The 500 - #180 - The Rolling Stones, Now - The Rolling Stones

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #180
Album Title: The Rolling Stones, Now
Artist: The Rolling Stones

Genre: Rock, R&B, Blues Rock

Recorded: Chess Record Studios (Chicago); RCA Studios (Hollywood)

Released: March, 1965

My age at release: Not Born
How familiar was I with it before this week: A few songs

Is it on the 2020 list? No
Song I am putting on my Spotify Playlist: Everybody Needs Somebody To Love

This past Sunday, my wife insisted we go for a walk along the beach near our cottage.

"But it's raining," I protested, pointing out the nearby window at the foggy, drizzly December skyline.

"So," she countered, "we can dress for the weather, and you know you'll thank yourself later."

Our foggy view of Lake Erie (December 29, 2024). 

I conceded and now, as I warm myself by the glow of my laptop screen with a hot cup of green tea, I'm glad I did. I needed to get out and move my body. With a hip replacement surgery coming in the summer, I need to lose weight and strengthen my core in preparation for an easier recovery. It is a little painful to walk; but, as the mantra we use for motivation goes -- "Motion is lotion"

I used to exercise for vanity and fun, lifting weights and playing hockey three times a week in order to look good. These days, I am trying to ward off Father Time and remain more flexible and mobile as my senior years loom large. I haven't been able to play hockey for more than 18 months now (because of my right hip -- which is pretty much bone on bone now). However, I hope to return to the ice next season. Several of my beer league teammates are in their late sixties and even early seventies. They are an inspiration and have motivated me to keep "lacing them up" each season. 

The River City Rink Rats in 2019, a group I've played with for
more than 20 years.

Another inspiring figure is Mick Jagger who, at 81 years of age, continues to perform energetically with his band of 63 years, The Rolling Stones. In 2024, Mick and The Stones performed 20 concerts on their Hackney Diamonds World Tour. Each night, Jagger danced, jumped and ran around the massive stage singing hits from the Stones' extensive catalogue with the energy and enthusiasm of a teenager. He credits a daily workout routine that includes running, cycling, kickboxing, ballet, weight training, Pilates and yoga. In fact, prior to each tour, he prepares weeks in advance by running at least eight miles a day.

Jagger on stage with The Stones in 2024.

The Rolling Stones are also an inspirational phenomenon. Formed in  London, England, in 1962, they have continued to write and perform music for more than 60 years. The Rolling Stones Now is their third studio album released in America. However, it mostly contains songs that were already available in the U.K. on other labels. Only four of the album's 12 tracks were written by the band as many were remakes of some blues standards, including my favourite, Everybody Needs Somebody To Love. Written and performed in 1964 by rhythm and blues legend Solomon Burke, it came to my attention when The Blues Brothers (Dan Aykroyd and John Belushi) included it in their music/comedy film of the same name,  which I saw in theatres at least three times in 1980.

Movie Poster for The Blues Brothers.

The Rolling Stones Now was a hit record, reaching number five on the Billboard 200 album chart and was quickly certified "gold" with more than 500,000 copies sold in 1964. My favourite bit of trivia about the record involves the liner notes that were included on the initial pressings. Penned by producer Andrew Loog Oldham, they humourously read:

"This is THE STONES new disc within. Cast deep in your pockets for the loot to buy this disc of groovies and fancy words. If you don't have the bread, see that blind man knock him on the head, steal his wallet and low (sic) and behold you have the loot, if you put in the boot, TRUNK? good, another one sold!"

It is fun to listen to and got me through one more workout as I persist in my efforts to approximate Jagger's physical prowess when I am in my 80s.

The 500 - #181 - Natty Dread - Bob Marley and The Wailers

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #181
Album Title: Natty Dread
Artist: Bob Marley and The Wailers

Genre: Reggae, Reggae Rock

Recorded: Harry J. Studios (Kingston, Jamaica)

Released: October, 1974
My age at release: 9
How familiar was I with it before this week: A couple songs

Is it on the 2020 list? No
Song I am putting on my Spotify Playlist: Lively Up Yourself

In the winter of 2007, my wife and I made our first trip to Jamaica, accompanied by our friend and tour guide, Bill Gudgeon. Bill had been to the Caribbean island nation more than a dozen times, so we put our trust in him to help us navigate our first visit. Neither my wife, nor I are big fans of "all-inclusive resorts". We currently prefer to live among the locals and learn about the history, culture and cuisine from them. Despite its convenience and promise of security, all-inclusives feel a bit too culturally sanitized for our liking -- but, we can understand why people enjoy them, and our opinions are open to change.

