Summit Sustaining Members got an exclusive invite to visit the Rock & Roll Hall of Fame with the band Milky Chance this past Wednesday, June 21st! The band hails all the way from Germany, so they were very excited to tour the museum!
They played at Nautica later that night with Talk and Young The Giant.
Become a Summit FM Member for exclusive opportunities like this one! Click here to learn more.
By Dave Swanson - Summit FM Contributor
It's funny how people like to remember and or write the history books in neat orderly form, as if there were definitive starting points and ending exclamations. This all makes for fine reading and or storytelling, but the truth is never that definitive. The truth is much more fluid with various things going on simultaneously, overlapping one era into another, and so on.
1973 was a banner year for all things prog, glam and trad. Yes, ELP, the Who, Stones, Pink Floyd and solo Beatles were all happening in a big way that year. Eagles had taken flight along with Skynyrd and others who would soar even higher as time moved on. 1973 seemed a different world from changes that would take place over the next few years but a foursome from NYC were overlapping, creating their own little world that would eventually blossom into a local then worldwide movement.
In 1972, guitarist/songwriter Tom Miller had become fast friends with fellow musician Richard Meyers. With little experience, these aspiring New York City rebels decided to form a band. Friend Billy Ficca was added on drums and the trio became the Neon Boys with Miller, rechristened Verlaine on lead guitar and Meyers recast as Richard Hell on bass. The Neon Boys sound was minimal, especially compared with what was happening above ground. Rooted in the raw style of early Rolling Stones, Pretty Things, Velvet Underground, and others, the Neon Boys were delivering music that would become much more commonplace as the next few years unfolded.
The Neon Boys weren't alone in this realization that raw rock and roll was not lost on all. The Modern Lovers in Boston, though a bit more polished, had the same energy and sensibility, while Mirrors were a hidden treasure in Cleveland who, with the Velvet Underground as their guide, dished out their own garage chaos long before Ramones were a household name.
By spring of 1973 Hell had recruited Richard Lloyd on second guitar to complete the line-up who had adopted the new moniker of Television. The foursome was amped up and ready to 'prove it' to whoever would listen, but they found themselves without a venue to perform. Their manager was an aspiring music mogul named Terry Ork, who, within two years, would start his own label, the influential Ork Records. Ork went about finding a place for his new band to play and stumbled upon a new bar on the bowery. Formerly a biker hang out that had just recently been bought by a guy named Hilly Kristal and reinvented as CBGB & OMFUG.
Country, Bluegrass, Blues, and other Music for uplifting Gormandizers was what that batch of seemingly random letters stood for. This was Hilly's vision for what the tavern would feature, but ultimately, of course, it was the musicians who would give the club its identity. Television was the first of this new breed of bands to adopt CBGB as home away from home. In short order Ramones, Blondie, Talking Heads, Dictators and many more would also embrace this dive on the Bowery making it the unlikely springboard for an entire movement.
Television carried on developing their style despite losing founding member Richard Hell in 1975, who went on to form another classic band, the Voidoids. Demos were recorded and though those demos were often credited as being produced by Brian Eno, it depends on who you talk to. Ultimately it seems Eno's involvement was minimal and ultimately, the band didn't use them.
With bassist Fred Smith now in the lineup, Television recorded their debut single. Released in 1975 by Ork Records, 'Little Johnny Jewel,' somewhat kickstarted the idea of independent labels of that era. The single got good press but ultimately failed to live up to what the band were truly capable of.
Another year of treading the boards at CBGB and the band were signed to Elektra Records. With the solid twin guitar power of Verlaine and Lloyd atop the powerhouse rhythm section of Ficaa and Smith, Television would emerge from the fog of those early days with the forever classic album, 'Marquee Moon.' Released in 1977, it stands as a monument of creativity and perseverance.
They had no idea at the time, but these scrappy kids with rock and roll, poetry and art on their minds set something in motion back in 1973 that still produces ripples 50 years on. At the risk of horrible cliche, this was one Television that should be turned on.
By Ryan Humbert - Summit FM Contributor
What is Americana music, anyway? Wikipedia says "Americana is an amalgam of American music formed by the confluence of the shared and varied traditions that make up the musical ethos of the United States, specifically those sounds that are emerged from the Southern United States such as folk, gospel, blues, country, jazz, rhythm and blues, rock and roll, bluegrass, and other external influences.
