & The Silver Bullet Band, Night Moves
Bob Wills and His Texas Playboys, Ida Red
Bob Wills and His Texas Playboys, Take Me Back To Tulsa
Bobby "Blue" Bland, Turn On Your Love Light
Bobby Darin, Mack the Knife (WYEP)
Bobby Darin, Splish Splash
Bonnie Raitt, Something To Talk About (WYEP)
Booker T. & The MG's, Green Onions (WYEP)
Boston, More Than A Feeling
Bruce Springsteen, Born In the USA
Bruce Springsteen, Born To Run (WYEP)
Bruce Springsteen, Dancing In The Dark (WYEP)
Bruce Springsteen, Rosalita (Come Out Tonight) (WYEP)
Bruce Springsteen, Streets of Philadelphia (WYEP)
Buddy Holly, Peggy Sue (WYEP)
Buddy Holly, That'll Be the Day (WYEP)
Buddy Knox, Party Doll
Buffalo Springfield, For What It's Worth
Buzzcocks, Ever Fallen In Love (WYEP)
Carl Perkins, Blue Suede Shoes
Carl Perkins, Matchbox
Carole King, You've Got A Friend (WYEP)
Cecil Gant, I Wonder
Charles Brown, Driftin' Blues
Charlie Christian with the Benny Goodman Orchestra, Solo Flight
Chic, Good Times (WYEP)
Chic, Le Freak
Chubby Checker, The Twist
Chuck Berry, Brown Eyed Handsome Man (WYEP)
Chuck Berry, Johnny B. Goode (WYEP)
Chuck Berry, Maybellene
Chuck Berry, Rock & Roll Music (WYEP)
Chuck Berry, Roll Over Beethoven (WYEP)
Chuck Willis, C.C. Rider
Clara Ward & The Ward Singers, How I Got Over
Cliff Richard And The Drifters, Move It
Cocteau Twins, Ivo (WYEP)
Coldplay, Yellow (WYEP)
Country Joe and The Fish, The Fish Cheer/I-Feel-Like-I'm-Fixin'-To-Die-Rag
Cream, Crossroads (WYEP)
Cream, Sunshine of Your Love
Creedence Clearwater Revival, Fortunate Son (WYEP)
Creedence Clearwater Revival, Green River (WYEP)
Creedence Clearwater Revival, Proud Mary (WYEP)
Crosby, Stills & Nash, Suite: Judy Blue Eyes (WYEP)
Crosby, Stills, Nash & Young, Ohio
Culture Club, Time (Clock Of The Heart)
Curtis Mayfield, Superfly
Cyndi Lauper, Girls Just Want To Have Fun (WYEP)
Dale Hawkins, Suzy-Q
Danny & The Juniors, At The Hop (WYEP)
Dave Clark Five, Glad All Over
Dave Matthews Band, Ants Marching (WYEP)
David Bowie, Changes (WYEP)
David Bowie, Fame (WYEP)
David Bowie, Space Oddity (WYEP)
David Bowie, Ziggy Stardust (WYEP)
De La Soul, Me Myself And I
Deep Purple, Smoke On The Water (WYEP)
Del Shannon, Runaway
Depeche Mode, People Are People (WYEP)
Derek and the Dominos, Layla
Desmond Dekker & the Aces, Isrealites
Devo, Whip It (WYEP)
Dick Dale And The Del-Tones, Let's Go Trippin'
Dinah Washington, TV Is the Thing
Dion, Runaround Sue
Dion & the Belmonts, A Teenager In Love
Dionne Warwick, Walk On By (WYEP)
Dire Straits, Sultans Of Swing (WYEP)
Don Covay, Mercy Mercy
Don McLean, American Pie
Donna Summer, Love To Love You Baby
Donovan, Sunshine Superman (WYEP)
Dr. Dre, Nuthin' But A "G" Thang
Dr. John, Right Place Wrong Time
Duane Eddy, Rebel-'Rouser
Duran Duran, Hungry Like The Wolf (WYEP)
Dusty Springfield, Wishin’ and Hopin’
Earth Wind and Fire, Shining Star
Eddie Cochran, C'mon Everybody
Eddie Cochran, Summertime Blues (WYEP)
Edwin Starr, War
Elmore James, Dust My Broom
Elmore James, Shake Your Moneymaker (WYEP)
Elton John, Bennie And The Jets (WYEP)
Elton John, Your Song
Elvis Costello, (What's So Funny 'Bout) Peace Love and Understanding (WYEP)
Elvis Costello, Pump It Up (WYEP)
Elvis Presley, Heartbreak Hotel (WYEP)
Elvis Presley, Hound Dog
Elvis Presley, Jailhouse Rock (WYEP)
Elvis Presley, Love Me Tender
Elvis Presley, Mystery Train
Elvis Presley, Suspicious Minds (WYEP)
Elvis Presley, That's All Right
Eminem, Stan
English Beat, Mirror in the Bathroom
Eric Clapton, After Midnight (WYEP)
Eric Clapton, Tears In Heaven
Etta James, At Last (WYEP)
Etta James, Tell Mama (WYEP)
Etta James, The Wallflower (WYEP)
Eurythmics, Sweet Dreams (Are Made Of This)
Fatboy Slim, The Rockafeller Skank (WYEP)
Fats Domino, Ain't That a Shame
Fats Domino, Blueberry Hill
Fleetwood Mac, Go Your Own Way (WYEP)
Frank Zappa, Montana
Frankie Lymon and The Teenagers, I'm Not A Juvenile Delinquent
Frankie Lymon and The Teenagers, Why Do Fools Fall In Love
Freddy King, Hide Away (WYEP)
Free, All Right Now
Funkadelic, One Nation Under a Groove
Gang of Four, What We All Want
Gary Glitter, Rock 'N' Roll, Part 2
Gary U.S. Bonds, Quarter To Three
Gene Chandler, Duke Of Earl
Gene Vincent & His Blue Caps, Be-Bop-A-Lula
Genesis, The Lamb Lies Down on Broadway
George Clinton, Atomic Dog (WYEP)
Georgia Tom/Tampa Red, It’s Tight Like That
Gerry and The Pacemakers, How Do You Do It?
Geto Boys, Mind Playing Tricks On Me
Gnarls Barkley, Crazy (WYEP)
The Go-Go's, We Got The Beat (WYEP)
Golden Gate Quartet, Rock My Soul
Grand Funk Railroad, We're An American Band
Grandmaster Flash & The Furious Five, The Message (WYEP)
Green Day, Basket Case (WYEP)
Guitar Slim, The Things That I Used To Do
Guns N' Roses, Welcome To The Jungle
Hall and Oates, She’s Gone
Hank Ballard & The Midnighters, Work With Me Annie
Hank Williams, Lovesick Blues
Hank Williams, Movin’ On Over
Heart, Barracuda (WYEP)
Howlin' Wolf, Smokestack Lightnin'
Howlin' Wolf, Spoonful
Howlin' Wolf, The Red Rooster
Huey 'Piano' Smith & His Clowns, Rockin' Pneumonia and the Boogie-Woogie Flu
Human League, Don't You Want Me? (WYEP)
Hüsker Dü, Turn On the News
Iggy And The Stooges, Search And Destroy
Ike & Tina Turner, River Deep, Mountain High (WYEP)
