icymi: the latest ’77 music club episodes

Churning through season 2, y’all:

Episode 7: Easter – Patti Smith | January 19, 2018
Bonus: Guest session on Chris Frantz’s Talking Head Radio Show (WPKN) | January 26, 2018
Episode 8: After The Gold Rush – Neil Young | February 12, 2018
Episode 9: “Street Hassle” – Lou Reed special mini episode | February 23, 2018

77 Music Club x Chris Frantz the Talking Head Radio Show

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Carly and I took ’77 Music Club from our apartment to Bridgeport, CT for a guest session with the always fun and funky and wonderful Chris Frantz on his monthly WPKN radio show. We had a blast playing and talking about some of our favorite tunes that we’ve covered on the pod so far. ICYMI, listen to the archived interview here.

psa: episode 5 of the ’77 music club podcast is now live

By 1972, British music had fully renewed itself on the American scene in the form of glam rock. David Bowie, Slade, and Roxy Music were all part of this musical landscape that Marc Bolan and his band T. Rex expanded and exemplified. Glitter, platform boots, sci-fi imagery, and ’50s rock n’ roll roots made this sub-genre exciting, fresh, and new to kids of the ’70s who may not have realized that this was the rock n’ roll of Chuck Berry, Howlin’ Wolf, and Little Richard — just amped up and fuzzed out for the new generation.

T. Rex’s album The Slider made full use of all of these elements to create a vibe that spoke to a new generation of rock fans. The album was the pinnacle of the dreamworld that Marc Bolan created, and it leaves us spellbound more than 40 years later. In this episode, we theorize over some extremely poetic lyrics, attempt to decode Bolan, introduce a new hashtag (#RespectTheSequence), and somehow, somehow connect T. Rex to DJ Khaled.

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Introducing the ’77 Music Club podcast

Last Halloween, my best friend, Carly Jordan, had an idea: what if we turned all the time we spent analyzing every little thing about albums for fun and turn it into a podcast? Every other week, we’d discuss a different album and share our unconventional love of older music; we’d try to bridge a generation gap; we’d try to carry the torch.

After a few months of questioning if it was an appropriate time to release a music podcast, it’s here. In the coming months you’ll hear us talk about a variety of albums, from Betty Davis to Talking Heads to Big Star. But to start, we kicked off with our favorite (obviously) — this little known nugget from Stevie Nicks and Lindsey Buckingham from their days before Fleetwood Mac — because how could we not? Sneak a peak of each post below and be sure to follow (details below) for more.

77-music-club-buckingham-nicksTwo years before joining Fleetwood Mac, Stevie Nicks and Lindsey Buckingham had no idea what lay ahead of them. They were just two kids who wanted to make great music — and they just happened to be in love.

A cult favorite of Fleetwood Mac fans, this album is curiously still only available on vinyl. While bootlegs of the album can be streamed on YouTube, it has never been (officially) released on cassette, CD, or to streaming services like Spotify. This is perhaps part of the attraction to the album — this is music that doesn’t outright present itself; it must be found.

In this episode, we discuss why we both call this album our favorite of all time, what makes it unique, and why it still takes our breath away hundreds of listens later.

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Carly Simon Brings Passionate Memoir to Life at New York Discussion

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This piece originally appeared on Inspirer

If you couldn’t guess from her lyrics, you would immediately be able to tell from the eloquence, candor, and unabashed honesty of Carly Simon’s speech that, if you hadn’t yet read her memoir “Boys in the Trees,” you were in for a ride.

Simon brought her new book to life Wednesday night in discussion with author and journalist Sheila Weller, who had previously written about Simon in her 2008 biography “Girls Like Us: Carole King, Joni Mitchell, Carly Simon — and the Journey of a Generation.”

“Few women writers in any genre write as passionately about love as you do,” Weller noted. Simon is part of a small group of female rock stars who have paved the way for women today, spending the past forty years writing, singing, and talking publicly about love — and sex — openly, freely, and with a refusal to let society shame them. “Boys in the Trees” is an extension of that, picking up where her lyrics left off.