An example of accommodations at a Jamaican resort.

The trip was fraught with obstacles from the start with a delay at the border overcome only by our prompt 3 a.m. departure time from London. Our plane needed to be de-iced before leaving Detroit, so we were hours late departing there. This led to us missing a connecting flight in Philadelphia and we had to spend our first vacation night in hotel rooms in Springfield, a small community about an hour outside the City of Brotherly Love. I did get a chance to order a Philly Cheesesteak sandwich and a Yuengling beer over lunch. I would later learn that the sandwich I got was a terrible knock-off. I still hope to get to Philly one day for an authentic cheesesteak from Jim's South Street ..."wit whiz!"

The next morning, we caught a 5 o'clock flight to Washington's Dulles Airport before spending several hours yawning and waiting for a connecting flight to Jamaica. We arrived in Montego Bay that afternoon -- our luggage, however, had other plans. Was it in Philadelphia? Was it in Washington? Was it hiding here?

My wife, Angela. with our carry-on, waiting for  word on our missing luggage.

No one seemed to know. Reluctantly we shared our cell phone numbers with the airport staff and climbed into our rental car for a trip across the Nassau Mountains toward Treasure Beach in Saint Elizabeth Parish on the south side of the island. Just as we cleared Montego Bay’s busy traffic my cell rang. It was the airport, informing us our luggage had "arrived" or "been discovered". It didn't matter which. Bill happily turned the car around and we travelled back to retrieve the errant items. We set off again, well behind schedule.

Our route from Montego Bay to Treasure Beach, across the
Blue Mountains of Jamaica.

The rural roads across Jamaica are treacherous even for seasoned drivers. Poor Bill was fighting the dwindling light as he drove on the left side of the road with an unaccustomed stick-shift and a right-sided steering wheel. The switchback roads twisted and turned sharply as they climbed 1,000 metres over a hard, black surface of sedimentary rock called marl, which shatters easily and makes the edges jagged. Shredded tires are a distinct possibility for the unsuspecting driver.

Narrow, marl covered, winding Jamaican mountain roads.

At about 11 p.m., after 38 hours of exhausting travel, we arrived at our destination -- a short-term rental house overlooking the town of Treasure Beach. Billy assured me the view was spectacular; but I'd have to wait until morning to see it. Besides, it was time for a cold Red Stripe and a good night's sleep.

Bill and me on the outdoor balcony deck of our Treasure Beach abode.

The frustration and tension of those first couple days melted away quickly as we ate, drank, suntanned, swam and snorkeled beneath a healing Caribbean sun. A particularly good day found us floating in Frenchman's Bay on a pontoon boat chartered from Bill's longtime friend and Treasure Beach resident, Captain Dennis. We sampled  local agricultural products (wink), washed down with plenty of rum. And we leisurely bobbed on small flotation devices harnessed to the boat anchored in the calm waters of the Caribbean Sea. Reggae piped through the boat speakers supplied a healthy dose of Bob Marley’s greatest hits as well as a few deeper cuts.

Bob Marley performing in the 1970s.

I recognized songs from Natty Dread, the seventh album he made with his band The Wailers. It opens with the bluesy, up-tempo and celebratory Lively Up Yourself, followed by the well-known No Woman, No Cry, a nostalgic reflection on the reggae legend’s childhood in the impoverished Trenchtown ghettos of Kingston. The rest of the record contains a number of songs with political messages of rebellion – Marley’s way of seeking social justice and change for his fellow Jamaicans. Them Belly Full (But We Hungry) served as a lyrical warning to those in power: "A hungry mob is an angry mob." The closing track, Revolution, is a powerful lyrical argument about the need for radical change when people are being suppressed and controlled. That's the thing about Marley's music -- it can be up-tempo, reflective or politically charged and socially impactful. He knew how to connect with people in so many ways before his untimely death in 1981, at 36, of cancer.

Album cover for single release of  Them Belly Full (But We Hungry).

I've always been a fan of reggae and tend to throw on a Marley record when relaxing at home, or marking some papers for school. His sound is a panacea for my racing mind, calming me instantly. Now, when I hear his voice and easy-going tempo, it isn't hard to think back to that beautiful, peaceful day -- bobbing on gentle waves, sipping rum cocktails and soaking up the Caribbean sun. The travails of our journey a few days earlier – the delays and perilous mountain drive – washed away.

A view of Frenchman's Bay from the popular local bar, Jakes.

