Dark Side of the Moon: Forty-five years on

March 4, 2018 marks the 45th anniversary of Pink Floyd’s North American debut performance of their seminal work, Dark Side of the Moon.  Rather than open the tour in New York, Chicago or other large city, it premiered in a 9,000 seat venue in Madison, Wisconsin.  I lived only forty miles south and attended the concert with some friends.  It was a show I’ll never forget.

The first I heard that Pink Floyd was kicking off their 1973 North American tour in Madison, Wisconsin probably would have been on a Radio Free Madison broadcast.  Radio Free Madison was an “underground” music program on WIBA-FM that began broadcasting on Halloween night 1969 and continued into the mid-70s.  It was on for only a few hours every night and played more album-oriented “head” music than anyone else was doing at that time.  We’d been enjoying various tracks from Floyd’s Obscured By CloudsAtom Heart Mother and Meddle on Radio Free and there was buzz about their forthcoming album, the title of which was announced as  Dark Side of the Moon: A Piece for Assorted Lunatics.

“A piece for assorted lunatics?”  I was all in and so were three friends.  The radio station was already spinning a promotional copy of the song Money.  It featured an interesting time signature, 7/4 alternating with more typical 4/4 for the solos. Apparently, the 4/4 solos were done because David Gilmour thought it would be too complicated to write them in 7/4 time. Some music critics said the single dynamic of maintaining tempo but changing from seven beats to the bar to 8 beats added to the track’s unique appeal.  It also featured some pretty good sound effects which were expected to be even better in quadraphonic (four-channel) sound, a format that Floyd had been working with for a while and was becoming popular for vinyl LPs.  I couldn’t afford a quadraphonic audio system then, but a friend eventually set up one and it was pretty impressive.

Before we got it together to buy tickets in advance, the concert was cancelled. This announcement was in the January 25, 1973 Madison Capital TimesWhat a bummer!  At least we hadn’t shelled out any money yet.  We waited patiently for more details about the album release or a rescheduled concert date.  At last it was announced that the band had cleared up its visa issues.  The concert was back on and the following ad was published in Madison newspapers.

The lunatics were psyched!  We still hadn’t bought tickets in advance, so we traveled to the Coliseum from Janesville on the evening of the show thinking we’d arrive in plenty of time to buy them at the door.  We never expected an endless line of cars waiting to enter the parking lot.  (Quick… roll the windows down and let the air clear!)  As the car inched forward with each vehicle ahead of us stopping at the gatehouse to pay for parking, it seemed like an eternity.  Eventually we paid, parked and hoofed it to the ticket window.  There were plenty available, but it required waiting in yet another line.  The concert had already begun by the time the four of us entered the dark arena.  The venue, typically used for sporting events and exhibitions, featured “festival seating,” a euphemism for finding someplace to stand on the seatless arena floor along with 9,000 others.  Alternatively, we could have chosen to sit in a seat around the perimeter, but we wanted to be in the center of that ground-shaking quadraphonic sound system.  With pink smoke and a laser light show in progress, an extended jam of Obscured By Clouds followed by When You’re In was underway.  Weaving through a mass of humanity in the dark, someone bumped my elbow and an unlit chunk of “sensory enhancement” flew from the pipe in my hand into the abyss and on to the floor, lost under a dozen shuffling feet.

According to author Glenn Povey in his book Echoes: The Complete History of Pink Floyd, the band’s equipment for that tour was hauled in two forty-foot articulated trucks, with two drivers in each.  They would meet the road crew at the venue at ten in the morning, usually after driving all night.  The road crew, who traveled with the band, would be there when the truck arrived and then would begin setting up the equipment. Upon completing the setup at around four in the afternoon, the band would show up for their usual sound check.

On stage for this 1973 North American tour were: David Gilmour (vocals, guitar, synthesizers), Nick Mason (percussion, tape effects), Roger Waters (bass guitar, vocals, synthesizers, tape effects), Richard Wright (keyboards, vocals, synthesizers), Nawasa Chowder (backing vocals), Mary Ann Lindsey (backing vocals), Phyllis Lindsey (backing vocals), and Dick Parry (saxophone).

Inside the Coliseum, music and lights were at full throttle.  Following Careful With That Ax, Eugene the band took a short intermission.  They returned to the stage and the lights dimmed as the opening sound effects of Speak To Me filled the arena from a massive quad sound system.  Floyd performed Dark Side of the Moon in its entirety, lasers blazing through the pink stage lights and into the upper regions of the hall.  Among the most impressive auditory effects, were the cash register and money-changing sounds that chased around the four massive speaker banks hung from the ceiling, all pointed toward the center.  The quad sound was mind-blowing as the introductory bass line segued in, followed by the other instruments and vocals.  Visually and aurally, that show was a peak experience, the intensity of which I had never witnessed before and have not witnessed since.