While that description doesn't necessarily help dispel any confusion, hearing a few examples might! Here are five songs new Americana tunes for your listening pleasure!
Don't forget to tune into the Americana Roundup, every Sunday morning from 9 to 11AM on The Summit FM -- hosted by Ryan Humbert, lead singer of the Shootouts. For more information, visit AmericanaRoundup.com.
Jason Isbell & The 400 Unit - "This Ain't It"
A great track from Jason's new album "Weathervanes" which is chock-full of his unique storytelling, killer guitar hooks, and heartbreaking imagery. This song rocks - check out the extended solos at the end!
Lucinda Williams - "New York Comeback" (Feat. Bruce Springsteen)
Following a stroke in November 2020 that has left her without the ability to play guitar, Lucinda Williams is back with a new album, "Stories From a Rock & Roll Heart" dropping everywhere June 30th. This rocking and triumphant song features none other than Bruce Springsteen and Patti Scalfia on harmony and backing vocals. Don't count her out yet -- she's swinging for the fences with this one! (P.S. Her new autobiography is available now, and highly recommended!)
Allison Russell - "The Returner"
Allison Russell's new song "The Returner" finds her returning in fine form, with another gorgeous, slow-burning anthem that's rooted in acoustic guitar and choir-like harmony vocals. This is the first single from her upcoming album of the same name, the follow-up to her critically acclaimed album "Outside Child."
Bruce Cockburn - "On a Roll"
Legendary Canadian songwriter Bruce Cockburn is back with a new album, "O Sun O Moon" -- his first since 2017's "Bone on Bone." This acoustic-rooted song finds the 77-year-old reflecting on growing old while still maintaining a positive outlook.
Summer Dean "She's In His Arms, But I'm in The Palm of His Hand"
In a perfect world, Summer Dean would be a household name. Her new album "The Biggest Life" was recorded live-in-the-studio with producer Bruce Robison and a top-notch band that frames her gorgeous songwriting in just the right light. This single has a classic country theme topped off with mariachi style horns and Spanish guitar flourishes.
By Dave Swanson - Summit FM Contributor
Talking Heads were, and remain, one of the most interesting rock and roll bands in history. Their almost shy and awkward beginnings quickly gave way to art school bravado and ultimately to a warehouse full of interesting ideas and musical adventure. Over the course of their first three albums, they had consistently re-arranged their approach, putting different elements in a different light each time. Rhythms ebbed and flowed as guitars gave way to otherworldly sounds and back again.
With the ground breaking and truly essential Remain In Light, released in 1980, Talking Heads were poised to take on the world. Three more major factors in that equation were the side projects from band members at the time. Jerry Harrison delivered The Red And The Black, an album awash in funk, soul, reggae and pop. At the same time, David Byrne and Brian Eno made the incredible My Life In The Bush Of Ghosts, an album combining experimental, sampling (before the fact), world music, found sounds, Krautrock and more into one incredible sound painting. To top things off, the stellar rhythm section of Tina Weymouth and drummer Chris Frantz made the Tom Tom Club LP, which proved to be as influential and groundbreaking in a different arena, flooding dancefloors and shaking hands with hip-hop culture.
With all these elements, the Talking Heads served up their biggest album to that time, Speaking In Tongues, which hit No. 15 on the US charts and ultimately selling into platinum territory. The album's first single was a major hit. "Burning Down The House" broke the Top 10, and remains one of the band's best known and most loved songs. "Girlfriend Is Better" and "This Must Be the Place (Naive Melody)" also brought people into the party, whose sound was shaped by the aforementioned side projects then recast Talking Heads style.
The tour that followed would be captured on film by Jonathan Demme and later released as Stop Making Sense, routinely heralded as one of the finest concert films ever made.
The Talking Heads would last another five years before calling it a day but Speaking In Tongues was the commercial peak of a band who knew few, if any, boundaries for their artistic invention, something we truly need more of these days. In a word, essential!
Tune into The Summit FM all day Thursday, June 22 to hear tracks from Speaking in Tongues as our Summit Album Essential of the week!