Iron Butterfly, In-A-Gadda-Da-Vida
Isaac Hayes, Theme from Shaft (WYEP)
Jackie Brenston and His Delta Cats, Rocket 88
Jackie Wilson, (Your Love Keeps Lifting Me) Higher and Higher
Jackie Wilson, Lonely Teardrops
Jackson 5, ABC (WYEP)
Jackson 5, I Want You Back
Jackson Browne, Late For The Sky
James Brown, I Got You (I Feel Good) (WYEP)
James Brown, Please Please Please
James Brown, Say It Loud - I'm Black and I'm Proud
James Brown, Sex Machine
James Taylor, Fire And Rain
Jan & Dean, Surf City
Jane's Addiction, Been Caught Stealin' (WYEP)
Janet Jackson, Control (WYEP)
Jay-Z, Hard Knock Life (Ghetto Anthem)
Jeff Beck Group, Plynth (Water Down The Drain)
Jefferson Airplane, Somebody to Love (WYEP)
Jefferson Airplane, White Rabbit (WYEP)
Jerry Butler and the Impressions, For Your Precious Love
Jerry Lee Lewis, Great Balls of Fire
Jerry Lee Lewis, Whole Lotta Shakin' Goin On
Jethro Tull, Aqualung
Jimmie Rodgers, Blue Yodel No. 9
Jimmy Cliff, Many Rivers to Cross
Jimmy Cliff, The Harder They Come (WYEP)
Jimmy Preston, Rock this Joint
Jimmy Reed, Big Boss Man
Jimmy Reed, Bright Lights, Big City
Jimmy Yancey, Midnight Stomp
Joan Jett & The Blackhearts, I Love Rock 'N Roll (WYEP)
Joe Cocker, With A Little Help From My Friends (WYEP)
Joe Liggins, The Honeydripper
John Cougar Mellencamp, Authority Song (WYEP)
John Cougar Mellencamp, Pink Houses
John Lee Hooker, Boogie Chillun (WYEP)
John Lee Hooker, Boom Boom
John Lennon, Give Peace A Chance
John Lennon, Imagine (WYEP)
John Lennon, Instant Karma!
Johnnie Ray, Cry
Johnny Burnette and the Rock and Roll Trio, Train Kept A-Rollin'
Johnny Cash, Folsom Prison Blues
Johnny Cash, I Walk the Line
Johnny Otis, Willie And The Hand Jive
Joni Mitchell, Help Me (WYEP)
Joy Division, Love Will Tear Us Apart (WYEP)
Jr. Walker and the All Stars, Shotgun
Judas Priest, Breaking the Law
King Crimson, The Court of the Crimson King
Kiss, Rock And Roll All Nite (WYEP)
Korn, Freak on a Leash
Kraftwerk, Autobahn (WYEP)
Kurtis Blow, The Breaks (WYEP)
L.L. Cool J, Mama Said Knock You Out (WYEP)
Larry Williams, Bony Moronie
LaVern Baker, Jim Dandy
Lead Belly, The Midnight Special
Led Zeppelin, Dazed And Confused (WYEP)
Led Zeppelin, Kashmir (WYEP)
Led Zeppelin, Rock And Roll (WYEP)
Led Zeppelin, Stairway To Heaven
Led Zeppelin, Whole Lotta Love (WYEP)
Lene Lovich, Lucky Number (WYEP)
Leonard Cohen, Suzanne (WYEP)
Leroy Carr, How Long How Long Blues
Les Paul and Mary Ford, How High The Moon
Link Wray, Rumble (WYEP)
Lionel Hampton, Flying Home
Little Eva, The Loco-Motion (WYEP)
Little Feat, Dixie Chicken (WYEP)
Little Millie Small, My Boy Lollipop
Little Richard, Good Golly, Miss Molly (WYEP)
Little Richard, Long Tall Sally (WYEP)
Little Richard, Tutti Frutti (WYEP)
Little Stevie Wonder, Fingertips
Little Walter, Juke
Little Willie John, Fever
Lloyd Price, Lawdy Miss Clawdy
Lonnie Donegan, Rock Island Line
Lou Reed, Walk On The Wild Side (WYEP)
Louis Armstrong, West End Blues
Louis Jordan And His Tympany Five, Caldonia
Louis Jordan And His Tympany Five, Saturday Night Fish Fry
Lowell Fulson, Reconsider Baby
Lucky Millender, Who Threw the Whiskey in the Well
Lyn Collins, Think
Lynyrd Skynyrd, Free Bird
Lynyrd Skynyrd, Sweet Home Alabama
Ma Rainey & Her Tub Jug Washboard Band, Prove It On Me Blues
Madonna, Like A Virgin (WYEP)
Madonna, Vogue (WYEP)
Mahalia Jackson, Move On Up A Little Higher
Mamie Smith, Crazy Blues
Marion Williams, Packin' Up
Martha and The Vandellas, (Love Is Like A) Heat Wave (WYEP)
Martha and The Vandellas, Dancing In The Street (WYEP)
Marvin Gaye, I Heard It Through The Grapevine (WYEP)
Marvin Gaye, Sexual Healing (WYEP)
Marvin Gaye, What's Going On (WYEP)
Mary Wells, My Guy (WYEP)
MC Hammer, U Can't Touch This
Metallica, Enter Sandman
Miami Sound Machine, Conga (WYEP)
Michael Jackson, Beat It (WYEP)
Michael Jackson, Billie Jean (WYEP)
Midnight Oil, Beds Are Burning (WYEP)
Ministry, Stigmata
Mississippi John Hurt, Stack O' Lee Blues
Missy "Misdemeanor" Elliott, Get Ur Freak On
Mitch Ryder And The Detroit Wheels, Devil With A Blue Dress On/Good Golly Miss Molly
Moby, Porcelain
Moby Grape, Omaha
Mott The Hoople, All The Young Dudes (WYEP)
Muddy Waters, Got My Mojo Working (WYEP)
Muddy Waters, Hoochie Coochie Man
Muddy Waters, Mannish Boy (WYEP)
Muddy Waters, Rollin' Stone
My Chemical Romance, Welcome to the Black Parade
N.W.A., F*** tha Police
Nat “King” Cole, Straighten Up and Fly Right
Naughty by Nature, O.P.P.
Neil Young, Down By The River (WYEP)
Neil Young, Heart Of Gold (WYEP)
Neil Young, My My Hey Hey (Out Of The Blue) (WYEP)
New Order, Blue Monday (WYEP)
New York Dolls, Personality Crisis (WYEP)
Nick Lowe, Heart of the City
Nine Inch Nails, Head Like a Hole
Nirvana, All Apologies (WYEP)
Nirvana, Smells Like Teen Spirit (WYEP)
Oasis, Wonderwall (WYEP)
Otis Redding, (Sittin' On) The Dock Of The Bay
Otis Redding, Shake
Otis Redding, Try A Little Tenderness
Otis Rush, I Can't Quit You Baby
OutKast, Hey Ya! (WYEP)
Ozzy Osborne, Crazy Train
P.J. Harvey, Dress (WYEP)
Parliament, Give Up The Funk (Tear The Roof Off The Sucker) (WYEP)
Patsy Cline, I Fall To Pieces
Patsy Cline, Walkin’ After Midnight (WYEP)
Patti Smith, Gloria (WYEP)
Patti Smith, Dancing Barefoot (WYEP)
Paul McCartney, Maybe I'm Amazed