“I am not a person who lets go of the past easily,” Simon said. But there’s no bitterness or regret when she reflects on it, from a childhood marred by a debilitating stammer and family secrets to a storybook marriage dreamed of with ex-husband James Taylor crumbling under the strain of his drug addiction.

Nor was there any salaciousness when Simon spoke at length about the famous men in her life, including Warren Beatty and Mick Jagger, as well as Taylor, leaving the audience hanging onto every velvety smooth word. Rather, Simon’s seduction of an audience lies in her ability to speak and write from a sensitive, vulnerable, and deeply caring woman’s perspective.

Every word, every description drips with poetic romanticism. Chemistry with Mick Jagger while recording “You’re So Vain” was like “trying to stay within a pink gravity that was starting to loosen its silky grip on me.” She likens her relationship with Taylor to music, like they were a perfect fourth, the reedy tone of his voice piercing through her husk. Even after the end of their marriage, he still has a place in her heart, she said, as if her body contains a part of his DNA. Her biggest revelation: “I’ve stopped trying to stop loving. The parts that were loving are still in me. They’re still there.”

Although “Boys in the Trees” is largely about her relationships with men, there’s more to it than that.

“Pay attention to who you like. You can imitate them — you’ll get your own voice,” Simon advised young women. No, “Boys in the Trees” isn’t a story just about the boys. It’s a story about how one woman stopped emulating other voices and eventually found her own.

Boys in the Trees is available in hardcover or paperback from Flatiron Books.
Keep up with Carly Simon on Facebook, Twitter, and Instagram.

Emmylou Harris, Robert Plant, and More Bring Refugee Benefit to New York’s Town Hall

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This piece originally appeared on Inspirer.

It wasn’t lost on many during Tuesday night’s Lampedusa: Concert for Refugees benefit that a series of concerts to raise awareness and funds for the current refugee crisis was in full swing just as the presidential election drew increasingly nearer.

In an election season where refugees have become such politicized figures, where they’ve been distilled down to talking points and memes and likened to a bowl of Skittles, the Emmylou Harris-helmed benefit was a humbling reminder that, above everything else, refugees are just people.

They’re just people. Men, women, and children, and in the current refugee crisis, 65 million of them around the world have been displaced from their homes. This isn’t a partisan issue; it’s a humanitarian one.

“You can start from a place of fear and suspicion, or you can start from a place of love and compassion,” Joey Ryan, one half of indie-folk duo the Milk Carton Kids said. “We’re all doing this to hopefully promote the latter.”

People behind the slew of Facebook comments that litter the event’s posts might want to question their decisions to boycott the concert series for political reasons. It wasn’t a political event. It was a momentary relief from the negativity and ugliness that has flooded the news cycle. There was no mention of either candidate, save for a brief comedic song from Nancy and Beth (actresses Megan Mullally and Stephanie Hunt’s musical alter egos). There were no accusations of who’s right and wrong in a political war over immigration, no damning critiques of anyone involved in either political party.

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The musicians held back from proselytizing; any remarks about the refugee crisis were brief and told in personal anecdotes. The Milk Carton Kids shared that their family histories are marked with immigration stories, that there were stark differences between the lives of distant relatives who made it in America and those who were turned away. Harris told a short story about meeting a former child refugee who came to America on the back of a train and is now a college graduate working with refugee services to give others the same kind of help he received.

It wasn’t a night about politics. It was a night about music, and the way it can unite people, especially when it’s for a good cause.

The evening began unassuming and intimate, with each musician sitting and playing in-the-round style, taking turns singing lead while others occasionally joined in, at times performing songs as an ensemble. They referred to it as a good old-fashioned guitar pull, as if they were just friends jamming together and not some of the most seminal names in rock and roll. But casual as they tried to be, each musician gave performances that were met with thunderous applause, reminders of just how much they could do with such sparse fanfare.