By Dave Swanson - Summit FM Contributor
A bunch of freaks! A bunch of freaks I tell ya! The Flaming Lips, perhaps the most famous rock and roll exports from Oklahoma City, began life back in 1983 with a modest arrival.
Combining garage rock aesthetics, a love for the Cramps, and a thirst quenched by lysergic laced Oklahoma well water, Flaming Lips entered the rock and roll world with a self-titled EP. Released on the band's own label, Lovely Sort Of Death, their mélange of styles caught the ears of college radio dj's and independent record stores, as word spread about these misfits from Oklahoma.
Harbored in their own world, away from the scene tripping of New York, LA or even Athens, GA, the Flaming Lips created their own off kilter sonic world and in short order indie rock labels started calling. Restless, a subsidiary of Enigma (itself a subsidiary of Capitol) won out and released the band's first full length LP, 'Here It Is,' in 1986. By this point, the more standard 'garage' influeneces were being replaced, or updated, by a nod to contemporary soldiers like Sonic Youth, Butthole Surfers and Frightwig, combining noise, melody and a darker sense of reality within their psychedelic inspirations.
More albums followed, some mining a more traditional style ('One Million Billionth of a Millisecond on a Sunday Morning' is a dead ringer for vintage Pink Floyd) while others like 'Drug Machine In Heaven' preceded the whole 'grunge' formula with its sludgy chaos.
In a post –‘Nevermind’ world, the major labels were falling over themselves trying to sign the next Nirvana. Looking under ever rock and in every corner of the underground to find that one band. In 1991, Warner Brothers signed the Lips to what has turned out to be a long-lasting contract. That first album for WB, 'Hit To Death In The Future Head,' was released in 1992 to little fanfare. The diehard Lips fans stayed true, but others were slow to arrive to the party.
Things would change with the 1993 release of their second major label offering, 'Transmissions from the Satellite Heart.' Their sixth album overall found the Flaming Lips seeking adventure in slightly more melodic and pop inspired songs, while retaining their ongoing psychedelic agenda.
Kicking into gear with the opening track, 'Turn It On,' it's obvious the band were up for the challenge. The raw guitar-based pop song, with more than a hint of Neil Young-ish vocals, was catchy as hell, especially by F. Lips standards. The song retained the adicic gloss the band strived for but with an honest to goodness pop song at the core. While the noisier side of the band quickly appeared by the second track, and a more psychedelic aspect in bloom on 'My Pregnant Head,' it was the album's fourth track that shoved the band onto MTV's playlist and into mainstream ears.
'She Don't Use Jelly' was and remains, a perfect example of what happened in the 1990s music world. Once the doors were blown off the hinges by Nirvana, everything was fair game; the world was up for grabs. 'She Don't Use Jelly' was just catchy enough to represent itself as a pop song, while at the same time weird enough to stand in line on the 'alternative' side of the room. It is a weird record, charmingly so. Who knows what Wayne Coyne is going on about here and it doesn't really matter. It's a sonic ride all its own, complete with off kilter video, just right for the 120 Minutes crowd and even lampooned by arbiters of taste, Beavis and Butthead.
All this 'alternative' fueled attention pushed the single into the Billboard Top100, making it all the way up to #55. It stands as their only charting single for the band. It's hip factor even allowed the band to appear on the ever so popular 'Beverly Hills 90210 playing the song for those crazy spoiled rich kids.
Though the band has progressed and evolved into their own unique creation over the decades, miles away from where they started, 'She Don't Use Jelly' remains a fan favorite and in many ways, a signature song for those wacky Oklahomans.
Wellness can be achieved by virtue of completing a journey and maintain a lifestyle. But it can also be magnified by our ability to appreciate and be thankful for the things that we already have! Summit Wellness continues to hum the melody of connection between feeling good and feeling grateful!
Gratitude is a monthly feature contributed by Matt Anthony, Digital Media Producer and on-air host for the Summit FM. Matt reflects on instances where we might uncover more ways to appreciate what’s in front of us, and how those instances might contribute to our overall health and well-being.
"Better Late Than Never"
By Matt Anthony - Summit FM Contributor
Do you like music?
Does it give you a lift?