Paul Revere & The Raiders, Just Like Me
Paul Simon, Graceland
Pearl Jam, Jeremy (WYEP)
Percy Sledge, When A Man Loves A Woman
Pere Ubu, Final Solution
Pete Seeger, Where Have All The Flowers Gone
Peter And Gordon, A World Without Love
Peter Gabriel, Biko
Peter Gabriel, In Your Eyes
Peter Tosh, Legalize It
Peter, Paul And Mary, If I Had A Hammer (The Hammer Song)
Phil Ochs, I Ain't Marchin' Anymore
Phish, Chalk Dust Torture
Pinetop Perkins, Pinetop's Boogie Woogie
Pink Floyd, Another Brick In The Wall, Part 2
Pink Floyd, Money
Pink Floyd, See Emily Play (WYEP)
Prince, Little Red Corvette (WYEP)
Prince, Purple Rain (WYEP)
Prince, Sign o’ the Times (WYEP)
Prince, When Doves Cry (WYEP)
Procol Harum, A Whiter Shade Of Pale
Professor Longhair, Mardi Gras in New Orleans
Professor Longhair, Tipitina
Public Enemy, Fight the Power (WYEP)
Queen, Bohemian Rhapsody
Queen, We Will Rock You
Queen Latifah, Ladies First (WYEP)
Quicksilver Messenger Service, Fresh Air [Who Do You Love?]
R.E.M., Losing My Religion (WYEP)
R.E.M., Radio Free Europe (WYEP)
Radiohead, Karma Police (WYEP)
Ramones, Blitzkrieg Bop (WYEP)
Ramones, Sheena Is A Punk Rocker (WYEP)
Randy Newman, Sail Away
Ray Charles, Hallelujah I Love Her So
Ray Charles, I Can’t Stop Lovin’ You
Ray Charles, I Got A Woman
Ray Charles, What'd I Say (WYEP)
Red Hot Chili Peppers, Give It Away (WYEP)
Richard Hell & The Voidoids, (I Belong To The) Blank Generation (WYEP)
Rick James, Super Freak
Ricky Nelson, Hello Mary Lou
Ritchie Valens, La Bamba (WYEP)
Robert Johnson, Cross Road Blues
Robert Johnson, Hellhound On My Trail
Robert Johnson, Love In Vain
Robert Johnson, Sweet Home Chicago
Rod Stewart, Maggie May
Roxy Music, Love Is The Drug
Roy Acuff and the Smoky Mountain Boys, Wabash Cannonball
Roy Orbison, Oh, Pretty Woman
Roy Orbison, Only the Lonely
Run-D.M.C., Walk This Way
Rush, The Spirit Of Radio (WYEP)
Ruth Brown, Mama, He Treats Your Daughter Mean
Salt-n-Pepa, Let's Talk About Sex
Sam & Dave, Soul Man (WYEP)
Sam Cooke, A Change Is Gonna Come
Sam Cooke, Bring It On Home to Me
Sam Cooke, You Send Me
Sam The Sham And The Pharoahs, Wooly Bully
Santana, Black Magic Woman/Gypsy Queen
Saunders King, S.K. Blues
Screamin' Jay Hawkins, I Put a Spell On You (WYEP)
Simon & Garfunkel, Bridge Over Troubled Water (WYEP)
Simon & Garfunkel, The Sounds Of Silence
Siouxie and the Banshees, Cities In Dust
Sir Douglas Quintet, She's About A Mover
Sister Rosetta Tharpe, This Train
Sister Sledge, We Are Family (WYEP)
Slim Harpo, Rainin' In My Heart
Sly & The Family Stone, Dance To The Music (WYEP)
Sly & The Family Stone, Thank You (Falettinme Be Mice Elf Agin)
Solomon Burke, Everybody Needs Somebody to Love (WYEP)
Sonic Youth, Teenage Riot
Sonny Boy Williamson, Good Morning (Little) School Girl
Spencer Davis Group, Gimme Some Lovin' (WYEP)
Steely Dan, Reelin' In The Years
Steppenwolf, Born To Be Wild (WYEP)
Steve Miller Band, Fly Like An Eagle
Stevie Ray Vaughan, Pride And Joy (WYEP)
Stevie Wonder, Living for the City
Stevie Wonder, Master Blaster (Jammin')
Stevie Wonder, Superstition (WYEP)
Stevie Wonder, Uptight (Everything's Alright)
Stick McGhee, Drinkin’ Wine Spo-Dee-O-Dee
Strafe, Set It Off
Stray Cats, Rock This Town (WYEP)
Swinging Blue Jeans, Hippy Hippy Shake
T. Rex, Bang A Gong (Get It On) (WYEP)
Talking Heads, Life During Wartime (WYEP)
Talking Heads, Once In A Lifetime (WYEP)
Talking Heads, Psycho Killer (WYEP)
T-Bone Walker, Call It Stormy Monday
Television, Marquee Moon
The "5" Royales, Think
The Allman Brothers Band, Ramblin' Man (WYEP)
The Allman Brothers Band, Whipping Post
The Animals, The House Of The Rising Sun
The Animals, We Gotta Get Out Of This Place
The B-52's, Rock Lobster (WYEP)
The Band, The Night They Drove Old Dixie Down
The Band, The Weight (WYEP)
The Beach Boys, California Girls
The Beach Boys, Don't Worry Baby
The Beach Boys, God Only Knows
The Beach Boys, Good Vibrations (WYEP)
The Beach Boys, Surfin' U.S.A.
The Beastie Boys, (You Gotta) Fight for Your Right (to Party)
The Beastie Boys, Hey Ladies
The Beatles, A Day in the Life
The Beatles, Help! (WYEP)
The Beatles, Hey Jude
The Beatles, I Want to Hold Your Hand
The Beatles, In My Life
The Beatles, Norwegian Wood
The Beatles, Strawberry Fields Forever
The Beatles, Yesterday
The Beau Brummels, Laugh Laugh
The Bee Gees, Stayin' Alive (WYEP)
The Big Bopper, Chantilly Lace
The Bobby Fuller Four, I Fought The Law (WYEP)
The Box Tops, The Letter
The Byrds, Eight Miles High (WYEP)
The Byrds, Hickory Wind
The Byrds, Mr. Tambourine Man
The Carter Family, Keep On the Sunny Side
The Champs, Tequila (WYEP)
The Chantays, Pipeline
The Chantels, Maybe
The Chi-Lites, Have You Seen Her (WYEP)
The Chords, Sh-Boom
The Clash, London Calling
The Clash, White Man in Hammersmith Palais
The Clovers, Love Potion No. 9
The Coasters, Yakety Yak
The Coasters, Young Blood
The Contours, Do You Love Me
The Count Five, Psychotic Reaction
The Crows, Gee
The Crystals, Da Doo Ron Ron (When He Walked Me Home) (WYEP)
The Crystals, He's A Rebel
The Cure, In Between Days (WYEP)
The Damned, New Rose
The Dead Boys, Sonic Reducer
The Dead Kennedys, Holiday in Cambodia
The Dells, Oh, What A Night
The Dell-Vikings, Come Go With Me
The Delmore Brothers, Hillbilly Boogie