Harris hushed the crowd with a soft performance of “Making Believe,” joking afterwards that she was just beginning to realize how many sad songs fill her library. Buddy Miller lightened the mood with fiery guitar work and an electrifying rendition of “Gasoline and Matches” with Harris. Steve Earle reminded the audience that everyone, especially New Yorkers, came from somewhere else with “City of Immigrants,” and the Milk Carton Kids stunned the crowd with a Simon and Garfunkel-esque cover of Harris’s “Michelangelo.” Robert Plant’s take on the ancient folk song “Little Maggie” began simply and quickly crescendoed into a lush roar of sound from all of the musicians on stage.

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While the night’s political points had existed mainly in quiet undertones, in the subtle, yet pointed set list choices, its purpose was well made towards the end of the evening when special guest Joan Baez took the stage. Baez taught an entire generation of musicians that music could not just sound good, but it could do good, Harris explained. That work was, in a way, part of the reason why they were all gathered together on stage, part of the reason why Baez was nominated for a place in the Rock and Roll Hall of Fame that morning.

Before a passionate, poignant performance of “Deportee (Plane Wreck at Los Gatos),” the First Lady of activist songwriting mused that maybe people were looking at the refugee crisis the wrong way.

“My father was an immigrant from Mexico and ended up becoming the co-inventor of the x-ray microscope,” she explained. “We shouldn’t be thinking about what immigrants are taking from us, but what gifts they can bring.”

Upcoming Tour Dates:
October 19 — Philadelphia, PA — Merriam Theater
October 21 — Washington, DC — Lisner Auditorium

To learn more about the Jesuit Refugee Service’s Global Education Initiative, visithttp://jrsusa.org.

Featured image: Ben Stas for the Boston Globe

Pat Benatar: ‘I’m Proud, So Secure and Even a Little Arrogant When It Comes to Being a Woman’

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This piece originally appeared on Inspirer
by Desarae Gabrielle and Carrie Courogen

New York native soprano Pat Benatar came crashing onto the rock and roll scene ready to change the landscape of the male dominated music industry. Four time Grammy award winning Benatar kick-started her lengthy list of accomplishments by being the first female artist to be played on MTV — performing her hit “You Better Run” on August 1, 1981 — later becoming one of the most heavily featured artists on the network. Benatar was among the wave of female pioneers who took the Top 40 singles chart by storm – 15 of her songs were featured on the chart which included popular singles “Hit Me With Your Best Shot,” “We Belong,” and “Love is a Battlefield.” Benatar’s first single “Heartbreaker” propelled the rock star to platinum status with her debut album In The Heat of the Night.

After a tour date at the Greek Theatre in Los Angeles, co-headlining with Melissa Etheridge, we spoke to Benatar about her history in rock music as a feminist, her memoir Between a Heart and a Rock Place, her inspirations and more.

What was it like to be the first woman played on MTV?

Thrilling, odd, crazy and fun. We had no idea what was about to happen — we thought we were just doing another performance video that would be shown on TV. The idea that the video would be played 24 hours a day — was unfathomable. In one week, our lives were forever changed.

Did you feel any sort of pressure to play to the changing landscape of the music industry or play to that video star persona?

Absolutely not, we were part of that emerging landscape. We were creating the video star persona organically, we were just being ourselves.

Getting control of your career and fighting the over­-sexualization of your image wasn’t an easy thing to do. What was that battle like?

The struggle to take control of the image was difficult. When it was my idea, it worked, but it was very limiting and became tedious. But of course, by that time, the record company had a winning combination and fought hard to keep it, we fought constantly and bitterly for the rest of our time there.

Catch A Rising Star was a place where a lot of comics got their breaks. What attracted you to it as a singer?