Then look in the closet
For your Christmas gift!
When I was 10 years old, I descended the steps of our old colonial home in Canton, Ohio with the rest of my siblings. Christmas morning had arrived, and the energy-level, as you would expect, was palpable.
We gathered around the tree that morning, as we did every Christmas morning. Even though my father, a high school teacher, and my mother, a housewife, struggled financially at every turn to try to provide for a family of 9, we always had a ‘Christmas morning.' Decades later, when I think of that particular morning, I immediately focus on how grateful I am for my parents’ ability to make this a magical time for us.
This morning, though, seemed different. My mother pointed out various small stacks of gifts for all my brothers and sisters, but there didn’t seem to be any indication that there might be a gift for me. Suddenly, she thrust a small box in my direction, and said, ‘This is for you!”
Falling out from inside that box was the above poetic verse. I read it, and then I jogged over to the closet on the other side of the living room. And in that closet was an acoustic guitar!
Now, you’re probably thinking that this is the part of the tale where I tell you that, at the age of 10, I began my journey towards guitar-prodigy. You’re probably anticipating an excerpt where I regale you with the stories of how I spent hours in the attic working the fretboard, trying to make my fingers perform the same tasks as Keith Richards, Pete Townshend, and Brian May. And you more than likely expect me to end this essay by crediting my mother as the sole influence in pushing me towards a career in music.
But that wasn’t the case. Learning the guitar was hard work. And my effort and interest-level resided far more in the world of sports than it did inside the music-universe. While I was learning how to execute a behind-the-back pass in basketball or stoically following my father’s instruction on the proper way to throw out a runner who attempted to swipe second base, that beautiful instrument gathered dust in that closet, rarely picked up again after that cold, snowy Christmas morning.
While it remains one of the true regrets of my life, I am, in a strange way, grateful for the missed opportunity. My failure to take advantage of that opportunity has taught me much about ‘practice’ and dedication. I’ve thought often of this poem that my mother crafted so beautifully, and I’ve used it to help me work more diligently in other areas of interest where I could excel.
Back in the late 80’s, while I was teaching at a business college, I had a student who was a musician. And during an after-class chat, I shared this story with him, expressing the disappointment in myself having not taken advantage of that opportunity that my mother had presented me. And he said, “Why be disappointed? Start playing now.” And later that month, he located a used Sigma acoustic guitar for me. It’s the guitar that I own to this day.
That guitar doesn’t sit in a closet. It also doesn’t get played nearly as much as it should. But even yesterday, when I picked it up to work my way through a chord that I was trying to learn, I thought, again, about my mother’s poem. I’m grateful for it. I’m grateful that she tried to steer me towards something that really is a passion of mine: music. I’m grateful that I was able to at least remember to use her verse to remind me about the importance of 'practice,' and to remind myself that effort is required to be good at anything.
And I’m grateful for Kurt, that student, many years ago, who reminded me that it’s never too late to start, that it’s never too late to let the scars of regret heal, and that it’s never too late to ‘live in the now.’
During the pandemic of 2020, The Summit began a new show called "Cruisin' The Decades - 100 Years of Music" at 5:00 pm each Friday afternoon. The concept is to play one song per decade, from 1920's to the 2020's, in one hour - across all styles and genres.
The program has been very well received and due to its uniqueness, it led to a self-syndication effort -- from Producer/Host Brad Savage -- to many other radio stations. This show is not syndicated by a company that does such things; we're doing it ourselves using The Summit's facilities and concept. It's a fantastic "global outreach" for The Summit as a station or music brand.
Based on word-of-mouth networking and radio industry contacts, "Cruisin' The Decades (Global Edition)" is now aired on 36 radio stations each week across the USA, Canada, Germany, and New Zealand. We produce a special, "second version" of the show here at the station each week. That "global" version is also aired on The Summit on Saturday night at midnight and again on Sundays at 11:00 pm. Find out more about "Cruisin' The Decades" here on the new website: cruisinthedecades.com
Since the launch of this show, it's caused The Summit's Savage to do a serious "deep dive" into tons of musics from all genres and eras. In particular: blues, jazz, rockabilly, roots, standards, swing, and R&B genres have really piqued his interest.