The Dixie Cups, Chapel Of Love
The Dixie Hummingbirds, I'll Live Again
The Dominoes, Sixty Minute Man
The Doobie Brothers, What a Fool Believes
The Doors, Light My Fire
The Doors, The End
The Drifters, Money Honey
The Drifters, On Broadway
The Drifters, There Goes My Baby
The Drifters, Up On The Roof
The Eagles, Hotel California
The Eagles, Take It Easy
The Everly Brothers, All I Have to Do Is Dream
The Everly Brothers, Bye Bye Love
The Everly Brothers, Wake Up Little Susie N
The Five Satins, In The Still Of The Nite
The Flamingos, I Only Have Eyes For You
The Flying Burrito Brothers, Sin City
The Four Seasons, Big Girls Don't Cry
The Four Seasons, Walk Like A Man
The Four Tops, Baby I Need Your Loving
The Four Tops, Reach Out I'll Be There (WYEP)
The Fugees, Ready or Not
The Grateful Dead, Dark Star
The Grateful Dead, Uncle John's Band
The Hollies, Bus Stop
The Impressions, People Get Ready
The Ink Spots, If I Didn't Care
The Isley Brothers, It's Your Thing
The Isley Brothers, Shout
The Jam, In the City
The Jimi Hendrix Experience, All Along The Watchtower
The Jimi Hendrix Experience, Little Wing
The Jimi Hendrix Experience, Purple Haze
The Jimi Hendrix Experience, Voodoo Child (Slight Return)
The Kingsmen, Louie Louie
The Kinks, A Well Respected Man
The Kinks, Lola
The Kinks, Waterloo Sunset
The Kinks, You Really Got Me (WYEP)
The La’s, There She Goes
The Left Banke, Walk Away Renee
The Lovin' Spoonful, Do You Believe In Magic
The Mamas And The Papas, California Dreamin'
The Marcels, Blue Moon
The Miracles, Going To A Go-Go
The Miracles, Shop Around
The Miracles, The Tracks Of My Tears
The Miracles, You've Really Got A Hold On Me
The Monkees, I'm A Believer (WYEP)
The Monkees, Last Train To Clarksville (WYEP)
The Monotones, Book Of Love
The Moody Blues, Nights In White Satin
The Moonglows, Sincerely
The Mothers of Invention, Brown Shoes Don't Make It
The O'Jays, Love Train
The Orioles, Crying In The Chapel
The Penguins, Earth Angel (Will You Be Mine)
The Pixies, Where Is My Mind? (WYEP)
The Platters, The Great Pretender
The Police, Every Breath You Take (WYEP)
The Police, Roxanne (WYEP)
The Pretenders, Brass In Pocket (WYEP)
The Replacements, Here Comes a Regular
The Replacements, I Will Dare (WYEP)
The Righteous Brothers, You've Lost That Lovin' Feelin'
The Rolling Stones, (I Can't Get No) Satisfaction
The Rolling Stones, Honky Tonk Women
The Rolling Stones, Jumpin' Jack Flash
The Rolling Stones, Miss You
The Rolling Stones, Paint It Black
The Rolling Stones, Sympathy For The Devil
The Rolling Stones, Time Is On My Side
The Rolling Stones, Wild Horses
The Ronettes, Be My Baby (WYEP)
The Runaways, Cherry Bomb (WYEP)
The Searchers, Needles and Pins
The Seeds, Pushin' Too Hard
The Sex Pistols, Anarchy In The U.K. (WYEP)
The Sex Pistols, God Save The Queen
The Shadows Of Knight, Gloria
The Shangri-Las, Leader Of The Pack (WYEP)
The Shirelles, Dedicated To The One I Love
The Shirelles, Will You Love Me Tomorrow (WYEP)
The Skatalites, Guns of Navarrone
The Smiths, Heaven Knows I'm Miserable Now
The Smiths, How Soon Is Now? (WYEP)
The Soul Stirrers, By And By
The Specials, Ghost Town
The Standells, Dirty Water
The Staple Singers, I’ll Take You There
The Staple Singers, Respect Yourself (WYEP)
The Stooges, I Wanna Be Your Dog (WYEP)
The Sugarhill Gang, Rapper's Delight (WYEP)
The Supremes, Stop! In The Name Of Love (WYEP)
The Supremes, You Can't Hurry Love (WYEP)
The Surfaris, Wipe Out
The Temptations, Ain't Too Proud To Beg
The Temptations, My Girl
The Temptations, Papa Was A Rollin' Stone
The Trammps, Disco Inferno
The Troggs, Wild Thing (WYEP)
The Turtles, Happy Together
The Turtles, It Ain't Me Babe
The Undertones, Teenage Kicks
The Ventures, Walk-Don't Run
The Weavers, Goodnight Irene
The Who, Baba O'Riley (WYEP)
The Who, Go To The Mirror!
The Who, I Can See for Miles (WYEP)
The Who, My Generation (WYEP)
The Yardbirds, Shapes Of Things
The Young Rascals, Good Lovin'
The Young Rascals, Groovin' (WYEP)
The Zombies, Time of the Season
Tina Turner, What’s Love Got to Do with It
Tom Petty And The Heartbreakers, American Girl
Tom Waits, Hang on St. Christopher
Tommy James & The Shondells, Crimson & Clover
Tommy James & The Shondells, Hanky Panky
Toots & The Maytals, Pressure Drop
Traffic, Dear Mr. Fantasy
Trixie Smith, My Man Rocks Me (With One Steady Roll)
U.T.F.O., Roxanne, Roxanne
U2, I Still Haven't Found What I'm Looking For (WYEP)
U2, One (WYEP)
U2, Pride (In The Name Of Love)
U2, Sunday Bloody Sunday (WYEP)
Van Halen, Jump
Van Halen, Runnin' With the Devil
Van Morrison, Brown Eyed Girl
Van Morrison, Madame George
Van Morrison, Moondance
Velvet Underground, Heroin
Velvet Underground, Sweet Jane
Velvet Underground, White Light / White Heat
War, Low Rider
War, Slippin' Into Darkness
Weezer, Undone (The Sweater Song) (WYEP)
Wilbert Harrison, Kansas City
Wild Bill Moore, Rock and Roll
Willie Mae 'Big Mama' Thornton, Ball 'N' Chain
Willie Mae 'Big Mama' Thornton, Hound Dog
Wilson Pickett, In The Midnight Hour
Woody Guthrie, Pastures Of Plenty
Woody Guthrie, Pretty Boy Floyd
Woody Guthrie, This Land Is Your Land (WYEP)
Wynonie Harris, Good Rockin' Tonight
X, Los Angeles
Yes, Roundabout
ZZ Top, La Grange
ZZ Top, Legs