I was living in Richmond, VA playing in a local band and going to school. I had read an article in the New York times about Catch, it mentioned that up and coming singers could audition there as well. I missed New York so much and wanted to go home, it was the perfect excuse.

How did The Zinger shape your transition into rock and roll from a more lounge ­inspired style?

The Zinger was such a campy production, it really was more musical theater than rock and roll. It didn’t really have much of an influence on my future career. Working with young songwriters at Catch, helped me find my voice. And of course, meeting my muse, Neil Giraldo, putting the band together and working side by side was the most important factor — the catalyst that propelled everything forward.

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How do you think your career has influenced your daughters’ endeavors?

As for our youngest, Hana, who is the singer songwriter, she was born feisty! I’m sure some of it’s genetic, but she is a highly motivated, talented, tornado. Her genre of music is vastly different from ours. Our oldest daughter, Haley is a designer. I think — I hope– both of our daughters witnessed the power of hard work and commitment from both parents. They certainly saw first hand what can be accomplished as a female. They are both very smart, confident, kind and talented young women.

You were nominated for Best Female Rock Vocal Performance eight times are tied for most wins in the category. The category merge in 2005 came with a lot of scrutiny on both sides of the argument. On one side, there’s the idea that distinguishing male and female vocals is sexist and they should be judged together. But the other side is that, since the merge, only six women have been nominated, even though there’s certainly not a lack of outstanding female performances each
year. What are your thoughts?

This is always such a difficult topic. I have mixed feelings — I hate the idea of being singled out as a “Female Rocker.” It defeats the entire argument that we are all the equal. At the same time, the sheer number of males versus females will always tip the scale. Because of the era grew up in, it’s hard to shake that nagging rub, that being separated, labeled as “female” in some way is a slight, a way to subliminally suggest inferiority. It’s interesting, because personally, I don’t feel that way at all. I’m proud, so secure, and even a little arrogant when it comes to being a woman. I wait for the day when that feeling permeates everything!

How has your self­-identification as a feminist influenced your career and the ways you’ve given back to the music community?

Yes, definitely. Mentoring young women is where my heart is. Having two daughters has made it my mission.

What about the music industry would you like to see change, from a feminist perspective? Why were you reluctant to write your memoir Between a Heart and a Rock Place?

There has been so much progress in the music industry, but the old prejudices and ideas still exist. Old habits die hard! Thankfully, we now have laws and legislation to protect us, for the most part. There is still much to be done. I do feel confident that women today, are very aware and take a strong, passionate stance about their rights. I thoroughly enjoyed writing Between a Heart and a Rock Place. I was a little reluctant to write it because of the time necessary to get it done properly. I only said yes because they promised I’d have help. The co-writer, Patsi Bale Cox, came to me and said, ”You can do this. You should do this. It needs to be in your own voice.” So I did. She helped me organize the stories and all my thoughts and then she pushed me “out of the nest.” In the end, she was right and I loved every moment of the process.

You were on the We Live For Love Tour with your husband Neil and singer Melissa Etheridge through the summer. You chose to continue to play in states where anti-­LGBTQ laws were passed, such as Mississippi and North Carolina. Why is that?

Neil (Spyder) and I have been staunch advocates for LGBTQ rights for 37 years. We felt that we could better serve the community by continuing to support them the way we always have, by standing in defiance, to those who seek to squash their rights. We discussed this with Melissa and she agreed.

What social issues inspire you to try to make change in the world?

Hunger, children’s rights, the elderly’s rights, women’s rights, animal rights, racial and sexual equality — we don’t have enough time. We all have the ability to make changes in the world, everyone has the power to do good.

If you could give your 25­-year­-old self advice, what would it be?

My 25-year-old self? You are about to begin an amazing adventure, do not be afraid! Listen to your gut, it’s always right. Be kind, be loving, be smart. All you have at the end of the day is the people you love and who love you, and your integrity. Lighten up and try to have a little fun along the way.

To read our full interview with Pat Benatar, order Inspirer’s fall issue here!