By Dave Swanson - Summit FM Contributor

Released in the fall of 1973, 'Goodbye Yellow Brick Road' somewhat encapsulated everything Elton John had been working towards since his debut, 'Empty Sky,' back in 1969. Taking a variety of styles, melding them together in perfect fashion, Elton's seventh album remains a high-water mark of a long, amazing career.

Over the run of the preceding six albums, John touched on a wide variety of styles, consistently altering and changing his approach to rock and roll music, most times with rousing success and clarity. Albums like 'Tumbleweed Connection' and 'Madman Across The Water' stood out among a very crowded landscape in the early '70s. Between John's melodic sense, and the lyrics of Bernie Taupin, this was an unbeatable team. Add in to that the stellar band Elton always had at hand. There is no mystery as to why he was so popular, but like so many great artists, he was always challenging himself, looking for more inspiration, different avenues to travel.

Over the terrain of a double LP, Elton had more room than ever to create. Opening with the haunting instrumental 'Funeral For A Friend,' things are off and running. The song builds and builds until exploding into the next track 'Love Lies Bleeding.' Though separate songs, the two are forever linked together. While by today’s models, it may seem odd to start and album with an 11-minute track that is without vocals for half, it was, and still is, one of the finest album openers. With heart still pounding from the opener, in comes 'Candle In The Wind,' the poetic tribute to Marilyn Monroe. Over the years, it has become one of John's most loved songs. "I do think it's one of the best songs we've ever written," Bernie Taupin said in an interview for the 45^th anniversary of the album. "I think it's an incredible marriage of melody and lyric. People obviously assumed I was a big Marilyn Monroe fane, but she was simply a metaphor for fame."

'Bennie And The Jets' was seemingly influenced equally by soul music as well as by the surrounding world of glam rock which Elton became a sort of sideline character witness to, with stage wardrobe and showmanship certainly informed by the likes of Bowie and Ferry. The record label wanted it to be a single, but initially Elton fought against it, preferring they release 'Candle In The Wind,' that was until they told him 'Bennie' was already getting heavy airplay on the top R&B station in Detroit. 'Bennie' was not only a number one pop hit, but it charted at #14 on the soul charts.

The title track, arguably one of Elton's finest songs, rose to number two in the charts. It is a pop masterpiece plain and simple. Meanwhile, 'Saturday Night's Alright For Fighting,' shakes things up with a more hard rock flavor. Davey Johnstone's heavy riffing guitar drives the song. "’Saturday Night’ had a multitude of guitars on there," Johnstone recalled. "We layered something like 12 guitars throughout the course of the song. And with each guitar track it sounded better and better. Elton kept saying, "Another one! Another one!"

"By the time we got to making 'Goodbye Yellow Brick Road, ' the machine was so well oiled within the four musicians, and the producer, Gus Dudgeon, it was perfection," Elton said in a 2018 interview. "It was the height of our powers. I'd have to say, Gus Dudgeon was the fifth member of the band. The sound of the drums, the sound of the piano, the sound of everything on the record was extraordinary - that was down to him," Elton told the BBC in 2014. "Like the Beatles had George Martin, we had Gus."

And those are just 'the hits!' There really is no filler on the 19-song collection. Tracks like 'Grey Seal,' 'Harmony,' ‘I've Seen That Movie Too,' ‘Social Disease,’ and 'Your Sister Can't Twist,' with its 1950s rock and roll vibe, are all first class tunes as well. And let's not forget gems like 'Sweet Painted Lady,' the tale of a call girl, and 'All The Girls Love Alice,' about the ruin of a young girl meeting up with older married women, that were hardly the typical pop songs of the day. ‘Alice’ in particular features some vicious, almost cryptic, guitar work. In addition to Johnstone on guitar, Elton had the dynamic rhythm section of bassist Dee Murray and drummer Nigel Olsen. Interesting to note, both Olson and Johnstone played with Elton to the very end. Murray sadly died in 1992 at age 45.

'Goodbye Yellow Brick Road' became Elton's third chart topping LP in a row, a streak that would run for three more. "Before 'Honkey Chateau' I didn't really write pop songs," he said. "’Goodbye Yellow Brick Road' was really the album that established me in the charts."