 

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Posted in
August 27, 2018 by cindy@wyep.org

Pittsburgh band Punchline will be playing WYEP's Final Friday Concert this Friday. Before you catch the free show (along with Philly's Dave Hause & The Mermaid), the band had a confession to make.... read on!

Hi radio friends,

It is us, Punchline. The cat is out of the bag: We love to play hacky sack. Is that a crime? (It's not.) You know what? We've always loved hacky sack. We played in high school and found it a great way to kill time on our early tours. 

Where do you play hacky sack? 

Anywhere that is level, where there's enough space to form a little circle with your fellow players. Beware of gutters and places where the hack could slip away or land in a puddle of muck! Hacks are gorgeous. Don't let 'em fall in the muck, pal. 

How do you play the game?

Serve the hacky sack, or hack, to a fellow player. Never serve to yourself. Kick the hack to each other without letting it hit the ground. Once every player touches the hacky sack once, the team gets a point or hack. The goal is to get as many hacks for your team as you can! We're sure by this point you're sold and want to know how to strive to excel at hacky sack. Let's get to it. 

NOTE: We call it hacky sack, but most people call it footbag. 

1) Put in the time. We have our first hack session of the day at some point during our van ride to the next show, like when we stop for gas or lunch. It's good to get loosened up early on in the day! Second hack generally comes after we've arrived at the club and loaded in our gear/soundchecked. Generally, though, the most serious hack sessions happen just before bed. We're not kidding. Once we arrive at our hotel for the night, sometimes after driving for 2-3 hours, we get a couple hacks going in the parking lot. Sometimes we hack for a full hour. How do you know when to stop? Answer: Someone will say, "Hey, let's wrap this up," which will 100% be met with "Ok, let's get a good one in first." We like to end on a good note!

2) Don't teeth the hack. If the hacky sack lands on the hood of a car, or something that is not the ground, it's still in play and can be picked up with your teeth and thrown back into the circle. Be careful though, because last time Chris teethed the hack he got very sick. 

3) Strive to be like your hack idol. Every athlete strives to be like their idols. Our hack idol is Steve's neighbor, Ian. One night Ian mentioned to Steve that he had (for no real reason at all) mastered a certain skill in his youth. Upon further prodding, Ian revealed that the skill was hacky sack. Steve's mind was blown, as was Ian's when he realized he had found some of the last remaining individuals who think hacky sack is cool. Ian is good enough to play by himself. His record is 2,200 kicks in a row (without hitting the ground!). Get this— the ultimate record is 51,000!!!

Please let us know if you have any questions and come hack with us sometime. 