Eyes blurry and ears buzzing, we drifted out after the encore, One Of These Days, from Meddle.  I’ve forgotten many things, but that Dark Side of the Moon experience remains vivid in my memory, forty-five years on.

There is no dark side of the moon, really.  Matter of fact it’s all dark.

On Thursday, March 1, 2018 I’ll be sitting in as DJ Joey Books for “Professor of Prog,” JD, to host his award-winning, progressive music show, “Closer to the Edge.”  The following Thursday, March 8, when JD returns to host his program, he’ll have a special guest.  Asheville author Bill Kopp recently published his book, Reinventing Pink Floyd: From Syd Barrett to the Dark Side of the Moon.  Bill will read from his book and chat with JD.  I’ll be there as well, to answer phone calls and chat.  “Closer to the Edge” is on Asheville FM from 2:00 to 5:00 pm every Thursday.  And don’t forget my weekly radio show, “Life Out of Tunes,” Mondays from 2:00 to 3:00 pm on AshevilleFM.org .

Tune in and turn it up!

The Annotated Playlist in My Head

Perhaps it’s a lingering librarian obsession within me.  A way to catalog and shelve that playlist in my head.  Or maybe it’s because I can’t think of anything else to write about.  Either way, here’s an annotated edition of the playlist from my January 29, 2018 Life Out of Tunes radio show.

  1.  Ernest TubbWalking the Floor Over You.  This tune was floating around in my head for many years as I reminisced about running playbacks of The Ernest Tubb Show in a previous blog post.  One thing missing from the radio broadcast was a visual of Tubb flipping over his guitar at the end of the show and displaying the word THANKS in big block letters stuck to the back of it.  My No Left Turns bandmate and cousin Mike, whose dad was a country music fan, would do the same thing with his electric guitar at our gigs.
  2. Chris ReaThe Road To Hell (Pts. 1 & 2).  Not only have I been a Chris Rea fan since the 1980s, but I have two friends, also Chris Rea fans, who would agree that we, as a country, are traveling down that road.  This one was for you, Mike and Brad.
  3. The FlockI Am the Tall Tree.  I always liked the Flock from Chicago.  I missed their performance at the Pop House, a teen club in my hometown, around 1966-67.  I have it on good authority they closed their show with, “We’re gonna play one more song, then get the flock outta here.”
  4. Umphrey’s McGeeForks.  I confess to enjoying jam bands.  The Grateful Dead have always been among my favorites.  UM elevates it with scorching, jazz-infused solos and time signature changes accompanied by smart lyrics.
  5. First FridayMaryanne.  A blast from my past, circa 1969-70.  While students at ND, these guys were talented enough to record an album.  I bought the LP new at that time and played it so often, the grooves wore out.  A favorite at parties both on and off campus, First Friday disbanded upon graduation.  Members of Umphrey’s McGee are ND alums too, separated from First Friday by three decades.  This must be where I say, “Go Irish!”
  6. The Rums & CokeGlad All Over.  Growing up in Wisconsin during the 60s, I knew many “garage bands.” but had never heard of this one until researching a recent post to Wisconsin Garage Bands 1960s, a Facebook page I admin.  A five-piece, all-girl band from south of Milwaukee, the Rums & Coke were popular in southeastern Wisconsin.  They recorded this Dave Clark Five song across the border in Chicago and released it as a single in 1966.
  7. Roxanne & Dan KedingLittle Drummer.  Originally from Chicago, this talented folk duo moved to Wisconsin, near the town where I was working and where we became friends.  I was invited to join them and four other musicians for a one-off fundraising gig, performing together as a 50/60s rock ‘n’ roll revival band, Heavy Chevy & the Circuit Riders.  That aside, the Kedings recorded an album of traditional folk songs, From Far & Near, in 1980.  It was followed by an album of children’s songs, In Came That Rooster, in 1981.  I had both albums.  They split up and eventually I split, leaving both LPs behind.  I regretted it (leaving the records, that is) until I found From Far & Near at a used record store in Asheville, NC, 850 miles from where it originated!  From far and near indeed!  An old Irish folk song about love at first sight, I selected this track for Frank, my Irish friend.
  8. The ClienteleLunar Days.  If you caught a glimpse of either the super-moon or the lunar eclipse last night, you’ll understand why I spun this tune.
  9. Van MorrisonMoondance.  See #8.  “Can I just have one more moondance with you?”
  10. The BroadcastBattle Cry.  Threw in something from a great Asheville band featuring an equally great vocalist.
  11. Hot TunaWater Song.  Sylvia (the one with whom I moondance) and I heard Jorma Kaukonen and Jack Cassidy (a.k.a. Hot Tuna) shred this guitar instrumental in concert a couple years ago.

