By Dave Swanson - Summit FM Contributor

Consider this for a moment if you will, in 1970, Stevie Wonder released his 12th album, the now classic 'Signed, Sealed & Delivered.' At the time of release, he had only recently turned 20, 12 albums into his career, and just two years out of his teens?! That's not a standard story or path, then again, Stevie Wonder has never been a standard artist, but rather an artist who sets standards.

He first topped the U.S. charts at the tender age of 13, with a little raver titled 'Fingerprints Pt. 1,' and though it would be a couple years before he made a return to the Top 10, the man was off and running at a very young age. From 'Fingertips' and 'Uptight' through 'A Place In The Sun' and 'I Was Made To Love Her,' the hits kept coming, and Wonder kept growing as a musician, artist, and producer.

As the 1960s gave way to the '70s, black music in America was taking on radical new sounds and shapes, with people like George Clinton, Marvin Gaye, and Curtis Mayfield, all expanding on the tried-and-true sounds that had established them. Changing times brought changing ideas, and Stevie was right there with them, pushing himself and his talent to new heights with every release. As his first album of the new decade, it was clear Wonder was ready to explore somewhat, if not fully prepared for a huge leap.

The album kicks off with 'Never Had A Dream Come True,' a sweet soul shuffle that is a perfect opener. Co-written by Wonder, with songwriters Henry Cosby and Sylvia Moy, it's a good bridge from one decade to the next. Released as a single, it cracked the Billboard Top 30. A total of four singles were released from the LP, including his fantastic cover of the Beatles 'We Can Work It Out.' He put his own spin on the Lennon/McCartney jewel to truly make his own, and it shot to No. 13. The title track made No. 3, while 'Heaven Help Us All' hit No. 9.

From start to finish, the album is a block of solid soul that more than rises to the occasion, with Stevie firmly in his element here. The famous music critic Robert Cristgau called 'Signed, Sealed & Delivered' "the most exciting LP by a male soul singer in a very long time, it slips into no mold," declaring it "the best soul album of 1970."

Despite having four hit singles released in the line-up, the album was only a minor success, peaking at No. 25. It was the first album for which Wonder had a hand in the production, or at least the first he received any production credit, and though he co-wrote around half of the album's tracks, his songwriting had yet to come into full bloom. With his next album, 1971's 'Where I'm Coming From,' Wonder would take the reins on both production and writing and truly begin to come into his own.

This 1970 LP is first class in many ways, and despite any flaws, it ebbs and flows like a classic that has been served well by time. It is a pivotal album in Wonder's wondrous catalog, and truly is essential!

By Dave Swanson - Summit FM Contributor

"Who wants some sniveling female all the time?" asked Tori Amos, in a 1991 interview to promote her debut album, 'Little Earthquakes.’ "After all, just because something happened to me, and it was traumatic, doesn't make it interesting. I have to get my scissors out and make sure I'm telling a story that works. It may be your own experience, but you can't be too precious." Amos was sharp enough to know herself, and the often precarious standing women in music have long dealt with.

By 1992, Tori had already been through several hoops in the music business. She had formed a very 80s modeled synth based band back in 1984 called Y Kant Tori Read. The band (which included drummer Matt Sorum, who would go onto work with the Cult, Guns-N-Roses, and Velvet Revolver, among others) made one album for Atlantic Records, in 1988, before falling apart.

Still under contract to Atlantic, she started anew as a solo artist. The label sent her off to England with the idea she would have a better chance of making it there first. A few singles were issued, and the gamble proved correct as 'Little Earthquakes' entered the UK charts a month before it was ever released in the states. The album found an audience straight away, and truly connected with people, while covering such topics as religion, rape, identity crisis, and sexuality. Amos was even seen as the woman at the forefront of a new women's movement in music, something that continued to grow throughout the 1990s.

The album took on a life of its own and a total of five singles were released from the album including 'Silent All These Years,' 'Me And A Gun,' and 'Crucify,' which really helped her breakthrough in no small part due to her unique cover version of Nirvana's 'Smells Like Teen Spirit,' done up in such a way that it took audiences by surprise. She also covered Led Zeppelin and The Rolling Stones. Amos was right in the thick of things, alongside other notable releases by women that year like Sinead O'Connor, PJ Harvey, and Madonna.

Things may have turned out very different if an Atlantic executive had gotten his way with the album, which was to erase the piano from the recordings and replace it with guitars. “There were artists who came before me who were legends; Billy [Joel] and Elton were allowed to play the piano and wear leggings, but I had a battle, and that was my battle,” Amos told the Washington Post in a recent interview. “The piano players who came after me didn’t have to fight that particular battle, because I fought that battle.”