Love, 

Punchline

www.punchlion.com

Photos courtesy of Punchline

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Posted in
August 20, 2018 by cindy@wyep.org

The impact of The Miseducation of Lauryn Hill, Lauryn Hill's 1998 debut (and only) solo album, has grown large in the cultural consciousness of hip-hop and R&B in the 20 years since its release. It was almost immediately canonized as a classic first album, with Hill possessing a laser-focused sense of purpose and delivering a stark and beautiful personal journey buoyed by a virtuosic display of talent (my god, that voice), mastery of genre (hip-hop, neo-soul, reggae, folk music), and her Haitian heritage on proud display. Miseducation is a landmark album because it's a world until itself, with Hill the center of gravity, pulling listeners along through her story with passion and care. 

As an executive producer, as a rapper, as a singer, Hill's work on Miseducation remains unimpeachable, but the album also serves as a bittersweet time capsule of a career that only seemed to be going in one direction. But as we know now, Hill hasn't released an album of new material since Miseducation, and has ghosted in and out of the public eye over the last two decades—reportedly due to the pressure of ever growing fame and dissatisfaction with the record industry—with only a few stray singles and a long line of mercurial live performances and cancellations left in her wake. Whether it's fair or not, Hill's turmoil has only added to the outsized myth that surrounds the record. 

But now, on the 20th anniversary of the release of The Miseducation of Lauryn Hill, we've asked several WYEP contributors, local musicians and music writers to reflect on and celebrate their favorite songs, paying homage to one of the most important albums of the 1990s.  Patrick Bowman


"Doo Wop (That Thing)"

One of my favorite songs on The Miseducation of Lauryn Hill  is “Doo Wop (That Thing).” This lead single received a lot of radio play before and after she released the project. I remember many car trips being mesmerized by the production. I was 6 years old when this song was released; however even then I was drawn initially to the beat and instrumentation. As I grew older and more aware, I would listen to the record through new ears.  I slowly began to realize the significance of the lyrics. The song presented words of caution and perspective when dealing with matters of the heart. Through this song Lauryn taught us to look past facades and material things and encouraged us to see a lover’s true intentions. Navigating through the emotion of love for anybody is complicated.  This record served as an eye opener and guide. — Kai Roberts


"Ex-Factor"

Hearing this album in 1998 is what made me a fan of Lauryn Hill. There are a few songs on the album that really hit home for me, one of them being "Ex-Factor," a song that she supposedly wrote as a reflection of her relationship with Wyclef Jean, a member of The Fugees. I would play this song on repeat, riding around East Liberty and the Hill District singing my little lungs out and feeling like I connected with this song on such a deep level even though I was only 19 at the time and couldn't really claim having any actual, meaningful relationships. However, that first line "It could all be so simple. But you'd rather make it hard" is something that most people can identify with. We have all been in a relationship where we just felt the other person wasn't "getting us" or that we weren't being heard or understood, but at the same time we may not have been ready to completely abandon the situation. Lauryn's raw emotions always come through loud and clear in her work, but this particular song is one that will hit you right in the core. Being a hip hop artist, I also feel like this song can be applied to the love/hate relationship I have had with the genre over the last 20 years or so. Dear Hip Hop: "No one loves you more than me. And no one ever will." — Hollyhood


"Lost Ones"

Ostensibly the album opener (save a short, classroom-tinged interlude) "Lost Ones," with Hill immediately declaring "Funny how money change the situation," is an unforgiving punch in the mouth, especially considering most fans who purchased the record were lured in by the groovy neo-soul inflected hip-hop of lead single "Doo-Wop (That Thing). Hill cooly unspools tightly coiled verses of venomous bars--allegedly aimed at ex-lover and former bandmate Wyclef Jean--over sparse, pulsating keyboard samples, kick drums, and record scratches, dipping in and out of a Caribbean patois as she goes. It's a neck-snapping re-introduction to say the least, solidifying Hill's bonafides as a truly fearsome MC ("My emancipation don't fit your equazaaan," is a phrase I think about on a weekly basis) while putting one of the biggest hip-hop stars in the world, and the most toxic person in her life both professionally and personally, on blast with her first words on the record. Ms. Hill, we salute you. — Patrick Bowman (WYEP Contributor/Speed of Sound)


"To Zion"

The Miseducation of Lauryn Hill is turning 25 this year on the day after my birthday. This album served as one of the soundtracks of my childhood, but the song that stands out among them all to me is "To Zion". Not only is this my mother’s favorite Ms. Lauryn song but it's one of the most emotional on this album. It tells the story of a young Lauryn Hill who is has just found out she's pregnant and now is faced with the challenges of raising a child and continuing her then budding career. She speaks about how others told her to get an abortion and instead she chose to follow her heart and have her son. This song sticks with me because its a story that mirrors that of my own mother and I hope it sticks with you all in the same way. —Barz Blackman (of BB Guns)


"When It Hurts So Bad"

When someone as soulful as Hill takes on a tried-and-true topic like heartbreak, the pain makes the notes vibrate as much as her vocal cords do. The subtle, midtempo groove on “When It Hurts so Bad” mirrors Hill moving through the emotional aftermath of loving a man who “wasn’t even concerned.” A pronounced bassline, textured percussion, floating background vocals, fingerpicked guitar, and harp strums frame Hill’s voice. Even in her wounded state, she moves, she speaks—she isn’t stagnant. And her vocal runs shine—remarkable and clean but drawing from something obviously raw and real: valleys of lament (“I loved real, real hard once/but it wasn’t returned…”), peaks of anguish (“Gave up my power/I existed, for you…”), and the introspection in between.

At this midpoint of her Miseducation, it makes sense that some lessons need learned the hard way. “When It Hurts so Bad” is strikingly vulnerable. It’s mourning in motion, and it’s gorgeous. Melanie Stangl (Sound Scene Express)


"Every Ghetto, Every City"

The Miseducation of Lauryn Hill is a milestone album in the history of hip-hop. Ms. Lauryn Hill tastefully fused rap, R&B, and neo soul in this project. "Every Ghetto, Every City" is a tribute to Lauryn Hill's hometown, South Orange, New Jersey. Her lyrics descriptively give listeners a glimpse of good and bad memories growing up in a turbulent time period. Jimmy Bucek


"Superstar"

Not only was Lauryn a prominent female force in a male-dominated field, but she was a self-actualized, spiritually, morally and existentially potent individual. She was honed into the rap game and how fake it can be. “Superstar,” an ode to being taught to be something she was not, regarded the state of hip-hop back then in way that could be applied to the state of it today. Lauryn Hill found showing a one-dimensional version of reality trivial. The chorus poetically puts this into terms very well. “Music is supposed to inspire, why aren’t we getting any higher?” As artists and people in general, we have to question ourselves and come to find comfort in expressing our truths. Aside from Lauryn’s riffing skills, one major thing I enjoyed about the album was that it fearlessly asks important existential questions. And one question I will leave you with: Would the same people who become successful for appeasing people and looking crazy, get on for their talent, lyrical abilities and hard work if all the hype were stripped away? — Lexa Terrestrial

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August 10, 2018 by mike@wyep.org

Songwriters sometimes have a lot invested in the characters and pursuits they immortalize in their lyrics. A musical artist can be forgiven in sometimes not wanting the magic to end after that one song, especially if it was notably successful. Thus, we have the phenomenon of the “sequel song.”