It went on to sell over 30 million copies and remains not only one of his most loved albums, but arguably his strongest statement all around. Elton John is a one-of-a-kind artist, and 'Goodbye Yellow Brick Road' is a one-of-a-kind album.

The Summit FM is proud to celebrate the 50th  episode of "From Akron & Beyond," airing  on Thursday, July 10th at 10PM featuring interviews with members of Chi-Pig and The Poor Girls. This is a special two-part episode that will continue on Thursday, July 18th.

“From Akron & Beyond” is a captivating radio show and podcast – produced here at the Summit FM – that explores the rich music and culture of a Midwest Music Mecca - uncovering the past, present, and future of the iconic "Akron Sound." Hosted by Bob Ethington (Unit 5) and Nick Nicholis (The Bizarros), the program features fascinating guests, exceptional music, and plenty of laughter.

Co-host Nick Nicholis reflects, "When Bob and I embarked on this adventure, we had no idea what an entertaining and enlightening journey it would become. We've connected with so many remarkable individuals and gained incredible insights into Akron. Our gratitude goes out to the entire team at The Summit FM."

Bob Ethington adds, "Akron is brimming with amazing happenings that often fly under the radar. 'From Akron & Beyond' began as a music podcast, but we've unearthed so much more. Nick and I thoroughly enjoyed producing the show, and we hope our listeners share in that enjoyment!"

Tune in to new episodes every Thursday at 10 PM on The Summit FM:
91.3 FM Akron/Canton
90.7 FM Youngstown
90.1 FM Athens

Past Guests include: Harvey Gold, Calvin Rydbom, Chris Butler, Tracey Thomas, David Giffels, Floco Torres. Robert & Jack Kidney, The Brambles, DEVO, The Bizarros, Don Dixon & Marti Jones, Ryan Humbert, Jim Ballard, Tina Boyes, Corey Jenkins, Frank Stams, Marc Lee Shannon, and many others.

Can't catch it live? Listen on-demand at thesummit.fm or wherever you stream your favorite podcasts!

By Dave Swanson - Summit FM Contributor

There are certain albums that evoke a specific moment in time, a particular era. Those albums tend to be very special, as they often connected people from across many miles who were all in a similar mindset or point in their lives. The way Nirvana's 'Nevermind' is forever glued to 1991 in America, or Primal Scream, 'Screamadelica,' for the same year in England. Sometimes those albums can not only be physically a world away, but stylistically as well. For example, 1977 in the UK, the Sex Pistols 'Never Mind The Bollocks,' and the same year in the U.S., Fleetwood Mac 'Rumors.'

1967 was not only a watershed year for music on both sides of the pond, but a huge year for cultural upheaval in general, so it's no surprise that, what could easily be considered the two key albums from that year are as wildly different as they are ideologically similar. England and the Beatles gave us ‘Sgt. Pepper's Lonely Hearts Club Band,' a cultural zeitgeist if ever there was one. Meanwhile over in San Francisco, where all sorts of things were happening, Jefferson Airplane issued the masterpiece, 'Surrealistic Pillow.'

Yes, I know, you could make a case for the Doors debut, the first Hendrix album, and many more, but the Airplane were fully tapped into something no one else was, and it is all fully on display on 'Surrealistic Pillow,' arguably one of the greatest albums ever created. 

Formed in 1965 by singer Marty Balin, the group was initially influenced by folk and blues, but with a jazz players attitude, open to experimentation and improvisation. San Francisco was fertile ground for such music, as other like-minded combos such as the Warlocks (aka Grateful Dead), Quicksilver Messenger Service, Steve Miller Band, Charlatans, and many more, were all drawing on deep American influences, while at the same time being totally inspired by the then current sounds coming out of England via the Beatles, Rolling Stones, and Animals, to name a few.

With all these influences bursting at the seams, the Airplane released their debut album, 'Takes Off,' in the summer of 1966. Its chiming guitars, folk rock melodies, and truthful spirit, made for one fantastic debut, however, all the pieces were not yet fully in place. Singer Singe Anderson opted to leave the band to raise her child. The band quickly found a replacement in another aspiring SF band, the Great! Society. Her name was Grace Slick.