In speaking with Billboard magazine on the album's 20^th anniversary a decade ago, Amos said, "In some ways I know I’m very different, especially since I became a mom. Being a mom didn’t change me in a small way. It really ticked out a lot of negative self-destructive sides and focused those volatile minister’s daughter feelings into creative expressions. I had them when I wrote ‘Little Earthquakes,’ but unfortunately I didn’t keep it to my creative expressions."

Critical praise ran high and has maintained over time. Rolling Stone included 'Little Earthquakes' on its list of '500 Greatest Albums Of All Time, ranking at #239. A Summit Essential, you ask? Easily!

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!

By Dave Swanson - Summit FM Contributor

In 1967, The Who released their third album, the magnificent 'The Who Sell Out'. The album was, for the sake of argument, a concept album, not so much thematically, or via plotline, but rather in the way it was presented. There were band performed jingles mixed in between songs for everything from baked beans and Coca Cola to automobiles and guitar strings. Originally the idea of Who managers Kit Lambert and Chris Stamp, the thought was upon listening to the album, it would feel like you were listening to a pirate radio station which had been an integral part of the UK underground in the mid-1960s.

In addition, the album cover featured each member of the band posed with one product or another, presented as advertising. It was brilliant, sarcastic, and exemplary Pop Art all around. Perhaps a bit lost in translation, the concept got muddied in the waters, especially the U.S. waters, but still stands as one of the Who's finest LP's. The idea, however, of a band doing ads or promotions was nothing new, but, the idea of diving head first into advertising. thus 'selling out,' was at odds with the changing times of the era, especially when it came to rock and roll music, serious rock and roll anyway, was thought to be above such folly.

Singers and other celebrities had always done ads for a variety of products, but those were movie stars, band singers, and so on. Though rock and roll sought to stand apart by the mid-1960s, no one told the Rolling Stones who, in 1964, recorded a very rocking rave-up in the name of Rice Krispies. The Stones, in fact, never shied away from partnering with the corporate beast. Their tours since 1981 have all been sponsored by outside money, starting with Jovan cologne, right up to the AARP sponsored 2024 tour.

Even in the heady days of psychedelic rebellion, if the money was right, the checks were written. Just ask Paul Revere & the Raiders (Pontiac), the Turtles (Pepsi), Iron Butterfly, who shilled for Ban Roll-On, Cream (Falstaff Beer), and let's not forget the Jefferson Airplane Levis jeans ad. These were all written, or at least recorded, by the artists for the sole purpose of product promotion.

Throughout the last few decades it's become less and less surprising to see an artist appear in a commercial with several onetime rebels gleefully joining in to plug something. Remember Alice Cooper for back to school supplies from Staples? How about Iggy Pop plugging insurance, or John Lydon for Country Life butter? Lou Reed for Honda scooters!  Ozzy Osbourne not only did ads, but became a reality TV star. And that's just a few who actually appeared in commercial ventures.

Then there is the brouhaha over using an artists' song in commercial ways it was never intended for. Once shocking, it's now utterly commonplace, though can still make one cringe or go into shock. In the 80s, there was the controversy over Nike using the Beatles' 'Revolution,' thanks to Michael Jackson. Since then, of course, other Lennon songs have found their way into various outlets. Film and television placement is a different animal as there are companies whose business it is to find music for these various projects, and artists can solicit their material for use, which is all fair game of course.

Back in 2000, a Volkswagen commercial began airing showing a car full of friends driving at night. They momentarily stop at a house where there is a party going on, but all give each other a knowing glance that said, no, let's keep driving into the beautiful evening. The music that played in the background was an obscure song by British folk singer Nick Drake.

Known primarily to music obsessives and underground folk fans, Drake had recorded a brilliant trio of LP's in the early 70s, before taking his own life. Those of us who loved his recordings would often try to turn people onto his beautiful music over the years. Upon using the title track of his third album, 'Pink Moon,' in this Volkswagen ad, a lot of people started asking "What is the song in that one car commercial?" Ask anyone who worked in music retail at the time, it was a mini phenomenon of sorts.

That one ad ended up selling a lot of Nick Drake CDs, more than he had ever sold before. All of Drakes' recordings, including some unreleased material, saw the light of day, and suddenly, Nick Drake had reached an audience he never had before. In this case, it had less to do with a marketing ploy or anything so clever, and more to do with the way FM radio used to work. A DJ heard a song and thought the listeners would like it, so they put it on the air, and little by little, region by state by city, songs gained traction to eventually become hits based on the power of the music. This would become a template over time.

