Kevin Fischer is a veteran broadcaster, the recipient of over 150 major journalism awards from the Milwaukee Press Club, the Wisconsin Associated Press, the Northwest Broadcast News Association, the Wisconsin Bar Association, and others. He has been seen and heard on Milwaukee TV and radio stations for over three decades. A longtime aide to state Senate Republicans in the Wisconsin Legislature, Kevin can be seen offering his views on the news on the public affairs program, "InterCHANGE," on Milwaukee Public Television Channel 10, and heard filling in on Newstalk 1130 WISN. He lives with his wife, Jennifer, and their lovely young daughter, Kyla Audrey, in Franklin.
“The Rolling Stones set the bar to where I look to as a band. But I don't envision myself touring in the way they do. My knees won't hold out.”
Jon Bon Jovi
It's Friday night. Time to unwind with our regular Friday night feature on This Just In.
The weekend has finally arrived.
The sun has set.
The evening sky has erupted.
Let's put controversy and provocative blogs aside for the rest of this work week and smooth our way into Saturday and Sunday.
This past week, the Rolling Stones wrapped up their three nights of concerts in Chicago. The legendary band has been touring for decades. Compare that to the Beatles who stopped touring in August of 1966, just a couple of years after they landed in America.
Tonight, we feature music of the Rolling Stones. Is that possible in the styling of our Friday night smooth and mellow theme? You better believe it as we sample some nice cover versions of great Stones classics.
We begin with the first composition written by Mick Jagger, Keith Richards and Stones manager Andrew Loog Oldham. Completed in the 1964, the tune wasn't recorded by the Stones, but by English phenom Marianne Faithfull who came over in the British Invasion to thoroughly enjoy American fame.
The Stones would eventually record the song in 1965, but Faithfull did it first. Here she is on American television, introduced by the manager of the Beatles.
Our next song originated in the 40’s and became a big hit in the early 50’s for Nat King Cole. The Stones recorded a rock version for an album in 1964. The tune has become a jazz standard.
From jazzguitarlessons. net
"Joe Pass is the first widely (famously) known *solo* jazz guitarist in history. He pushed the boundaries of harmony and 'self-accompaniment' (chords, counterpoint, walking bass lines, fills, etc.) on the instrument for generations to come.
"He could play nice chord melody interpretations of jazz standards ... and then improvise forever (still accompanying himself) without getting boring or repetitive! Chorus after chorus, you still hear swinging lines and nice chordal punctuations."
Next, from songfacts.com:
The song seems to be about a lover who died:
"I see a line of cars and they're all painted black" - The hearse and limos.
"With flowers and my love both never to come back" - The flowers from the funeral and her in the hearse. He talks about his heart being black because of his loss.
"I could not foresee this thing happening to you" - It was an unexpected and sudden death.
"If I look hard enough into the setting sun, my love will laugh with me before the morning comes" - This refers to her in Heaven.
The Rolling Stones wrote this as a much slower, conventional Soul song. When Bill Wyman began fooling around on the organ during the session doing a takeoff of their original as a spoof of music played at Jewish weddings, Co-manager Eric Easton (who had been an organist), and Charlie Watts joined in and improvised a double-time drum pattern, echoing the rhythm heard in some Middle Eastern dances. This new more upbeat rhythm was then used in the recording as a counterpoint to the morbid lyrics."
So, because Stones music allows, we go from Middle eastern sitars in their original to smooth jazz.
That’s it for this segment.
Have a great weekend.
In 1968, the Stones recorded, “Sympathy for the Devil.” At first glance, observers thought the group had aligned themselves with some cult that worshipped Satan.
“If you take them at face value, you might consider that Mick Jagger (as lead vocalist and lyricist) is sincerely suggesting that the devil really isn’t such a bad fellow. After all, he says, ‘every cop is a criminal, and all the sinners saints,’ and it was ‘you and me’ who ‘killed the Kennedys.’ So what’s the difference? We’re all the same, aren’t we? He’s just one of the lads.
“Look more deeply, though, and you will find that this confusion of good and evil, of appearance and reality, is really just a ploy of the evil one. The devil may appear to be a gentleman, ‘a man of wealth and taste.’ He may appear to be polite and a member of good society, approaching you with the words, ‘Let me please introduce myself,’ and ‘pleased to meet you.’ But alongside of this we have a long catalog of some of the worst atrocities of human history, starting with the torture of Christ on the cross, and ending with the modern assassination of the Kennedys (so contemporary, in fact, that the lyrics were changed from ‘John Kennedy’ to ‘the Kennedys’ while the Stones were in the studio recording the song). Along the way we have the Crusades and the Bolshevik revolution in Russia thrown in for good measure. So let there be no mistake: there really is evil in the world.
“This, then, is the real significance of the taunting refrain, ‘Hope you guess my name, But what’s puzzling you is the nature of my game.’ This is not Mick Jagger, saying ‘hope you can guess that I’m playing the devil in this song.’ That’s obvious from the beginning. No, this is the devil saying, ‘Hope you recognize me when you see me, because I come in many guises. And my game is not to do evil myself, but to trick you into doing it’.”
Mick Jagger wrote the sinister lyrics. Keith Richards, who normally wrote with Jagger, had no part this time, worried about how the words could ruin the band’s reputation and standing in pop culture history. If the lyrics wouldn’t be changed, then Richards told Jagger to change the music. Jagger agreed. Out went their typical rock-blues sound and in came samba.
In 1970, Blood, Sweat and Tears followed up their mega-hit, Grammy-winning self-titled album with Blood, Sweat, and Tears 3 that immediately went to #1 on the Billboard album charts.
One of the tracks was the band’s cover of “Sympathy for the Devil” that was preceded by “Symphony for the Devil,” an original piece written by BS &T member Dick Halligan.
We go from the Stones doing samba to a jazz-rock band's medley that is rock, jazz, upbeat, eerie, weird, strange, and David Clayton-Thomas' great vocal all rolled into one.