Hope you enjoyed reading the stories behind each song on this week’s playlist!  If you missed it, you can still listen to this Life Out of Tunes show through Monday, February 5, 2018 by following the link:  https://www.ashevillefm.org/show/life-out-of-tunes/ and clicking on the “Play Archive” button.  Peace!

Walking the floor over you

It seems to me that television is exactly like a gun. Your enjoyment of it is determined by which end of it you’re on.
― Alfred Hitchcock

Did you ever see something on an old television program that was immensely insignificant at the time, but you still think about it occasionally?  More to the point, and I’m really shooting in the dark here, did you ever watch the old Ernest Tubb television show?  If you don’t already know, Tubb was a famous country and western singer whose signature song was Walking the Floor Over You.  His TV program, aptly titled The Ernest Tubb Show, began airing in 1965, but it wasn’t until about 1974 when I watched my first episode.  It was not my choice.  It was my job.

In the mid-70s, I worked as audio-visual coordinator for a university library.  It was a great job that afforded me a chance to play with the latest technology and sit ringside during the wrestling match between Betamax and VHS.  It was a creative outlet too.  I was a technical assistant for the theater and music departments, mixing sound for stage productions and recording music tapes for student listening stations.  I even dabbled in 16mm filmmaking, shooting regional ethnic festivals for the sociology department one year, and creating a filmed song and dance number once for the spring musical, Godspell.  Here I am shooting the annual Syttende Mai parade at a Norwegian festival in Stoughton, Wisconsin.  (That’s me under the natty hair.  I worked near a beauty college where cheap haircuts reigned.  Students were learning to style Afros one day when I walked in.  The nascent hairdressers persuaded me to be their guinea pig.)To supplement my academic job, I was a part-time production assistant for the programming arm of a local cable television station.  It was before big business swallowed up the industry.  There, I operated a studio camera for news and entertainment shows.  One of my favorite gigs was a kids program, The Uncle Dan Show.  It featured a goofy host and a hand puppet sidekick, “Thurman the Worm,” operated by the station news director who was mostly hidden behind a curtain or under a table, except for his arm which was costumed in a green, snake-like sock-puppet.

Camera operation often required going outside the studio to shoot live remotes, mostly high school basketball games.  Imagine the challenge of covering a fast-paced basketball game with a single camera.  Some Friday nights would find us at the local Shakey’s Pizza Parlor to broadcast Shakey’s Jamboree.  It featured old-timey music, typically involving an upright piano and a banjo.  Here I am operating the camera at Shakey’s one night, obviously mesmerized by banjo music.

The most exciting remote shoot in which I participated was at the Playboy Club in Lake Geneva, Wisconsin.  Not a live shoot, it required trips there on two consecutive evenings to cover interviews with managers, bunnies and bartenders.  Oh, my.

The least exciting remote for which I became the weekly cameraman was the First Lutheran Church service, broadcast live every Sunday morning beginning at eight a.m.  It was a drag getting out of bed early to fetch a studio camera, load it, haul it, and set it up in a dim church balcony every Sunday morning.  Though it required little in the way of camerawork, I’d sometimes imagine Francis Ford Coppola shooting the baptism scene in The Godfather.  Zooming in and locking on the minister as he stepped up to the pulpit to deliver a homily was de rigueur, providing a welcome opportunity to lie down in a nearby pew and relax for a while.  I slept through sermons once or twice, waking to the howl of massive organ pipes jolting me upright in the pew.  Each time, I was unsure how long the camera had remained aimed at a deserted pulpit before I resurrected.

When not behind the camera, I could be found in the studio’s control booth, operating a mixing board and video playback machines.  Canned programs were broadcast by slipping large videocassettes into  a machine, pressing a couple of buttons and flipping a switch.  One program series was The Ernest Tubb Show.  Ernie had stopped producing new shows by that time.  These were all ten year old programs for which some local businesses bought advertising spots to broadcast on the new and exciting cable channel.