Now, I swear by this, though I can't find any existing proof to share, but another car commercial, set in a similar situation as the Pink Moon ad, aired used the Velvet Underground song 'Heroin' in the background. Just the opening guitar phrase, which set a similar mood to that of the Nick Drake song, and it was over. I only saw it once, and my guess is everyone signed off on the ad not knowing what the song was, and once someone inquired, the ad was pulled.

The most shocking ad to my mind, however, was a few years ago when Chevy Silverado ad came on. My wife and I had been talking and suddenly I froze and stared at the screen. "Are you ok?" she asked. I failed to respond, stunned into silence. After the ad ended I explained how the world had just ended. This Chevy truck commercial used the song 'Mary Mary, So Contrary' by the legendary, yet very obscure German band Can. A song from their 1969 debut album, 'Monster Movie,' one of the key albums in the genre known as 'Krautrock,’ this psychedelic shimmering serenade was seeping out of my television, and I was stunned. Making it even odder was that the people in the ad walk around quoting Donny and Marie Osmond. Seriously!

Less shocking, but still applause worthy, is another Chevy truck ad that recently aired that spotlights the Stooges' 'Down On The Street,' the brutal opening track from their 1970 album 'Funhouse.' Whether these are examples of an incredibly tuned in ad exec, or simply by chance, is uncertain.

One kind of sad byproduct of all this is, the death of jingle writing. That was a genuine business for struggling songwriter; they would be hired to write a catchy jingle to sell some product. Over time, the jingle has mostly gone away, though on occasion they still find a home. Similarly, take the song ‘I’d Like To Teach The World To Sing,’ one of the most successful marriages of music and advertising.

Starting out as a song called 'True Love And Apple Pie,' written by the British duo of Roger Cook and Roger Greenaway, and sung by Susan Shirley, the writers rewrote the lyrics to fit a new ad campaign for Coca Cola called "I'd like to buy the world a Coke" and included the tagline, "it's the real thing." The jingle became so massive that the writers rewrote the lyrics again, with the idea of it becoming an actual hit record. Taking out all mentions of the cola product, the song would go onto to be recorded by the Hillside Singers and the New Seekers, who both scored major Top Ten hits across the world with their respective versions. Both jingle and ad were made famous one more time when used in the Mad Men finale in 2015.

I can't help but laugh, and hope that these artists, and or their estates, are finally making some money from all this music. I laugh also because the idea of 'selling out' seems so antiquated now. Back in 1989, the heyday of MTV and bland 80s pop culture, it was a significant enough topic for Neil Young to write the song 'This Note's For You' where he proudly proclaimed that he "ain't singin' for Pepsi, Coke, Miller, Bud…" etc. and that he "don't sing for nobody" because it makes him "look like a joke." The video parodied these kinds of ads, and even won an MTV Award for 'Video Of The Year.' Today, most people would likely laugh at Young, not with him, as they quote fellow classic rocker Steve Miller, prodding Neil to take the money and run.

New and struggling bands back then such as the Del Fuegos, and the Long Ryders, both did beer commercials as a way to introduce themselves to a larger audience, showcased them as hard working, American bands on the road, yet, both, and others, got criticized for 'selling out' when the truth was, they weren't making any money from their records or tours, so they were just trying to survive. We also had the likes of Madonna and Michael Jackson, who made big budget commercials that were more about promoting themselves than any given product.

We must remember, back in the 1960s and 70s, even into the 80s, rock and roll was still seen as an important, culturally significant art form. It spoke to, and for a few different generations along the way, it changed the world. It's a very different landscape now, and it seems very few people are very concerned with a band 'selling out,' in fact at this point, most people probably think it's cool. So much ‘success’ is derived from what are essentially commercials on Tik Tok and so forth as it is. Obviously, there are still many artists out there who would cringe at the thought of swimming in corporate waters. Personally, I'd rather see a band cozy up next to a car company for some quick cash, instead of selling their souls to the I-Heart Media monster. I'll give the final word here to Mr. Bob Dylan. The folk scene, even more than the rock scene, was certainly miles away from such commercial endeavors and endorsements. Back in a now famous interview, done at a 1965 press conference in San Francisco, Dylan was asked, "if you were going to sell out to a commercial interest, which one would you choose?” Ever the quick wit, Dylan paused amid nervous laughter from the crowd, and answered, "um, ladies garments." And what do you know, in 2004 an ad appeared for Victoria's Secret that not only used the Dylan song 'Love Sick,' from the 'Time Out Of Mind' album, but there's Bob wandering through the ad. He always was a man of his word.