Grace, though slightly older than most of the scene, was a striking beauty with a powerhouse voice, and personality and attitude for miles. In other words, a perfect fit. Not only did Grace bring her talents and image aboard, she also brought in a couple of songs, those songs would not only become huge hits, but to this day, define Jefferson Airplane. They were both songs her previous band had road tested, but something was missing, once in the hands of the Airplane, 'Somebody To Love' and 'White Rabbit' became classics and defining moments of the 1960s.

'Somebody To Love,’ written by Grace's brother in law, Darby Slick, was to become the band's first major hit, reaching number five on Billboard and selling into the millions. As striking as that single was, the follow up was from another world altogether. Released as a single in June of 1967, and written by Grace, 'White Rabbit' was, and still is, unlike any other song to become a major hit, selling well into the millions, and easily settling into the top 10 in America.

"The song has nothing to do with rock and roll," Slick proclaimed in a Library of Congress interview from 2024. "White Rabbit” is really a Spanish march. How it got popular in rock, I don’t know!" Well, one reason is, the hypnotic quality of the song, Grace's other worldly vocal performance and the lyrics which are, no secret, about drugs. "Well, our parents read to us, or we read to ourselves when we got a little older, we read. And 'Alice in Wonderland,' that little girl takes five different drugs in that story. Then our parents are asking us, “Why are you taking drugs?” Well, were you listening? WERE YOU LISTENING?"

Grace continued, adding an interesting footnote, "I mean, it’s not pro-drug, it’s not pro-vodka, but it is pro-psychedelics. Now, if you are in bad shape, you shouldn’t take psychedelics; it will make you nuttier than you already are. But if you’re not, they will open you up. And, yes, it is pro-books."

Grace would prove herself the not so secret weapon of the Airplane, rising to star status once those songs were all over the radio. Her voice was magic, but it was also her persona and stance. She wasn’t just 'a woman fronting a band,’ she was a defiant powerhouse, totally in command of the songs and the stage. Grace was simply, Grace. The first of her kind really, just ask another rock goddess, Patti Smith. "Make no mistake; we all owe her a debt," Smith told NPR in a conversation about Jefferson Airplane. "She was like no other and opened a door that will never close again."

The album kicks off with the majestic and tribal 'She Has Funny Cars,’ written by guitarist Jorma Kaukonen and Marty Balin. It sets the mood for the entire journey. Balin contributes a large chunk of the material, while guitarist Paul Kanter dishes out a couple as well. His role would grow much larger as time went on, and Balin was somewhat pushed aside. 'Plastic Fantastic Lover,' 'DCBS 25,' and '3/5 Of A Mile In Ten Seconds,' all shine as perfect artifacts of the era, while the beauty of Kaukonen's instrumental guitar piece, 'Embryonic Journey,' is as evocative as ever. Elsewhere, 'Today' and 'Comin' Back To Me' are not only two of the most beautiful songs Marty Balin ever wrote, but two of the most beautiful songs, period! Marty had the melancholy gift to say the least.

The album was produced by RCA staff producer Rick Jerrard, who, to my ears anyway, got the perfect blend of fire and floral. On a personal note, though I am usually a fan of the mono mixes of many rock and roll albums from 1967 backward, I have always thought the Stereo mix on ‘Pillow’ was superior, with its wall of reverb, which only adds to the vibe of the songs to my ears.

Eleven songs come and gone in just over a half hour, the bands make their statement and got out. Countless spins over the years have never diminished the power and beauty of this album for me. It still paints a musical picture of that era like few albums can. One more spin of 'White Rabbit' proves that it is still one of the oddest songs to ever become a hit, but the stars over Alice were aligned just right, and we have all benefited from it. As the dormouse once so eloquently stated, "feed your head."

By Chad Miller - Summit FM Music Director

Since way back in 2005, the Nelsonville Music Festival, founded by Stuart's Opera House, has been a recognized leader as one of the most successful and musically diverse annual music festivals in the country. Two years ago, over Labor Day weekend, was its first appearance in its current home at the Snow Fork Event Center camping site just outside of town. It was my first year attending as well, and I absolutely loved it. From the all the great artists performing over the weekend, to the beautiful surroundings of its new location, I kept saying to myself that as a music nerd and avid concert goer, why hadn't I ever been to this before?!