The 500 - #182 - Self-Titled - Fleetwood Mac

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #182
Album Title: Self-Titled
Artist: Fleetwood Mac

Genre: Soft Rock, Folk Rock, Pop

Recorded: Sound Studios (Van Nuys, California)

Released: July, 1975
My age at release: 10
How familiar was I with it before this week: Fairly well

Is it on the 2020 list? Yes, at #237, dropping 54 places
Song I am putting on my Spotify Playlist: Landslide

One of life’s lessons is that sooner or later we are proved wrong. For whatever reason – assumptions, misinformation, indoctrination or an over-reliance on familiarity – can lead to an oops moment. Hearing the truth can be embarrassing or unsettling. Call it learning – which is a good thing.

I was reminded of this while reviewing this week’s record by Fleetwood Mac – the British/American rock band whose pleasing music became one of my pop favourites.

For nearly half a century, the classic line-up has comprised founding member Mick Fleetwood (drums), John McVie (bass) and his one-time wife, Christine McVie (keyboard/vocals), Lindsay Buckingham (guitars/vocals) and Stevie Nicks (vocals).

Fleetwood Mac in 1975, (l-r)J.  McVie, C. McVie, Nicks, 
Fleetwood, Buckingham.

So entrenched were these names in my mind, along with their style of soft folk pop-rock, that I thought for many years Fleetwood Mac had been ever thus.

To my chagrin, I learned at a house party in the early ‘80 that , Fleetwood Mac was originally a British Blues band, formed in July, 1967, when drummer Fleetwood and vocalist Peter Green left John Mayall's Bluesbreakers (#195 on The 500) and paired their talents with slide guitar Jeremy Spencer and bassist Bob Brunning.

By September of the same year, Brunning was replaced by John McVie. Green suggested the rhythm section of Fleetwood and McVie combine their last names to christen the band. Rumour has it that Green said to the duo: "I'll probably end up quitting this band, too, so you might as well name it after yourselves."

Fleetwood Mac in 1968, (l-r) McVie, Spencer, Green and Fleetwood.

The revelation that the Fleetwood Mac I thought I knew -- with female vocalists and soft rock harmonies -- was originally a blues rock band for eight years blew my teen-age mind. It took some persuasion by Dave Robinson, older brother of my high school friend Gomer, that I was, shall we say, in error as we drank beer in his townhouse, listening to the album, Unleashed In The East, by British heavy metal band Judas Priest.

Side One of Unleashed In The East concludes with a song with the unusual title of The Green Manalishi (With The Two-Pronged Crown). It was a favourite among my head-banging compatriots, even though we had no idea what a Manalishi was and why it might be green.

"That's originally a Fleetwood Mac song," Dave told me as he took a swig of beer, and perhaps a hefty puff of a cigarette or joint.

"What?" was my incredulous response.

"Yep, Fleetwood Mac used to be a heavy rock band, before they added the Americans -- Buckingham and Nicks."

I remained dubious, until the song ended and he took the record off the turntable.

"See", he said pointing to the label, "It was written by Peter Green. There is no Peter Green in Judas Priest. He was in Fleetwood Mac.

Label for Unleashed In The East, featuring The Green Manalishi,
composed by Peter Green.

The self-titled Fleetwood Mac record on The 500 was released on my tenth birthday, in 1975. It was the group's tenth record, and sixth since (true to his word) Green left in 1970. It was the first to include the two Americans, Lindsay Buckingham and Stevie Nicks. The pair, who were also romantically involved, had been performing as a duo in the California area for a few years and had released their first, and only, record two years earlier. John McVie wanted to add Buckingham as a guitarist after hearing him in the studio recording some demos. Buckingham agreed to join, but only with Nicks as part of the package.

Buckingham Nicks album cover (1973).

Fleetwood Mac had already transitioned to a softer, less bluesy sound in 1973, with the release of their seventh studio record, Penguin. Christine McVie, wife of John, officially joined the band in 1971 for the record Future Games, but had contributed piano parts prior to becoming a full-time member. With the new (now considered classic) line-up set, the band relocated from England to California and entered the legendary Sound City Studios.

Sound City Studios in the 1970s.

The group's previous album, Heroes Are Hard To Find, had been a disappointment commercially. However, fortunes changed with the addition of  "the Americans" -- despite many heated clashes between Buckingham and John McVie during the recording of the self-titled record. It spawned three Top 20 singles and went on to sell eight million copies. It would also establish Fleetwood Mac as one of the most successful bands of all time and set the stage for 1977's Rumours (#26 on The 500).

Rumours album cover -- we'll get to this one in about
two and a half years.

I am a fan of so much from Fleetwood Mac. I delight in their Peter Green, blues rock roots, Green Manalishi included, and the incredible harmonies and musicianship that came with their classic line-up.

