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The Return of the Desert Island Jukebox Draft - Drop in a quarter (1 Viewer)

mphtrilogy said:
Sara Smile - Hall & Oates - 1975
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I think you would like the Todd at Daryl's House - the two Philly boys - there are two different appearances but I like the first one a bit better.  Unfortunately I don't think the entire shows are readily available - but there are some links that have most of the songs.    

first show at Daryl's House - miss some of the messing around in-between songs and the cooking/dinner.  Todd was clearly ripped on martinis and told a story about when they were touring together and their bus driver pulled off to the side of the road and just walked off and left them in the middle of PA somewhere.  

second show at Todd's house - Hawaii

 
Binky The Doormat said:
I think you would like the Todd at Daryl's House - the two Philly boys - there are two different appearances but I like the first one a bit better.  Unfortunately I don't think the entire shows are readily available - but there are some links that have most of the songs.    

first show at Daryl's House - miss some of the messing around in-between songs and the cooking/dinner.  Todd was clearly ripped on martinis and told a story about when they were touring together and their bus driver pulled off to the side of the road and just walked off and left them in the middle of PA somewhere.  

second show at Todd's house - Hawaii
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I've caught a few eps, need to check it out, thanks!

 
So this is one of those must haves for my theme, and since it’s filled with sampling and from New York, I guess it’s possible it could be on someone else’s list. Yo Mama selects:

4.03 - Public Enemy - Fight the Power - 1989

Going with the original release date as part of the Do the Right Thing soundtrack, but may swap it to 1990 when Fear of a Black Planet was released if something else in 1989 catches my eye. 
 

I now have four songs from four different decades, and considering my theme is songs about protest and unrest, surprisingly none are from the 60s or 70s. I’m probably relying on vbd and the fact those decades are so stacked to pass on some of the all-timers for now. 
 

@mphtrilogy

 
Pip's Invitation said:
I get so damned pumped whenever I hear this song -- starting from the very first time when a friend burned a bunch of CDs for me to take on a road trip and this was one of them. There's a reason it's opened most of their concerts since it came out.

3.25 The Flaming Lips -- Race for the Prize 

Year: 1999

Album: The Soft Bulletin

I don't care for the B-side.

This is another one that just makes me want to get up and dance, pump my fist, whatever. It's one of my earliest musical memories -- I remember seeing him perform this on Sesame Street!

4.01 Stevie Wonder -- Superstition

Year: 1972

Album: Talking Book

B-side: You've Got It Bad Girl

Back to @MAC_32
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Helluva turn here!

 
Man, you can rap about institutionalized racism and police brutality all day, but come after Elvis and John Wayne?  Oooooweee, that’s how you piss off some white people. 

 
This one is for my 20 year old  middle daughter Emily, I had a few choices cued up and then played them for her, she settled on this one to represent:

See Emily Play,  1967,  Pink Floyd    Album: The Piper at the Gates of Dawn
 

"See Emily Play" is a song by English rock band Pink Floyd, released as their second single in June 1967.[5][6] Written by original frontman Syd Barrett and recorded on 23 May 1967, it has "The Scarecrow" as its B-side. It was released as a non-album single, but appeared as the opening track of the U.S. edition of the band's debut album The Piper at the Gates of Dawn (1967).

"See Emily Play" is included in The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll list and reached No. 6 in the United Kingdom singles chart.[7] As of 2018, the song has never been mixed to stereo, so the US album version was rechannelled and all subsequent reissues have been in mono.
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Content
"See Emily Play" is also known as "Games for May", after a free concert in which Syd Barrett's Pink Floyd performed.[8][9]

The song was reportedly about a girl named Emily, who Barrett claimed to have seen while sleeping in the woods after taking a psychedelic drug. According to A Saucerful of Secrets: The Pink Floyd Odyssey, by Nicholas Schaffner, Emily is the Honourable Emily Young,[10][11] daughter of Wayland Young, 2nd Baron Kennet and nicknamed "the psychedelic schoolgirl" at the UFO Club.[12].