This year's Nelsonville Music Festival will make its return to the Snow Fork Event Center from July 26-28 and I'm so excited to get down there, take it all in, and see as much live music as I possibly can! Below are some of the acts I'm looking forward to seeing the most:

Who all is going? If so, who are YOU looking forward to seeing?? Check out the full lineup and more details here: https://nelsonvillefest.org

Like what you hear? Please email me at chad@thesummit.fm and let me know what you think!

All of us at The Summit FM are deeply committed to strengthening community engagement through the power of music. That's why we are thrilled to proudly announce our most recent contribution; a variety of string instruments to The Federal Valley Resource Center. 

The donation is part of The Summit FM's ongoing efforts to support organizations that promote music and art accessibility, food security, health, resource accessibility, regional history preservation, and opportunities for seniors.

The Federal Valley Resource Center, a distinguished 501(c)(3) non-profit serving Stewart, Ohio, and surrounding areas, has long been a cornerstone in addressing vital community needs. This generous gift from The Summit FM is set to enhance the center's initiatives and broaden its impact.

The string instruments were generously donated by The Summit FM's loyal listeners through the Marilyn Stroud Music Alive Instrument donation program. Over the past decade, this program has seen the generous contribution of musical instruments from devoted supporters, with a remarkable 600 instruments donated to public school students and communities across Ohio. 

"We are thrilled to partner with The Federal Valley Resource Center to enrich the lives of individuals in Athens, and Stewart and its neighboring areas further," said Dave Watkins, The Marilyn Stroud Music Alive Volunteer for The Summit FM. "Through the Marilyn Stroud Music Alive Instrument donation program, our listeners have played a pivotal role in spreading the joy of music and supporting local initiatives."

The Federal Valley Resource Center expressed gratitude for The Summit FM's contribution, emphasizing the positive impact it will have on the community. "This donation aligns seamlessly with our mission to create a more vibrant and interconnected community. We appreciate The Summit FM's dedication to making a difference in the lives of those we serve," said Therese Lackey, FVRC Program Director & Board President at The Federal Valley Resource Center.

Summit FM remains committed to supporting organizations that share its vision of embracing community development and enhancing the quality of life through music and the arts. This collaboration with The Federal Valley Resource Center is a testament to the station's ongoing commitment to positively impacting the communities it serves.

To make a donation, or for more information on the Music Alive program, click here.

By Dave Swanson - Summit FM Contributor

From his first LP back in 1973, Bruce Springsteen proved himself a powerhouse of rock and roll, both onstage and on record. Seemingly with each release, he would raise the stakes, and summon the fire, as he rose above the 'swamps of Jersey.' By 1975, the masses had noticed this force of nature via a little album called 'Born To Run,' followed swiftly by 'Darkness On The Edge Of Town,' and the sprawling double set, 'The River.' More and more fans collected at every turn, from clubs to theaters to arenas. It was at this point that Bruce sort of hit the brakes to reflect.

In 1982 following the success of 'The River,' Springsteen retreated to a quiet setting of a small house in New Jersey, armed with an acoustic guitar and a four-track tape recorder, to record the sublime album 'Nebraska,' an album to this day, he considers his "masterpiece." The album sold well, especially considering its stylistic departure and downbeat aura. So Bruce's next move was up for debate at the time. Though he had a long run of classic albums that sold well, he had only had one 'hit' single in 'Hungry Heart' from 'The River.' Keep in mind, 'Born To Run,' 'Badlands,' 'Prove It All Night,' and all the others, all failed to even hit the Top 20, so while he was a very successful artist, he had yet to crash that other gate into 'the big time.'

"Wave that flag, wave it wide and high" - Hunter/Garcia, 1973

Instead of continuing the darker, more intimate tone of ‘Nebraska’, Springsteen decided to throw caution to the wind and aim for the multi-platinum ring, eyeing a residence in the stadiums of the world. With his seventh album, 'Born In The USA,' he did just that.

Let's get right to the facts, shall we!?