The Summit FM, a non-profit public radio station committed to strengthening community engagement through the power of music, proudly announces its recent contribution of 15 musical 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 musical instruments, ranging from electric guitars to violas, 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 500 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 Stewart and its neighboring areas further," said Tommy Bruno, general manager 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 fostering 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.

By Dave Swanson - Summit FM Contributor

When Van Halen first exploded, back in 1978, with their self-titled debut LP, they took the rock world hostage, in a manner of speaking. Though it was incorrect, heavy metal had long been associated with doom and gloom, downers and volume, lengthy guitar solos, drum solos, witches, dragons, you name it. It was, for many, a fantasy world and the bands played it to the hilt. There were exceptions, bands like UFO, AC/DC, and Thin Lizzy, though arguably none of them were actually 'heavy metal,' metal fans liked those bands despite not having any of the readily adopted, aforementioned cliches.

Enter Van Halen who presented a different twist on what 'heavy' meant. Yes, the guitars were loud and slashing, but never sludge laden doom, and the lyrics were about more teenage concerns like, girls, partying, and hanging out. In addition, there were harmonies, and there was energy. When Van Halen opened for a lethargic Black Sabbath, in 1978, the line was drawn, as many a concert goer noted how Sabbath seemed like yesterday’s news, while Van Halen sounded exciting and fresh. The formula of Eddie Van Halen's guitar style, David Lee Roth's ringleader persona, and Ted Templeman's crisp, sharp production, all added up to a hard rocking band with a crossed audience appeal, as fans and radio fully embraced the four man band from Los Angeles.

Fast forward through 'II,' ' Women And Children First,' and 'Fair Warning,' all classic VH albums, formula intact with slight variations here and there, but by the release of 'Diver Down,' in 1982, it seemed the band were running out of steam. Five of the album's 12 tracks were cover songs, there were three instrumentals, and a general lack of gusto. Some new twist was needed to inject life back into the band. For a band so tied to guitar hero stature, it seemed odd that this new twist would be significant use of keyboards, but when 'Jump' was released as a single, at the tail end of 1983, it caught everyone off-guard.

Driven by a dynamic keyboard riff, the guitars took a backseat as the song propelled forward. Though die-hard rockers may have initially been confused, fans, critics, and radio all nodded and smiled, driving the song to the top slot on the Billboard charts. Say what you will about it, but it was nothing if not incredibly catchy, and made for a bright spot on the radio playlists of the world. There was still one hot shot guitar solo to be included, but the synth, played by Eddie, was the star of the song.

For those who feared Van Halen had traded in guitars for keyboards in an attempt to modernize things, they only needed the next song on the album to prove otherwise as 'Panama' would prove, these guys were still masters of the shiny guitar riff. Fun poured out of the speakers, as the volume knob was nudged upward. 'Elsewhere, 'Hot For Teacher,' and 'I'll Wait,' would also become radio hits and classic rock staples. Essential? You bet it is! The album hit No. 2 on the charts and would go on to sell a massive 10 million copies, ultimately the success of '1984' would also cause an irreparable rift in the band, as David Lee Roth's persona and ego kept getting larger ultimately leading him to leave the band for a solo career. "Money can't buy you happiness,' Roth noted in an interview from the period, "but it can buy you a boat big enough to sail right up next to it!"

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. 

Ain't no use in gettin' uptight, just let it groove its own way
Let it drain your worries away

• “Rainy Day, Dream Away” – The Jimi Hendrix Experience

In the closets at home, we have long since run out of hooks. The sheer number of hoodies we own almost equals that of the compact discs on the shelves. We wear them in the morning, in the evening, while watching television, in the car, and, most importantly, tucked away perfectly underneath an even heavier coat.

Winter gets no love from me.  I do not ski, and I don’t play ice hockey. As a kid, I never really owned a sled.  And while augmented weather patterns have changed the dynamics of ‘winter’ over the years, here in northeast Ohio we are still confronted by the inescapable maxim: the sun on hiatus brings cold, dreary conditions to the months after Christmas.

These are the challenging times. Christmas lights are packed away again, in the basement or in closets. (next to the hoodies!) New Year’s resolutions are already being second-guessed.  And as the bare tree-branches sway in the frigid wind, the thought of ‘buds’ emerging seems less realistic than a Hall and Oates reunion.

