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…get the Traffic jam flowing with the ultra-rare “No Spark” unplugged version of the Low Spark of High-Heeled Boys title song performed by Steve Winwood and the late Jim Capaldi in February 1994.
Biographer and reissue producer John McDermott is featured along with one of the last interviews with dear sweet Experience drummer John “Mitch” Mitchell in the first of our two-part In the Studio special on “Electric Ladyland” by the Jimi Hendrix Experience.
1973 masterpiece “Goodbye Yellow Brick Road” is a virtual greatest hits package unto itself. Elton John & Bernie Taupin join me In the Studio for part one.
Two purveyors of progressive pop, rock, and jazz in Steely Dan, singer/piano player Fagen and the late guitarist Walter Becker, discuss “Aja” with Redbeard In the Studio.
“So Happy It Hurts” is the Canadian rocker’s fifteenth (!) studio album, and he’s not even old enough to get the Early Bird Special down at Denny’s. Adams became a star way back in late 1984 with “Reckless”, one of the Eighties’ biggest sellers, then in 1991 absolutely crushed it with “Waking Up the Neighbours”, an all-time biggest selling album in history. Bryan Adams’ seventh studio album, “18 ‘Til I Die” , was a #1 seller in the UK and Top Five sales internationally. But when “18 ‘Til I Die” came out in June 1996, US rock radio programmers decided, in spite of the music actually on the album to the contrary, to brand Bryan Adams a love song balladeer, not rock enough, not alternative enough, not cool enough. Adams finally addresses the issue with tongue firmly in cheek on the song “Kick Ass” from “So Happy It Hurts” with the help of the brilliant British pillar of Python humor, John Cleese, who has been skewering pompous pundits for half a century. Also listen to the infectious “Never Gonna Rain Again” which could be Bryan Adams’ next big hit.
“We did two hundred sixty-five shows that year 1975,” says Bob Seger with a mixture of pride and amazement, as explanation on why it was so hard to find the solitary time necessary to write well-crafted songs prior to “Night Moves”. The double disc “Live Bullet”, recorded in Fall 1975 and released six months later, provided that precious period…by October 1976 with Night Moves containing “Rock and Roll Never Forgets”,”Main Street”,”The Fire Down Below”,”Come to Poppa”, and the title song which Bob calls “…a little novelette.”
In July 1981, Stevie Nicks already was in arguably America’s most popular band, Fleetwood Mac, but her first solo album then, “Bella Donna”, took her career to another level entirely, a fact that was by no means guaranteed and which came at some cost. Stevie spells it all out quite candidly In the Studio while revealing the stories and characters behind “Edge of Seventeen”, “Leather and Lace” with Don Henley, and the timeless duet with Tom Petty on his “Stop Draggin’ My Heart Around”.
My interview with the late Tom Petty . Two significant events informed the songwriting on 1991’s “Into the Great Wide Open” , Tom Petty and the Heartbreakers’ first post-Traveling Wilburys/ “Full Moon Fever” effort with his own band.
My guest Billy Squier’s 1981 second solo album “Don’t Say No” sold over three million copies because of songs “In the Dark” , “My Kinda Lover” , “Lonely Is the Night”, & the big hit ” The Stroke”.
Listening now to the epic title song to “Tarkus”, the second studio album in June1971 which followed quickly after their stunning 1970 debut, with Greg Lake’s voice delicately yet nimbly bounding along to Keith Emerson’s piano runs, it’s clear that Emerson Lake and Palmer were much less “Be Bop a Lula” in their melodic grandeur and much more “Andrew Lloyd Weber”. Here In the Studio is the story in their own words of progressive rock’s first supergroup.