It has been suggested by some that the slide guitar effect was produced by Barrett using a Zippo lighter,[13] but elsewhere that he used a plastic ruler.[14]

The train depicted on the single's sleeve was drawn by Barrett.[citation needed]
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See Emily Play
B Side: The Scarecrow

Follow along on Spotify:

MPH - JUKEBOX - 52Girls

 
Pip's Invitation said:
I am a massive fan of '70s Hall and Oates. Like much of the '80s stuff too but find some of it overproduced. This is one of their very best, which is saying a lot.

A few months ago, this song came on the car radio and my son said it was boring. I wanted to throttle him. 
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Now, I should clarify that while my son doesn't like it when I have concert films on because they're too loud and overwhelming for him (he's 9), he does like Live from Daryl's House. 

 
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Yo Mama said:
Man, you can rap about institutionalized racism and police brutality all day, but come after Elvis and John Wayne?  Oooooweee, that’s how you piss off some white people. 
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Well they are now going to change the name of John Wayne Airport, due to some racist recordings that surfaced, so perhaps Chuck was onto something.

 
Pip's Invitation said:
I have a channel called AXS TV on my Fios that plays an episode of Live from Daryl's House every Sunday. 
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Yesterday on AXSTV from 5 to 7:45 pm est., it showed Paul McCartney and Wings live Rockshow from '76.  I didn't see it until around 6:40. I was going to let krista know, but so much was already missed I didn't. It would have been on 2 to 4:45 her time. 

 
simey said:
Yesterday on AXSTV from 5 to 7:45 pm est., it showed Paul McCartney and Wings live Rockshow from '76.  I didn't see it until around 6:40. I was going to let krista know, but so much was already missed I didn't. It would have been on 2 to 4:45 her time. 
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I DVR'd it when they had it on a few weeks ago (and my son complained it was too loud) and watched it shortly thereafter. It'll probably be on again soon. 

 
Dr. Octopus said:
Well they are now going to change the name of John Wayne Airport, due to some racist recordings that surfaced, so perhaps Chuck was onto something.
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It’s not even some secret recordings, he was just outright racist. He even gave a Playboy interview in the 70s where he said he was a white supremacist. Just literally said it knowing he was on the record. I love his movies but he’s not a person anyone should admire. He was racist, a war hawk who never enlisted and was on the side of McCarthy and HUAC. 

 
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Yo Mama said:
Man, you can rap about institutionalized racism and police brutality all day, but come after Elvis and John Wayne?  Oooooweee, that’s how you piss off some white people. 
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As James Baldwin said, "A black man who sees the world the way John Wayne sees it would not be an eccentric patriot, but a raving maniac"

 
simey said:
Yesterday on AXSTV from 5 to 7:45 pm est., it showed Paul McCartney and Wings live Rockshow from '76.  I didn't see it until around 6:40. I was going to let krista know, but so much was already missed I didn't. It would have been on 2 to 4:45 her time. 
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It looks like AXS shows a concert film every day during that time window.  Today it's Yes, tomorrow Cream.

 
My next pick isnt available on Spotify by the original artist.. Is this one of those drafts where only Spotify songs can be drafted? 

 
Raging weasel said:
My next pick isnt available on Spotify by the original artist.. Is this one of those drafts where only Spotify songs can be drafted? 
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You can still draft it but the end game for most drafters is a Spotify playlist to shuffle through.

 
Dr. Octopus said:
Well they are now going to change the name of John Wayne Airport, due to some racist recordings that surfaced, so perhaps Chuck was onto something.
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Orange County has other issues to work on.

 
Eephus said:
Fair play.  I'm going in another direction in 1976.

I prefer Mann's other Springsteen cover but 1980 is really deep.
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I'm not sure where it would have slotted in had I not known your theme. It'd have still been early, but not now. I spent more time than I care to admit trying to find a plan B, but came up snake eyes. 

 
4/6  Electric Avenue- Eddy Grant(1983)

If I'm doing 1 hit wonders half rock and half dance I need this whether it's on Spotify or not. There is a cover band version I can use for my playlist. It was recorded in 2012 so I can use either year right @Binky The Doormat ? :scared:

 
Raging weasel said:
4/6  Electric Avenue- Eddy Grant(1983)

If I'm doing 1 hit wonders half rock and half dance I need this whether it's on Spotify or not. There is a cover band version I can use for my playlist. It was recorded in 2012 so I can use either year right @Binky The Doormat ? :scared:
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I've always hated that this song isn't on Spotify.  Miss it in my 80's Mixes.