Hey sunshine what's she doing
Sunshine all around
But I'm standing here hazy-eyed
Why won't you tell me now
What is she trying to
What is she trying to
What is she trying to hide?

• “Gray Sunny Day” – The Cowsills

My mother was emphatic whenever I looked ahead to something that wasn’t in the present: “Don’t wish your life away.”  Somewhere amongst the colorless, overcast wind-torn bone-jarring cold of January and February, buried deep in the permafrost of an Ohio winter, lie opportunities to prove her right, topped with a sprinkle of gratitude.

As I churn out these words, the wind has kicked up outside. The temperature is dropping, and the forecast is for the numbers to plummet even lower. But as I wrap my Browns hoodie around me (mentally preparing for…a ‘playoff game’?), I’m instantly reminded that we have something that others may not have tonight: heat. Yes, my penchant for keeping the monthly bill low sometimes forces me to vacate the basement lair in favor of the upper level. But draping oneself in a hoodie or two is preferable to seeking shelter in a doorway for the night. I’m reminded to be thankful.

Every silver lining's got a
Touch of grey

I will get by
I will get by

• “Touch Of Grey” – Grateful Dead

‘Hibernation’ is a state of mind. It doesn’t have to be reclusive, sullen, or unproductive.  At least that’s what I tell myself. I take another healthy gulp of my coffee, an ‘India Cherry Robusto’ bean that I roasted in my chilly garage 3 days prior, grateful for my small ceramic heater and Donna’s 20-year-old Cleveland Indians parka.

It’s quiet. And it’s quiet outside. The newer refrigerator that replaced the ancient one hums methodically, like an old Charlie Watts groove. I’m thankful that it’s kept my cream cold, too, and the texture (much to the chagrin of the coffee purists) gives added girth to my roast.

A lone vehicle saunters slowly up the hill next to the house, its tires slicing through the two inches of snow on the ground. And as the sound dissipates into the distance, the silence is almost deafening. But it’s a welcome deafening. It’s the sort of ambiance that gets crushed by the sunny sounds of a leaf-blower or a hedge-trimmer.

The Holidays have evaporated. The dark still arrives earlier than it’s appreciated. And an arctic air mass can show no mercy. We’re seemingly on the dark side of the moon. But my mother’s edict reverberates like a Steve Jones power-chord. ‘Sunny-and-75’, while preferred, is easy. It’s a big beach-ball ready to be pounded on with little to no effort. Gratitude and thankfulness right now can seem like that spare part they don’t make anymore. It begs to be searched for and uncovered, perhaps from its own mysterious form of hibernation. I silently hope that it's worth it, and I think it is.

Wait….is…is that a train I hear?

It was a beautiful day
Don't let it get away
Beautiful day

• “Beautiful Day” – U2

Sarah Swirsky is a Licensed Social Worker with diverse experiences in the mental health field, including counseling and advocacy. She believes that open and informed discussions about mental health are crucial in fostering understanding, reducing stigma, and promoting overall wellness. Born and raised in Akron, Sarah holds a Masters in Social Work from the University of Akron and a Bachelors' of Science in Community Health Education, from Kent State.

Arts and Music have always been an important part of Sarah's life, as she attended both Miller South and Firestone High School for Performing Arts. Sarah credits her father, beloved former Akron Councilmen Richard Swirsky, for introducing music to her at an early age, taking her to her first concert, Bob Dylan.

Sarah has also had specialized clinical training and experience working with traumatic stress, eating disorders, and substance abuse. She enjoys using creative methods in her work including expressive arts and is a certified trauma-sensitive yoga facilitator. 

Sarah is excited to start mental wellness discussions and bring awareness to the healing power of music. Sarah and the team at Summit Wellness need your feedback to make this program a success!What wellness programming would you like to see at The Summit? How has music impacted your mental health? What local artist(s) would you like to see highlighted or interviewed? Send an email to Sarah@thesummit.fm.

By Dave Swanson - Summit FM Contributor

By the end of 1983, The Police were, quite simply, the biggest band in the world. Their fifth album, 'Synchronicity,' was a huge hit, spawning a handful of massive hit singles, and ultimately selling multi-platinum. After being active non-stop since forming in 1977, they decided that, following a world tour, they would take a break. It was in that time frame that Sting decided to record his first solo album.