As you can see from the photo above, I was transfixed while monitoring Ernest Tubb & the Texas Troubadours as they plowed through thirty minutes of musical guests with no set changes.  One of the guests I clearly remember was a barely recognizable, clean-cut Willie Nelson.  Less memorable was a  duo of young women who, as I recall, were introduced as the “dancing Judds.”  The pair kicked up their cowgirl heels with great enthusiasm while a guest musician fiddled.  Years later, a mother-daughter team of Naomi and Wynonna Judd rose to country music fame as singing duo, the Judds.  But I can’t draw any conclusions.  I’ve never been able to  prove my hunch that the dancing Judds might have had some connection to the singing Judds.  And while this unresolvable, immensely insignificant bit of trivia still troubles me, dear Judds, it ain’t nearly enough to be walking the floor over you.

Link: Ernest Tubb – Walking the Floor Over You

 

“Smug hippie anthems” (Pièces de résistance, partie deux)

Until recently, I was receiving weekly emails from a fellow blogger who also writes about music. He’s more prolific than I, writing weekly posts, waxing nostalgic or offering insight into music from his past, not unlike other writers I follow.  And like the others, I know how to access his blog so I didn’t need weekly reminders.  Determined to cut back on the number of emails infiltrating my inbox, I requested my name be removed from his list. I kept the message brief, figuring a long explanation wasn’t necessary.

Judging from his reply, he was deeply offended by my innocent appeal and wasted no time informing me, stating “(I’ll) Spare you the trouble of having to not read something.”  At first I thought he was joking, but he continued with a rather harsh criticism of my blog.  He wrote, “I haven’t read your blog since that head-up-the-butt ‘Songs of the Resistance’ post back in January. That would have been hard to top — or slide under the lowered bar, as it were — but I wasn’t interested in finding out whether you could, or did.”

I realize it’s not great literature, but “head-up-the-butt?”  Ouch!  Guess I touched a nerve.  Or struck a chord, so to speak.  His reply also included three unattributed quotations, all sharing the same general theme about “savage mobs” and “reverence for the law.”  At the end he finally alluded to the source of his quotations by posing a question, “How could Abe Lincoln have foreseen the #Resistance, Antifa, Black Lives Matters (sic), the anti-free speech mobs on campus, etc.”

Clearly, he appreciates neither the resistance nor my song list.  It brought to mind one of his previous blog entries in which he described a classic Crosby, Stills, Nash & Young album as containing “smug hippie anthems.”

Rather than take umbrage at them, his remarks piqued my interest.  The words of respected historical figures are posted ad nauseam among social media groups and become rallying cries for various causes.  Some research revealed those three quotations my fellow blogger shared with me were excerpted from one speech Abraham Lincoln delivered on January 27, 1838 entitled The Perpetuation of Our Political Institutions: Address Before the Young Men’s Lyceum of Springfield, Illinois.  It’s been studied and debated by Lincoln scholars for years.  So was it an indictment of future Resistance, Antifa, Black Lives Matter, or anti-free speech movements on campus?  I don’t believe it was, and here’s why.

William Herndon, who became Lincoln’s law partner in 1844, had this to say about the Lyceum speech:  “The speech was brought out by the burning in St. Louis a few weeks before, by a mob, of a negro. Lincoln took this incident as a sort of text for his remarks…”

Reading the entire speech, it becomes apparent that Lincoln, upset by the lynching of a black man in St. Louis and similar lynchings of black men and their white sympathizers in other states, was condemning those mob actions specifically.  If I were to respond to my detractor, I’d point out that black lives seem to have most certainly mattered to Abe.  I’d also reframe his question and pose it back to him:  How could Abe Lincoln have foreseen the Ku Klux Klan, Nazism, the white supremacy movement, a president who is complicit, etc.?

Instead, I’ll resist the temptation to respond directly and simply dedicate the rest of this post, entitled “Smug hippie anthems” (Pièces de résistance, partie deux), to my fellow blogger and critic.  Having already written too many words, I’ll keep it brief.

Some time back, I was handed a page torn from an issue of Vanity Fair magazine.  It was a list of “favorite protest songs” by celebrities Lin-Manuel Miranda, Q-Tip, Mavis Staples, Tegan & Sara, John Mellencamp and Brittany Howard.  Even if you aren’t familiar with some of these artists, you might appreciate the song titles they shared.  I invite you to enjoy the following link to a list of their selections on the Vanity Fair website, each of which you can find on YouTube, Spotify, iTunes or other purveyor of “smug hippie anthems.”  To see the list, click on this title: Lin-Manuel Miranda’s favorite protest songs.