 

A sequel song is one in which an artist takes very specific characters or situations from one song and continues the storyline or situations beyond the original in a new song. (Not to be confused with an “answer song,” in which a different artist responds to or extends a concept from someone else’s song.) Sometimes the sequel song follows hot on the heels of the original.

 


 

An early rock ‘n’ roll example of the answer song comes from Buddy Holly. After Holly scored his second hit with “Peggy Sue” in 1957, he returned to the idea and wrote “Peggy Sue Got Married” the following year. Although Holly recorded a demo version of the song, he died two months later -- before he was able to make a proper recording of the sequel.

Song: "Peggy Sue"

Sequel:

 


 

"Johnny B. Goode" has always been a calling-card song for Chuck Berry. The 1958 track was neither his first nor his biggest hit, but it’s a song that has captivated rock audiences in the ensuing decades since its release. Elements of the song about the talented guitar slinger were inspired by Berry’s own experiences as a lauded guitarist, so he obviously had a fondness for the song’s character. He brought Johnny back in the 1960 song "Bye Bye Johnny," in which the mom of the guitar-playing kid bids him farewell as he heads to Hollywood to make movies. On Berry’s final album, 2017’s Chuck, he continued the saga in "Lady B. Goode." The girl from Johnny’s hometown who was always in love with him finally marries him and brings Johnny Junior into the world.

Song: "Johnny B. Goode"

Sequel:

 


 

In 1962, singer Bobby "Boris" Pickett hit upon the idea of a Halloween-themed “dance craze” song. "Monster Mash" went to the top of the charts by the end of that October, and Pickett then tried to catch lightning in a bottle again. Before Christmas of the same year, he had the sequel "Monster's Holiday" on the charts. While nowhere near as successful (or enduring) as the original, the Christmas song still made it to a respectable #30 on the pop charts. Pickett also turned “Monster Mash” into a lifelong pursuit. Along with “Monster Holiday” in late 1962, he released a monster-themed LP with songs like “Blood Bank Blues” and “Graveyard Shift.” He was still making monster novelty songs and even musicals decades later.

Song: "Monster Mash"

Sequel:

 


 

A rock group from Florida called The Royal Guardsmen struck pay dirt on their second single, a 1966 song called "Snoopy vs the Red Baron." The song was based on the iconic character from the Peanuts comic strip, who had just recently been depicted in the strip as imagining himself fighting against World War I German ace combat pilot Manfred von Richthofen (a.k.a., the “Red Baron”). The song was a smash, nearly topping the pop chart at #2. Snoopy creator Charles Schultz sued the band for using his character without permission, and eventually Schultz won all of the publishing royalties from the song. Since Schultz was now getting a cut, he gave permission for the band to record a sequel, and in 1967, The Royal Guardsmen released "The Return of the Red Baron." In this song, after having bested the Red Baron in the air, Snoopy engages the song’s villain in a ground-based pistol duel with an open-ended finale that left the door open for further sequels. "The Return of the Red Baron" was a top 15 hit, and like Bobby “Boris” Pickett, The Royal Guardsmen made a mini-industry of singing further songs featuring Snoopy (“Snoopy’s Christmas,” “Snoopy For President”) to much lesser commercial results.

Song: "Snoopy Vs. the Red Baron"

Sequel:

 


 

In 1968, George Harrison was writing songs for what would become The Beatles’ White Album, and he wanted to introduce an element of randomness to his songwriting. He picked up a random book, opened to a random page, and randomly pointed to someone on the page. His finger was on the phrase “gently weeps,” so he wrote a song based on that phrase. “While My Guitar Gently Weeps” was a standout rocker from that album, and although it was not released as a single (except as a B-side to “Ob-La-Di Ob-La-Da” in several European countries), it quickly became a mainstay of rock radio stations for years to come. Seven years later, Harrison revisited the notion of a weeping guitar in a pointed song called “This Guitar (Can't Keep from Crying)” from 1975’s Extra Texture (Read All about It) album. The song was written in response to criticism of Harrison’s 1974 tour (the first North American tour by a former member of The Beatles), including harsh coverage in Rolling Stone and in newspaper headlines like “This Boy Now a Nowhere Man.” Harrison’s song mentions Rolling Stone by name and includes lines like “I thought by now you knew the score but you missed the point just like before, and this guitar can't keep from crying.”

Song: "While My Guitar Gently Weeps"

Sequel:

 


 

David Bowie’s first big hit in the U.S. was "Space Oddity," but although it was originally released in 1969, it wasn’t until 1973 that it peaked on the American pop chart (at #15). The song, about an astronaut named Major Tom, was always an important one for Bowie, and he brought the character back in 1980 in "Ashes to Ashes.” Bowie has described this latter song as a personal wrapping-up of the 1970s, so it made sense to bookend the decade with another look at Major Tom.

Song: "Space Oddity"

Sequel:

 


 

From the sublime, we must now transition to the slightly tongue-in-cheek. Carl Douglas, a Jamaican singer who grew up in Great Britain, recorded "Kung Fu Fighting" in 1974 as a B-side song, but its appeal was quickly realized and it was issued as the main single. The song gained a following in dance clubs and made its way to top the pop charts in both the U.S. and the U.K. After such a massive song, Douglas tried to mine more gold from the same material with "Dance the Kung Fu." The sequel song, very similar in sound but with a much less catchy hook, rose to #48 on the U.S. charts in 1975, and thus left Douglas as a one-hit wonder in the United States. (The song fared slightly better in England, cracking their top 40 to #35.)