Savage says, "I've been spending more time than ever studying the roots of modern music, and it is really incredible to discover songs from 75+ years ago that are just astounding. The sounds of history come to life in these classic recordings."
Here are 5 must-hear songs that Savage has discovered thanks to Cruisin' The Decades:
American Quartet "On The 5:15" (1915)
The American Quartet is among the top early singing groups, and were wildly popular in the 1910's and 1920's. This song is about missing the train after work!
Tony Martin & Fran Warren "I Said My Pajamas & Put On My Prayers" (1950)
A silly wordplay duet about the fog of love and romance! It's so relatable - even nearly 75 years later!
Ben Bernie & All The Lads "So This Is Susie" (1931)
Just listen to the classic vocal and the recording, for both the enjoyment of the song and the unique production values. If any one song personifies the early 1930's, I believe this is it!
Mildred Bailey "Georgia On My Mind" (1931)
Some of these "standards" go back 100 years and have been sung by dozens of artists. This song is best-known for its famous version by Ray Charles recorded in 1960. But it was written by Hoagy Carmichael and released in 1930. This early version by Mildred Bailey has become a favorite.
Fluffy Hunter & Jesse Powell's Orchestra "The Walkin' Blues" (1952)
Clearly, Rock & Roll existed BEFORE Elvis Presley. It was R&B music performed by Black artists. Listen to the double-entendre and infectious sound of this anthem. No wonder there was so much fear from the establishment. There is so much history of great music to discover and that's what this show is all about!
By Dave Swanson - Summit FM Contributor
Perhaps the Mod-est of all the Mod bands of the era, the Small Faces embodied the true essence of not only the Mod aesthetic, but of rock and roll in general! Led by the formidable force of nature known as Steve Marriott, Small Faces had the energy, the attitude, the style, and the chops to take on the world. With all members -- shall we say -- less than tall, their stature wasn't the slightest hinderance to a fully rocking existence.
Super-charged rhythm section, slashing guitars, driving Hammond organ and a vocalist to rival them all, Small Faces couldn't help but make an impression on the London club scene. Following a batch of high grade singles throughout 1965 and 66, they released their debut in the spring of 1966. Full of big beat bashers and proto hard rock, people took notice with four of their first five singles landing in the UK Top 10. By the release of album number two in the first half of 1967, the band was changing course with the times: still rocking, but merging with other sounds and styles.
As the psychedelic era became surrounded with lofty ambitions, the Small Faces tried their hand at a more conceptual work. Mind you, this was not a 'concept' album, but the way it was put together, and the way the songs flowed, was certainly not an afterthought.
Ogden's Nut Gone Flake was released in May of 1968, originally in a round, die-cut sleeve unlike anything released to that point. As for the music inside the fancy sleeve, it was a culmination of the Small Faces past and present. Hard rocking soul stompers sat beside acoustic whimsy, and pop perfection with a slight psychedelic glow. They were smart enough to know a full blown cosmic trip was just not them but they were still able to use some of the readily found colors of the era to make it all shine.
"Lazy Sunday" was a #2 UK hit while tracks like "Afterglow" and "Song Of A Baker" are as powerful rockers as anyone was delivering at the time. Side two was where the concept sat, with narration between tracks provided by British comic Stanley Unwin. The close-knit combo of Marriott on guitar and vocals, Ronnie Lane on bass, Ian McLagan on keyboards and Kenney Jones on drums unfortunately didn't survive long after the album's release. Marriott was off to form Humble Pie while the others would recruit Rod Stewart and Ronnie Wood to replace Marriott and become simply the Faces. But, that's another story for another time. This is all about the classic 1968 offering from the Small Faces, and if you are not familiar with the Small Faces, you really should be! Thanks for listening!
Tune into The Summit FM all day Thursday, June 15 to hear tracks from Ogden's Nut Gone Flake as our Summit Album Essential of the week!
By Michelle Charles - Summit FM Development Director
Meet John Vince! John is an incredibly dedicated member and volunteer. Currently living in Reynoldsburg (near Columbus), John attends many of our Studio C sessions as a member of the Guitar Club and loves to volunteer for the Summit FM – whether it’s in the office or at an event. John is in the process of moving to Akron. He works for Amazon as an IT support tech. In his spare time, John enjoys camping, music festivals, and concerts.