'Born In The USA' was released June 4, 1984. It hit Number one in eleven different countries, settling for number two in several others. It scored platinum status across the globe, except for Portugal and Spain, where it only went 'Gold,' and 'Diamond' in Canada, as their rating system differs. All seven singles released from the album hit the top ten in America, and elsewhere, also hitting the platinum mark. At least four of the album tracks would be considered Springsteen staples to this day…'Glory Days,' 'Dancing In The Dark,' 'I'm On Fire,' and the title tune.

The album is a conflict of sorts in that many of the lyrics are housed in uncertainty, disillusionment, personal struggles, and personal conflicts, while the music is of a more celebratory, upbeat nature. Case in point is the title track. This has to be one of the most misunderstood, or most ignored, lyrics of all time. The triumphant glossy nature of the arrangement and production mask the desperate lyric, which ultimately, does the entire song a terrible disservice. The lyric tells the tale of a Vietnam vet returning home to find a world that is beyond difficult to navigate. Haunted by his days in battle, he tries to understand his place in the world, and the world's place in him. Listen to the original demo version, later released on the 'Tracks' collection. It is a haunting, spine chilling recording, more at home on 'Nebraska,' that puts the lyric front and center…no fanfare, no flag waving. It is arguably Springsteen's finest moment.

"The idea of critical patriotism, which is essential to the country moving forward," Springsteen said in a 2021 interview. "'Born In The USA,' was misinterpreted on a variety of different levels because it basically put forth the idea that you can love and feel a part of the same country that you can be deeply critical of and feel disappointed by." That meaning flew high above the reach of many who bought, and loved, the record. The seeds were sown after Springsteen had performed a benefit in the summer of '81 for Vietnam veterans, in Los Angeles, and met with vets.

That being said, the 80's music was, in its own way, a covid-like disaster for those artists from the previous decade or two, who didn't know where to turn in the age of MTV, shiny synthesizers, and fashionable hair do's and don'ts. Bruce got out with less damage than most. Interesting to note, he never seemed to need a headband before, or since this album. The good time vibe template is everywhere on the album. 'Glory Days' and 'Dancing In The Dark,' are pure 80s pop machine hits, with the production all glossy and sparkling. It was a long way from the rough and tumble sound of ‘Badlands,’ or the pure drive of ‘For You.’

By anyone's standards, the album was huge, and put Springsteen high in the charts, on the cover of magazines, and into sold out stadiums. It also sealed his reputation as one of the major rock and rollers of all time. Springsteen has always been somewhat contradictory. "I always kept one foot in sort of the blue-collar world, and one foot in the counter culture, and I never truly belonged completely in either of them," he stated in a podcast he shared with President Barack Obama.

'Born In The USA' was, in that same sense, Bruce straddling those types of lines, and coming through it all as the victor. 'Born In The USA' remains one of the most iconic albums from the 1980s, with the songs outliving their time on the charts, and never leaving their place in the hearts of the fans

By Dave Swanson - Summit FM Contributor

Back in 1980, the music landscape was full of all sorts of sounds from punk to post-punk to new wave, disco hangover, heavy metal, roots rock, you name it. It was into that landscape that the debut album by Kevin Moore, 'Rainmaker,' landed. Released on the Parliament related label, Chocolate City (a division of Casablanca), the album went nowhere!  Moore's follow-up wouldn't arrive until the middle of the following decade.

Moore was busy as a session player and songwriter, so his return to the spotlight took a while, and when it happened, the world found a new blues hero in a guy called Keb' Mo', a distillation of his proper name. Moore had already been in the business a while at this point, most notably playing with fellow musical traveler Papa John Creach. He played on several LP's by Creach, and co-wrote some songs with him. Of those songs, one, 'Git Fiddler,' ended up on the million selling album 'Red Octopus,' by Jefferson Starship, a band Creach also played with at the time.