Released in June of 1985, 'The Dream Of The Blue Turtles' presented Sting in a new and different light. Gone were any signature styles of The Police and, for the most part, stripped of any actual rock and roll, replaced by a jazz based aesthetic and approach that suited his voice quite well. "In reality, the first rock band I ever played in was The Police," Sting told a reporter at a press conference for the album. "Before that, I'd worked extensively in different kinds of jazz groups. My first band was a Dixieland trad group where I played double bass, so I feel in many ways at home with jazz players."

Wanting to stretch his musical muscle, Sting gathered an all-star group of players to back him on the album including saxophonist Branford Marsalis, Kenny Kirkland on piano, and drummer Omar Hakim. The collective resume reads like a who's who of jazz stars including Miles Davis, Weather Report, Wynton Marsalis, George Benson, and more. Bassist Daryl Jones would, of course, go on to play with the Rolling Stones to this day. “This band has a musical impact that I haven’t seen in pop music in a long long time,” said Branford Marsalis about his then new gig. “Everybody can just play their instruments and cream all the other bands!”

“Yes the record company were perturbed, yes my management were perturbed, the general public were probably perturbed when they heard this word jazz mentioned,” said Sting in an interview surrounding the album. All parties needn’t have worried, as once released, it took on a life of its own.

The album's first single, the catchy jazz inflected pop of 'If You Love Somebody Set Them Free,' shot up the charts right off, reaching No. 3 on Billboard, and making Top10 elsewhere around the world. Sting was on to something it seemed. 'Fortress Around Your Heart,' 'Love Is The Seventh Wave,' and 'Russians' all followed suit, and though not charting as high, still made a huge impact, driving the album near the top of the charts worldwide and selling into the millions. The album, while a huge success, ultimately signaled the end of The Police. The band tried to start up once again, but various issues prevented it from taking flight. What was supposed to be a stop gap during their time off turned into the first step on a highly successful solo journey, one that stands strong to this day.

By Dave Swanson - Summit FM Contributor

What does one get when you take one of England's finest singer/songwriters, pair him up with one of America's most respected and heralded combos, and unleash them on a songbook of unknown lyrics from one of the most important figures in the history of American music? You get 'Mermaid Avenue,' an album of historical and modern significance.

The characters at play here are, of course, Billy Bragg and Wilco, who teamed up to set a cache of unknown Woody Guthrie lyrics to music, with highly glowing results.  Issued in 1998, it seemed like a match made in heaven on paper, the 'alt-country'/ 'Americana'/whatever you wanna call 'em sounds of Wilco, merged with Bragg's own unique take on folk, rock, and pop music, was a good enough concept, but then toss in the lyrics of, arguably, the father of American folk music, and it was a great blending of all these parts.

Kindred spirit Bragg was always cut, in part, from the cloth of Guthrie, via Bob Dylan, and his involvement proved a perfect fit. The entire project was the brainchild of Nora Guthrie, Woody's daughter, who was, at the time, the director of the Woody Guthrie Foundation. The lyrics all date from the late 1930s through the late 1940s, with the latest date in the batch from 1950. The seeds for the project sort of sprang up from the ground, without much prodding, when Nora discovered a cache of her father's unused lyrics.

"It started with first finding the stuff. Finding the stuff, that’s where it starts. And after we discovered that there were so many hundreds of lyrics that no one had ever seen, and I include most people on the Earth in that sentence. There's maybe like three people that had ever looked through these files and boxes of my dad's stuff that had been sitting around for forty years," Nora Guthrie said in an interview surrounding the project. "There were just so many lyrics that I had never heard of, and my family hadn't heard of. And don't ask me why they were never recorded, because I can only suppose why. I wasn't there so I don't know the real answer to that one. I just started finding these great lyrics, and they sounded, I mean just as a piece of written word poetry, I just loved them. I thought hmm, someday I want to do something with this stuff. And then cut to the chase, I found Billy Bragg and asked him if he wanted to work on it. He kindly said yes."

From there it kind of snowballed with Bragg suggesting Wilco get involved and one lyric led to a song, then to another, and soon enough 'Mermaid Avenue' was born. "Way Over Yonder in the Minor Key," "California Stars," "Eisler On The Go," and "The Unwelcome Guest," are only a few of the gems to be found here, as Bragg and Wilco create just the right mood musically, to fit the lost words of Guthrie.

There were so many lyrics, in fact, that ultimately there would end up being three volumes of material from Bragg and Wilco channeling Guthrie, all to great effect. 'Mermaid Avenue' is where it started, and truly is a 'modern day' essential as much as it is a historical nugget, connecting past to present to future along the way.