I asked John a few questions so that others can get to know him too.
What was your first live concert? My first live concert (as a teenager) was Rush and .38 Special at the old Mershon Auditorium in Columbus.
What was an artist you discovered on the Summit FM? Oh my goodness! I discovered a LOT of artists on the Summit. The first band that comes to mind is Detention. The song from that really caught my attention was “Devil Berries.”Another discovery that quickly became a favorite is Indre.
What is your favorite band of all time? If I had to choose (only) one favorite band of all time, it would have to be REM.
What is your favorite movie? My favorite movie would be Airplane (and DON’T call me Shirley!)
What are you reading right now? I don’t really read a whole lot of books. Most of my reading involves online articles.
Thank you, John -- for being a member of our Guitar Club and for all that you do for The Summit FM!
Want to join John as a member of the Guitar Club? Click here for more information!
By Dave Swanson - Summit FM Contributor
It was a different world way back in the stoned age, circa 1968! There was a revolution happening on many fronts -- cultural, political, musical, fashion, psychological, pharmaceutical, you name it! Rock and Roll was the language of the era and there was no time to mince words. Bands came, bands made their mark, then left. Well, not the Rolling Stones, but that's another kettle of fish.
Cream was, for many, the epitome of a 'super group.' Their collective resume and pedigree was beyond reproach, their timing on the music scene was impeccable and their ability to take a cue was spot on. Formed in 1966, Jack Bruce - bass, Ginger Baker - drums, and Eric Clapton - guitar, was a power trio of the highest order, melding blues, pop, and rock and roll into one giant ball of power. Bruce and Baker had been the dynamic rhythm section for the Graham Bond Organization, a first class beat/jazz combo on the British club circuit during the beat group era. Meanwhile Clapton had severed time with two legendary groups, the Yardbirds and John Mayall's Bluesbreakers.
The three tossed their lots in together forming the 'cream' of British musicians as one entity. By 1966 the music was changing, a wide variety of sounds and styles were coming to the fore including the idea of 'guitar hero' and, along with the Jimi Hendrix Experience, the stripped down three piece approach was a perfect setting to show off the individual musicianship.
Fresh Cream was released at the end of 1966 to strong reviews and sales, containing such classics as "N.S.U.," "I Feel Free" and "I'm So Glad," the band mixed a strong pop sense with first rate chops, signaling a new era was dawning.
In less than a year their second album, the masterpiece Disraeli Gears, was released with signature classics like "Sunshine Of Your Love," "Tales Of Brave Ulysses," and "Strange Brew." The album was a huge hit, and cemented their reputation, hitting Top 10 around the world.
A mere 6 months later, the 2-LP set Wheels Of Fire was unleashed with more hits, "White Room" and "Born Under A Bad Sign" as well as one album's worth of live material showing off the band's more improvisational style in concert. Just prior to the release of Wheels Of Fire, the band announced it was calling it a day. Some recording sessions were wrapped up and, along with more live material, made up album number four, Goodbye, released in early 1969, but, the band had already said goodbye with a summer '68 tour.
A couple more live releases and "best of" albums would follow, but that was it! The entire career, save for a highly successful reunion tour in 2005, was over and done in just under three years. Compare that to the way bands operate now, or, even for the past several years. Hell, it's takes more than three years for a band to release a follow up album, complete a tour or, sometimes, show any signs of life!
Consider this: the entire career of Creedence Clearwater Revival, including seven very successful albums and a long run of singles -- as well as touring and television appearances -- lasted just four years! It is fascinating just how quickly art, music, film, etc. moved back then, while today, technology is rapid fire while the arts are on a slow train. I'm not judging, just making an observation. Working and creating under limited, often restrictive and demanding scenarios helped created constant forward motion.
All members would carry on in solo careers with varying levels of fame and fortune, with Clapton becoming a household name, but it was that brief period that Cream roamed the earth that everything that came after was built on. That's a pretty amazing building black when you think about it.
Cream was but one example of arriving, establishing, conquering and leaving before the rigor mortis set in. There is something to be said about that, not to mention a lot of great music to listen to.