Historical fact: Green eventually ‘fessed up that a Green Manalishi was a fictional representation of the inherent evil in money -- he had made the word up because it sounded menacing.

The 500 - #183 - Red Headed Stranger - Willie Nelson

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #183
Album Title: Red Headed Stranger
Artist: Willie Nelson

Genre: Outlaw Country

Recorded: Autumn Sound (Garland, Texas)

Released: May, 1975
My age at release: 9
How familiar was I with it before this week: One song

Is it on the 2020 list? Yes, at #237, dropping 54 places
Song I am putting on my Spotify Playlist: Blue Eyes Crying in the Rain

Album cover for Willie Nelson's Red Headed Stranger (1975).

As has been documented numerous times in this blog series, I am a huge fan of concept albums -- those records whose individual tracks hold a larger meaning when listened to as a whole. My favourites include 2112 from Rush; The Lamb Lies Down on Broadway from Genesis; Misplaced Childhood from Marillion; and Operation: Mindcrime from Queensryche. A few of my other favourites have even made The 500 list, including The Who's Tommy; David Bowie's The Rise and Fall of Ziggy Stardust; Elton John's Captain Fantastic and the Brown Dirt Cowboy; and Pink Floyd's The Wall.

A selection of concept records from the Progressive Rock genre.

Colour me surprised on learning that concept records had been recorded by country artists. Released in the spring of 1975, Willie Nelson's Red Headed Stranger was hailed by critics as one of the best from both the outlaw country genre and as a concept record. Rolling Stone Magazine listed it at #26 in its October, 2022, article, The 50 Greatest Concept Albums of All Time. (I covered the outlaw country genre in detail in my 2023 post about Nelson's 1978 record Stardust.)

Album cover for Willie Nelson's Stardust (1978).

Red Headed Stranger tells the story of a preacher, turned fugitive, who is on the run in the American southwest (Texas to Colorado) after killing his wife and her lover. The titular character then wanders aimlessly from town to town in an alcoholic haze of self-loathing, riding a black stallion while toting behind him the pony of his deceased wife. There is plenty of room for metaphoric interpretation based on that image.

A shot from the film adaptation of Red Headed Stranger.  Nelson, as the

titular antihero, riding his stallion while towing his late wife's pony – ,

loaded figuratively and literally with the baggage of his past.

There is a shift at the midpoint of the record. The story could be interpreted as an allegory for "The American Dream". The Stranger continuing his westward quest, seeking a fresh start to his life. He meets a new love in Denver and the music becomes noticeably more upbeat, with some songs written in a buoyant waltz time. The final track is the instrumental Bandera. However, the song that precedes it, Hands On The Wheel, suggests that redemption for The Stranger has been found in the heart of a woman who loves him unconditionally.

"And I looked to the stars,
Tried all of the bars,
And I've nearly gone up in smoke.
Now my hand's on the wheel,
I've something that's real,

And I feel like I'm going home."

Red Headed Stranger absolutely wowed me. I listened to it perhaps a dozen times in the week leading up to this posting. In future, when I talk about my favourite concept records, this album will certainly be among them. There is something stirring and beautiful in the album's simplicity. Much like the wide open vistas so typical in a western movie, Red Headed Stranger is sparse and uncomplicated, with lots of space for contemplation and interpretation -- none of it hurried.

"Some day when we meet up yonder
We'll stroll hand-in-hand again
In a land that knows no parting
Blue eyes crying in the rain."

The 500 - #184 - The Immaculate Collection - Madonna

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #184
Album Title: The Immaculate Collection
Artist: Madonna

Genre: Pop

Recorded: Multiple Studios (1983-1990)

Released: November, 1990
My age at release: 25
How familiar was I with it before this week: Very

Is it on the 2020 list? Yes, at #138, moving up 46 places
Song I am putting on my Spotify Playlist: Justify My Love

In the summer of 1994, at the age of 28, I was in the best shape of my life. I worked out religiously at a gym and biked or roller-bladed nearly everywhere. I played hockey two or three times a week, even in the summer. It was a time when I was at my vainest, buying “fashionable” clothing and tanning, which gave my pasty English complexion a healthier-looking glow.

Tanning beds have fallen out of fashion -- but studios were ubiquitous
in the 90s -- a sneaky hack for Canadians hoping to look more Hollywood.