By the time the 90s were at his doorstep, he had a decision to make. He had studied electronics for a year, and was hired for an entry-level job with Roland Electronics, however, after a serious self-examination, he never reported for work, and decided it was a life of music he was meant for after all. So, in 1994, Moore, or Keb'Mo' was ready to start anew. He signed to Epic Records, who released his debut offering, in June of 1994, on the blues imprint O'Keh,' a classic label from the past. It wasn’t long after its release that the critics started raving about this 'new' talent on the scene. In addition to 11 original compositions on the earthy blues album, Mo’ included two songs by the blues legend of them all, Robert Johnson. Having been playing guitar since the age of 12, learned on a 1963 Silvertone acoustic from Sears, Mo’ had by this point developed his less is more style.

“I found lots of it that was clever and wasn’t hard to do,” he told Blues Blast magazine. “It was just gettin’ in there and findin’ a part that works – and play it well. I had no desire to go out and rip it – although I appreciate what folks like that do.” He claimed his most significant influence was the great Taj Mahal, who he saw in concert as a teenager. Though he had a solid grasp on the roots and history of the blues, his 1994 LP was a very contemporary work. Coincidence, or something in the water, the Keb' Mo' LP hit stores a few months after the classic, much revered 'American Recordings' from Johnny Cash. It was the right album at the right time.

All Music Guide called it an "edgy, ambitious collection of gritty country blues," stating that "Keb' Mo' pushes into new directions, without losing touch of the tradition that makes the blues the breathing, vital art form it is. His gutsy guitar playing and impassioned vocals, as well as his surprisingly accomplished songwriting, make Keb' Mo' a debut to cherish."

The album helped Keb' Mo' develop an audience which has seen him through a career well into its fourth decade, carrying with him several Grammy Awards, high numbers on the blues charts, and a well-respected body of work. There is something timeless about the 1994 album that rings very true 30 years after its release. Enjoy!

By Matt Anthony - Summit FM Digital Media Specialist

Before you had too much, 
Come back in focus again. 

• “Jigsaw Falling Into Place” – Radiohead 

It was an exceptional day for a marriage ceremony. The afternoon was brilliantly sunny. The congregation appeared to be expertly coiffured in every way. My nephew and his gorgeous bride had ordered up the perfect day to kick off their life together. I, and everyone else on the guest-list, would not have had it any other way. There was much for which to be grateful. 

Weddings. Graduations. Vacations. The gratitude found during these momentous events seem to shine forth with a bit more luminosity. They’re easier to see. (And the highlights make for rapid-fire social-media posts and magnanimous photo ops!) 

But what happens after the confetti is swept away, after the suitcases are stacked again in the basement or the garage. When the luster of the event diminishes, how deeply do we need to look for the much more nuanced radiance of the ‘everyday’? 

When I was working through my motorcycle training class, our instructor (‘Augie’, a short, compact, likeable, big-voiced man who could flick a 900-pound machine at slow-speed through orange cones with pinpoint accuracy!) would say to us, “Anyone can ride a bike on a straight line. Throw some curves and obstacles in the way, and that’s where the rubber hits the road.” 

I feel like ‘gratitude’ can be looked at in the same way. Sitting back in a comfy chair with a beverage in hand, on the deck of a rented house facing the ocean makes being ‘thankful’ a bit easier. But where do we find it in the everyday, when the search may be more difficult and not as easy to locate? 

“I don't need anything special, none of that stuff,
I'm a stowaway in your heart and that's enough. 

• "Stowaway In Your Heart" – Lucinda Williams  

That smoke is going to clear. And while it may reveal an unimpeded view of reality, it also showcases ‘opportunity’. Lately, the real test in this quest for me is coming to the realization that being grateful sometimes requires effort. And putting in the work to being thankful means that those opportunities for realizing what you already have can be shrouded by concentrating too much on the larger events that seem to define this life we lead. Any diligent music-lover knows that finding a gem amongst stacks of vinyl sometimes requires patience and effort. And isn’t that a wondrous feeling when you finally find it? 

By Chad Miller - Summit FM Music Director

What's everyone been listening to out there? There's been an AVALANCHE of great new songs coming at us to start the new year, as per usual, with STILL more to come! Easily the most exciting time of the year in our world of music, that I get to sort through and play them for you on the radio. So much new music coming at us, so little time...however, these songs that might fly under the radar to most are what I've been diggin' most especially these past few weeks!

Like what you hear? Please email me at chad@thesummit.fm and let me know what you think!