 
Jazz, Blues, Gospel Roots

Rd 4 Cat Squirrel by Doctor Ross (1954)

B side: New York Breakdown 

By the time Charles Ross came up to Detroit, he had already recorded at Sun Studios and Chess Records. Ross came to Detroit in 1954, in need of money and work. He found it at the General Motors Plant in Flint. Music was in his blood and he continued making music for Fortune Records. Fortune Records and Sensation Records were two of the biggest studios in Detroit at the time and incredibly important for putting the city’s music scene on the map. It's a pretty basic concept,  no studio=no recordings=no hits. Chicago had been the place for black musicians to go because they had recording studios but the founding of studios in Detroit changed the equation and opened it up as a hotbed for blues and soul artists looking to break into music. 

The run as a hotbed of blues wouldn't last long. Another local studio that we are all quite familiar with crowded out the smaller studios, as did the interest in "rock and roll". By the time 1967 came, the blues scene was hardly what it was even a decade earlier. "The Long Hot Summer of 1967" put the final nail in the coffin for Detroit's position as a hub of blues music. I won't describe entirely what happened during the summer of '67. The Tigers narrowly lost the pennant (thanks Eephus) and the city burned- a fire that still has embers today. I will just quote this section from Wikipedia:

The Detroit Police Department was administered directly by the Mayor. Prior to the riot, Mayor Cavanagh's appointees, George Edwards and Ray Girardin, worked for reform. Edwards tried to recruit and promote blacks, but he refused to establish a civilian police review board, as African Americans had requested. In trying to discipline police officers accused of brutality, he turned the police department's rank-and-file against him. Many whites perceived his policies as "too soft on crime."[7] The Community Relations Division of the Michigan Civil Rights Commission undertook a study in 1965 of the police, published in 1968. It claimed the "police system" was at fault for racism. The police system was blamed for recruiting "bigots" and reinforcing bigotry through the department's "value system." A survey conducted by President Johnson's Kerner Commission found that prior to the riot, 45 percent of police working in black neighborhoods were "extremely anti-Negro" and an additional 34 percent were "prejudiced."[8]

In 1967, 93% of the force was still white, although 30% of the city residents were black.[9][10] Incidents of police brutality made blacks feel at risk. They resented many police officers who they felt talked down to them, addressing men as "boys" and women as "honey" and "baby." Police made street searches of groups of young men, and single women complained of being called prostitutes for simply walking on the street.[11] The police frequently arrested people who did not have proper identification. The local press reported several questionable shootings and beatings of blacks by officers in the years before 1967.[12] After the riot, a Detroit Free Press survey showed that residents reported police brutality as the number one problem they faced in the period leading up to the riot.[13]
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In the violence of the summer, one of the casualties was Joe's Record Shop. After being chased off of Hastings Street in the razing of the street for a freeway, Joe Von Battle found his relocated business under threat again in 1967. The man who recorded John Lee Hooker was defending his storefront by gun point until the police made him leave. "Days later, Battle returned to his record shop with his daughter Marsha Battle Philpot and they were met with 'wet, fetid debris of what had been one of the most seminal record shops in Detroit.' Joe's Record Shop and much of the stock within—including tapes and recordings of artists - were ruined."  Detroit's legacy as a blues hub was also ruined. The great record shop and it's music was now a casualty of the modern city. 

 
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Ilov80s said:
Electric Avenue isn't on Spotify? What the actual fuuuuuuk?
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Not on Apple or Amazon music either.

Oh, and watched the Grande Ballroom doc last night- it was awesome- thanks for info!!  Never knew that was the first place the Who performed any of the Tommy material 

 
simey said:
Yesterday on AXSTV from 5 to 7:45 pm est., it showed Paul McCartney and Wings live Rockshow from '76.  I didn't see it until around 6:40. I was going to let krista know, but so much was already missed I didn't. It would have been on 2 to 4:45 her time. 
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I've never heard of AXS; not sure if I have it.  Missed this.  :kicksrock:

 
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