Violets of Dawn

Around the time it was released in 1967, I brought home an album by The Robbs, a regionally popular band from Oconomowoc, Wisconsin.  At least two songs from that record were being played on top forty radio often enough to make me fork over some cash for the LP.  My band even learned to play one of the tunes.

The Robbs (1967) liner notes

The Robbs had a regional hit single that year, Race with the Wind.  It’s a great song, but it wasn’t my favorite.  The album’s opening track, Violets of Dawn, turned out to be the one that grabbed my attention.  Scanning the liner notes, I discovered Eric Andersen was the songwriter.  The name meant nothing to me.  I’d never heard him on the radio, but I sure liked his song. The tune was catchy and the lyrics painted images in my head.  One phrase in particular, …petal sprays of violets of dawn, stuck with me like fireworks illuminating an early morning sky.

A year passed.  I’d wasted an evening pretending to study in my dorm room when a student from down the hall stopped by with a record album. It was an Eric Andersen recording.  He placed the LP on my phonograph and I heard the original Violets of Dawn for the first time.  It moved me.  Just Andersen singing with his guitar, accompanied by some light percussion from a snare drum and a piano.  There were three more verses than what the Robbs had recorded.  It was like hearing Bob Dylan sing Mr. Tambourine Man for the first time, after having known only the Byrds’ abbreviated cover.

Over the years, I’d kept up with Dylan’s music while at the same time losing track of Andersen’s, much to my regret.  On a recent fall evening, that oversight was rectified.

Eric Andersen performed in concert at a small music hall, accompanied by a violinist who doubled on mandolin, and a percussionist whose bare hands provided a subtle rhythm.  While time may have stolen the youthful innocence of his voice, along with my stamina for drinking more than one beer, his performance was a sonic fireworks display of poetry, at times dark and sparse, but consistent in its imagery.  The fourth song into his set was Violets of Dawn.  Again I was moved, transported back in time, a wave of chills rushing down my spine.

Eric Andersen (center) in concert – Isis Music Hall

Andersen performed two sets, each a wonderful blend of old and new material.  He delivered songs from his past catalog, of course, and debuted a select set of newer material.  He unveiled three new songs invoking the spirit of German writer and Nobel laureate Heinrich Böll, works commissioned by Böll’s descendants and shrouded in sharp satire of the nationalism he despised, especially in a song titled, “Thank You, Dearest Leader.”  “The Rebel (Song of Revolt),” inspired by French philosopher Albert Camus, was a call to resist even in the face of hopelessness.  Before finishing the evening with his classic “Thirsty Boots,” Andersen turned to the romanticism of Lord Byron, taking Byron’s poem, “To a Lady,” and setting it to music.

It was at once an entertaining and intellectually stimulating evening, one which might have happened fifty years ago in a dingy coffeehouse, illuminated only by …petal sprays of violets of dawn.

Broadside #59 The national topical song magazine

That playlist in my head or, ten songs at the speed of thought

It’s been awhile since I’ve written something.  Anything.  Anything other than a simple Facebook post.  “What does it take,” I ask myself, “to see the light?”  Silence. Crickets, as a cynic might remark.  Even from these lead sentences I’m reminded of a few song titles and the name of a 50s rock ‘n’ roll band.  That’s my brain at work.  A few words overheard in conversation, not necessarily even involving me, are enough to cause a song thought.  A tune bubble.  Perhaps not always, but more often than not.

So, how do I respond to this musical word association game habitually playing out in my head?  I try to write about it. There’s one problem, though. (Only one?)  The song thoughts swirling around inside my skull are fleeting. The speed with which they stream through my consciousness make it nearly impossible to capture them on a page, stiffened fingers tapping on a keyboard, hesitating as auto-correct either fulfills creation of an anticipated word, or makes mincemeat of a particular thought attempting to be conveyed.  It’s happening now.  Welcome to my nightmare.

I’ve tried voice recorders.  But then I’m forced to listen to myself ramble on about whatever nonsense I’m talking about.  Then comes the inevitable pause.  A long pause.  An eighteen-minute gap of a pause.  I’ve lost my train of thought.  It’s almost laughable.  As Dylan said, “It takes a lot to laugh, it takes a train to cry.”  See?   There, I’ve said it again.  Help!  Stop the world and let me off.

On second thought, don’t ever let it stop.