I was also trying to become more cosmopolitan, taking up photography and digging deep into my pockets for a good-quality camera and even dark-room equipment. Intensifying the “new me” project, I began collecting classic movies on video cassette (a fool's errand in retrospect), and decided to broaden my music-listening habits. My snobbish music pretenses involved eschewing pop songs, dismissing them as pablum for teeny-boppers. Now that I was maturing, I was more open to listening to all manner of music, especially albums and songs suggested by the eclectic group of restaurant co-workers with whom I worked.

At a road hockey tournament in the summer of 1994.

One of my favourite co-workers was an effervescent and riotously funny waitress named Kelly Maynard-- (I mentioned her in my December, 2022 post about The Grateful Dead's Anthem Of The Sun (#288 on The 500).

A busy restaurant is a high-stress environment and successfully navigating a packed house on a weekend night has a way of bonding people. Consequently, the crew sweating it out in the kitchen and those appeasing hungry customers out front became a tightly-knit social group who partied as hard as they worked. When there was a chance to blow off steam with a trip to a downtown club, a pre-arranged staff event or at a house party, you took it. These gatherings were energized by the presence of Kelly -- a fearless, gregarious extrovert who could get the most reluctant among us laughing, dancing or singing.

Out on the town with Kelly (left) and fellow co-worker Kari.
I snapped this during my camera-hobby phase. (May, 1994).

Kelly was also a Madonna fanatic and it was she who worked tirelessly to get me to appreciate the Queen of Pop. At the time, Madonna was on hiatus following her incredibly successful 1993 tour, The Girlie Show, in support of her fifth studio record, Erotica. The day after the release of Erotica (October 20, 1992) Madonna's controversial coffee table book Sex, hit the shelves. The 128-page tome featured adult-themed photographs featuring nudity; soft-core pornography; and simulated sex acts, including sadomasochism. For decades, Madonna has had a knack for inserting herself into the pop culture conversation. As I wrote in my June, 2021, post about her album Ray Of Light (#367 on The 500), "Madonna, much like David Bowie, has managed to stay ahead of the curve by being the curve.

Sex hit bookstore shelves wrapped in 
protective Mylar packaging.

I am not sure if Kelly lent me her cassettes or if she made me copies. Regardless, I ended up owning Erotica and The Immaculate Collection (Madonna's first Greatest Hits Collection). Both got plenty of play on my headphones during workouts, bike-rides and roller-blading excursions. I'd also take them with me to sessions at the now-shuttered, but masterfully named Sun Your Buns tanning studio on Wharncliffe Road in my hometown of London, Ontario.

Album cover for Erotica, the firth studio record for Madonna.

I'm not sure if it was maturity, or the repeated listens, or buying into Kelly’s unbridled enthusiasm for Madonna, but I started to relinquish my music snobbery and gain a better appreciation for The Queen of Pop. I remember being particularly enamoured with the track, Justify My Love -- one of two new songs added to the 15 established hits on The Immaculate Collection. Composed by pop music contemporary Lenny Kravitz, it marked another shift in Madonna's ever evolving sound. It was her first venture into trip-hop -- a genre that blended psychedelia with hip hop and electronica.

Madonna and Kravitz backstage at the Video Music Awards in 2018.

It was a nostalgic delight lining up this blog to relisten to The Immaculate Collection all week. TIC presents, in chronological order, Madonna's biggest hits – from her debut single, Holiday (1983), to her smash, Vogue, which appeared on the 1990 album, I'm Breathless, which was, in part, a soundtrack to the film Dick Tracy (in which she also starred).

I'm Breathless album cover, featuring Warren Beatty, as Dick Tracy,
and Madonna, as Breathless "The Blank" Mahoney in the film Dick Tracy.

I'm still in touch with Kelly, although like many of my collegial relationships from the ‘90s, we connect mainly through social media. In August, 2017, Kelly helped arrange a 25th reunion of the Kelsey's Restaurant crew from 1992-1995. About 20 of us arrived for a night of ‘90s music, cocktails and memories. We could not help notice that the serving staff were all younger than 25, but they let us wander through the front (dining room) and the back of the house (kitchen), snapping photos, laughing and sharing stories. I am glad we got that opportunity. The restaurant plaza was demolished in 2020 to make way for new retail outlets.

A group photo on the steps that led to the
"deck" at Kelsey's South - London, Ontario
Saturday, August 12, 2017.

Those four years at Kelsey's Restaurant in the ‘90s somehow feel as if they happened last month and, simultaneously, a lifetime ago. It is remarkable how much we bonded during that time -- a random group of strangers figuring out how to "adult" their fast-approaching thirties. There are touchstones that will trigger my memories of that time -- and the music of Madonna is certainly one of them. Thanks, Kelly, for making me a fan.

A collage of photos from our time at Kelsey' - Christmas 1993.