Song: "Kung Fu Fighting"

Sequel:

 


 

Another gigantic single in the 1970s with a now nearly-forgotten sequel was by country singer C.W. McCall. Riding the C.B. (“citizen’s band”) radio craze in the mid-70s, McCall issued “Convoy” in 1975 about a group of truckers organizing rolling protests against law enforcement using their C.B. radios. The song not only topped the pop and country charts, but it spawned a 1978 film adaptation starring Kris Kristofferson and helped inspire other movies like Smokey and the Bandit. In 1976, McCall attempted to draw from the same well with the single “'Round the World with the Rubber Duck,” bringing back the main character from “Convoy” (with the C.B. radio handle “Rubber Duck”) and his trucker buddies somehow driving across oceans and having fresh skirmishes with law enforcement in England, Germany, Russia, Japan, and Australia. This second-helping of ridiculousness barely brushed the country top 40 and didn’t even make the pop chart.

Song: "Convoy"

Sequel:

 


 

Rick Dees was a Memphis disc jockey when he had the idea to lampoon the then-raging disco craze with a song featuring a Donald Duck voice, and the resulting "Disco Duck" single ended up going straight to the top of the charts. The song has become an iconic pop culture symbol of the 1970s, but much less well-remembered is Dees attempt to recreate the magic the following year. The 1977 single "Dis-Gorilla" attempted another disco novelty song but instead of a duck voice, this one was centered on cartoonish monkey chattering. Needless to say, the sequel was a pale imitation of the original and only managed a feeble #56 on the pop chart. (As a sidebar, those interested in the height of 1970s kitsch, be sure to check out episode #8 of The Brady Bunch Variety Hour. It not only features the usual jaw-dropping Brady-Bunch-as-a-variety-show shenanigans, but guest stars from the sitcom What’s Happening!! and, as if that’s not enough, an appearance by Rick Dees performing “Dis-Gorilla.” It’s the stuff of nightmares.)

Song: "Disco Duck"

Sequel:

 

Do you know any another sequel songs? Let us know. Join the discussion on Facebook!

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August 8, 2018 by cindy@wyep.org

Sometimes we catch a glimpse or 100 inside a musician's personal life and sometimes that includes getting to know their furry friends. For WYEP Animal Day, we've compiled a list of some of our favorite pet-owning musicians. From Paul's beloved sheep dog, to Elizabeth & The Catapult's braintrust bunnies to Elvis Presley being a “serial wallaby donator” to a community zoo, we'll look at the adorable, reliable and truest companions most musicians will ever know. 


Paul McCartney
Pet: Martha the Sheep Dog

Embed from Getty Images

In 1966, Paul purchased a puppy in the town of High Wycombe, England while living in London with his girlfriend Jan Asher. Paul's first pet Martha the sheep dog became known for appearing in pictures and advertisements. Paul even wrote a song for her that appeared on The Beatles' White Album, "Martha My Dear"


Iggy Pop
Pet: Biggy Pop the Cockatoo

Even though punk icon Iggy Pop has a history of being an animal lover (check out this PETA collaboration he did with Nick Cave), it was still a wonderful surprise to see a new Instagram account for Biggy Pop, Iggy's adorable cockatoo appear in 2016. The home videos of Iggy and his sweet bird give you an idea of what their day-to-day consists of: swinging from cages, playing music and relaxing. 



Elizabeth & The Catapult
Pet: Oslo the Rabbit

Living in New York City as a touring musician makes it difficult to own a dog, so Elizabeth Ziman has been a proud rabbit owner for several years. Formerly, she owned a bun named Patty Moon that WYEP has unofficially dubbed the "braintrust" of her band. Rabbits are a pretty big part of the songwriter's identity as she has even been known to write rabbit songs. Currently, she is the proud caretaker to Oslo, pictured here:


Photo courtesy of Elizabeth Ziman


Bob Weir
Pet: Otis the Dog

Otis is forever immortalized on The Grateful Dead's 1980 live album "Reckoning" when, during "Ripple," the pooch walked out onstage. Jerry Garcia casually says "That's Otis," leaving fans who were not at the show wondering "WHO IS OTIS?" 

Hat tip to listener Gerald C. for this very cool story! Here's the track that Otis made it into. You can hear people cheering when the dog walks onstage, Jerry introduces him around 1:37.


Elvis Presley
Pet: too many to name

Elvis had so many pets over the course of his life: a turkey named Bowtie, donkeys, peacocks and on and on. His most famous pet was a trouble-making chimpanzee name Scatters, who had a penchant for whiskey and pulling up women's dresses. He either died of liver failure from the hard drinking or poisoning by a maid he bit. Elvis dabbled in cattle ranching for awhile. People were often giving him animals like the couple of times he was gifted a wallaby in 1957, which he donated to the Memphis Zoo. He became a "serial wallaby donater" when the act was repeated in 1962. He also owned many many dogs throughout his life. Here he is with Priscilla, Lisa Marie and Brutus the dog, who also starred in the 1968 movie, "Live a Little, Love a Little."Embed from Getty Images


Neko Case
Pet: Liza the Dog

Neko Case is an outspoken advocate for the adoption of senior dogs, like her late shepherd mix Liza. Case is an ambassodor for Best Friends Animal Society, which works to end animal homelessness. She wrote very emotionally about when she adopted Liza in the book "My Old Dog" (just try not to cry while reading this!). Liza died in 2015, but will be immortalized in a video Neko recorded for the internet music festival, Couch by Couch West -- see below.


Jenny Owen Youngs
Pet: Sam the Cat

Sooooo, Jenny Owen Youngs' cat Sam has more Instagram followers than you do. This adorable ball of fluff's main gig is playing sidekick to the songwriter who has been compared to a "Golden Retriever." Looking into Sam's eyes is like looking directly into the gates of Heaven. If you're lucky, you might see Sam walking across the screen during one of Jenny's Stageit shows.  


Photo courtesy of Jenny Owen Youngs


These are just a few of the many musicians who own amazing pets! Some others to look into:
- Barbara Streisand cloned her dog Sammie — repeatedly
- Sublime's Bradley Nowell's pup Lou Dog
- Michael Jackson's chimp Bubbles
- Billie Holiday's dog Mister

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