That playlist in my head:

  1. It’s been awhile
    Staind, from Break the Cycle (Elektra) 2001
  2. I saw the light
    Todd Rundgren, from Something/Anything? (Bearsville) 1972
  3. What does it take (to win your love)?
    Junior Walker and the All-Stars, single (Tamla Motown) 1969
  4. Silence is golden
    The Tremoloes, single (Epic) 1967
  5. Welcome to my nightmare
    Alice Cooper, from Welcome To My Nightmare (Atlantic) 1975
  6. Ramble on
    Led Zeppelin, from Led Zeppelin II (Atlantic) 1969
  7. It takes a lot to laugh, it takes a train to cry
    Bob Dylan, from Highway 61 Revisited (Columbia) 1965
  8. There I’ve said it again
    Bobby Vinton, single (Epic) 1963
  9. Help!
    The Beatles, live, 1965
  10. Stop the world and let me off
    Patsy Cline, from Patsy Cline’s Golden Hits (Everest) 1962

What’s that jangling in my head?

Keys that jingle in your pocket, words that jangle in your head.
— The Windmills of Your Mind

When Caryl, my friend and fellow blogger (Home Sweet Abbey), asked if I’d be interested in collaborating on something, I jumped at the opportunity.  I’d disabled any notification about the WordPress “Daily Prompt” a while back, mainly because it made me feel anxious about not churning out a daily masterpiece.  So when Caryl mentioned a recent prompt featured the word “jangle,” my rock and roll brain began singing to itself, “In that jingle jangle morning I’ll come following you.”  But before my mouth could even form the words, Caryl continued with “Keys that jingle in your pocket, words that jangle in your head,” a line she explained was from a Michel Legrand song, The Windmills of Your Mind.  I tried to suppress any facial expression that would have revealed while I recognized the song title and the composer’s name (Legrand wrote the score for Summer of ’42), I couldn’t recall any more lyrics from it.  Okay, I thought.  I’ll stall for a while and eventually Caryl will mention something that’ll jangle loud enough for those sleeping brain cells in my head to awaken.   She said the song was from a late 1960s film, The Thomas Crown Affair.  Okay, I know that film.  Couldn’t tell you a thing about it, but I recognize the title.  That’s a start.  When she said Sting performed The Windmills of Your Mind for a later remake of the film, a couple of those brain cells yawned and opened their bleary eyes.  I kinda remembered hearing him sing it.  Or perhaps it was just my imagination, as I know I’d never seen the remake either.  But I know this song.  We agreed to pursue the proposal and Caryl said she would email me some notes about the song and the film.

Upon returning home, I checked my email and saw Caryl’s message with the notes she promised.  It was still bugging me that I couldn’t remember The Windmills of Your Mind.  In the old days I would have had to flip through dozens of record albums, scanning track listings on each one to pursue a hunch that maybe, just maybe, I have someone singing that song on an album in my collection.  It’s much simpler now with a computer.  I typed in the first few characters of “windmills” and with the speed of electrons, a complete title and artist displayed on my screen.  I love technology.

I’ve had Dusty Springfield’s Dusty in Memphis CD in my collection for some time now.  It, along with virtually all my other CDs and LPs have been transferred to a digital format and stored on my computer.  They’re intermingled with more recent purchases, digitally downloaded from online music stores.  So I listened to the sultry voice of Dusty Springfield singing The Windmills of Your Mind through earbuds.

Thanks to YouTube, I listened to a dozen other renditions including the original soundtrack version by Noel Harrison, the remade soundtrack mix by Sting and the haunting 1969 Academy Awards performance by Jose Feliciano.  I couldn’t stop myself.  The jangling was getting louder.  I listened to covers by Neil Diamond, Barbra Streisand, and Johnny Mathis.  Not content with only the English versions, I sought out the original French recording, Les Moulins de mon Coeur (The Windmills of my Heart) performed by Marcel Amont.  Jangling out of control, I digressed for a moment and listened to Legrand’s beautiful score for Summer of ’42.  And though completely unrelated, I listened to Paul Mauriat and His Orchestra perform the theme from A Man and a Woman (Un Homme Et Une Femme) before getting back to business.  Lastly, I heard the psychedelic, yet soulful rendering of The Windmills of Your Mind by Vanilla Fudge from their 1969 album, Rock & Roll.  I highly recommend it.  It will jangle in your head for quite some time.  For eight minutes and fifty-five seconds, to be exact.

Click to listen:  Vanilla Fudge – The Windmills of Your Mind