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Rock 'n' Roll Arithmetic
Replies
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This one may take some investigation, but I think it's worth it.
Bob Seger / Tony Danza + Michelle Pfeiffer = [song]0 -
🤦♀️ Hollywood (K)nights... I knew the movie, but thought it was a song they sang together and couldn’t think of what that would've been.0
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That's correct. I wondered if some would think that.
Give us a new one.0 -
A phrase for encouragement + one of the 7 dwarfs + Miss Smart by the zoo animals0
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No one? Should I give a hint?0
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I can find all the dwarf names, but I'm not sure what Miss Smart might be. Also coming up empty on the phrase.
Clue please.0 -
The phrase is two words you might say to someone who is sad. Miss Smart could also be Miss Stapleton or Mr. Simmons0
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The Monkees / Anne Murray -- Daydream Believer
I was sure I read Neil Diamond wrote it, but wikipedia says it was John Stewart. Now I remember it was "I'm A Believer" that was the Diamond song.
The Monkees had a hit with it first.
Then Anne Murray had a hit with it.
I liked the version in the Shrek movie.
A line from the song, "Cheer up sleepy Jean."0 -
Yes! Sorry if that was hard. I couldn't think up decent clues for Daydream Believer. That line had been running through my head all day (however long ago that was).
Nice job! Your turn.0 -
Men's room + Mountain Lion / Hammermill printer supplies + Diamond Wooden Matches = [singer/song]0
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John Cougar / Paper in Fire0
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Haze + Cap / Jester + (3+1) + determiner + large town (group/song)0
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Foghat -- Fool For The City0
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Yes 🙂0
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Reclusive millionaire Howard + Company / Book by Terence Mann in Field Of Dreams = [band/song]0
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Hughes. Hues corporation, as in Don’t Rock The Boat.
Field of dreams is an awesome movie. But it was a long time ago.
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@corinasue1143 That's what I was looking for. Give us a new one.
Terence Mann wrote "The Boat Rocker". On the way back from Minnesota he asked Ray, "Why at 14?" (Why had he refused to "have a catch" with his father.) Ray said, "Because that's when I read 'The Boat Rocker' by Terence Mann."
https://youtu.be/X5NzkADigew 0 -
This day in history.
https://www.history.com/this-day-in-history/mandy-is-barry-manilows-first-1-pop-hit
January 18, 1975
“Mandy” is Barry Manilow’s first #1 pop hit
Barry Manilow’s scores his first #1 single with “Mandy” on January 18, 1975. He would go on to sell more than 75 millions records over the course of his career.
At the height of Barry Manilow’s popularity, none other than Frank Sinatra himself said of Manilow, “He’s next.” Yet even in his heyday, the more youthful arbiters of “cool” were not kind to him. They called Manilow’s music bombastic and schmaltzy, even as Americans devoured his every release. But critics may have missed the point. Barry Manilow never fancied himself hip or cool—far from it. “I have purposely tried not to stay in sync with the times,” he has said. “I just do what feels good.” Even as a teenager in the 1950s, Barry preferred pop standards and Broadway show tunes to Elvis Presley records, and it was his love of this style of music that led to his big break.
While working as a commercial jingle writer/performer and pursuing a recording career with limited success, Manilow met a kindred spirit named Bette Midler. He first became her piano player then graduated to musical director, lending his arranging and orchestration talents to her Divine Miss M album and tour (think “Boogie Woogie Bugle Boy”) on the condition that he be allowed to perform a short set of his own songs during her intermission. It was this experience that landed Manilow a gig as Dionne Warwick’s opening act, which in turn led Clive Davis to take him under his wing at the newly formed Arista Records. Then came “Mandy,” “It’s a Miracle,” “I Write the Songs,” “Looks Like We Made It” and a string of 21 more top-40 hits between 1975 and 1983—hits that helped earn Barry Manilow recognition by Billboard and Radio & Records as the top Adult Contemporary chart artist of all time. His days as a chart artist may now be behind him, but Barry Manilow continues to fill concert venues around the world with fans whose enjoyment of his music seems undiminished by the jokey barbs of the pop-critical establishment.0 -
Just saw this today.
https://www.rollingstone.com/music/music-news/meat-loaf-dies-74-1288550/
January 21, 2022
Meat Loaf, Master of Operatic Rock, Dead at 74
“I Would Do Anything for Love (But I Won’t Do That)” marked one of the most stunning comebacks in rock history
Meat Loaf, the singer and actor best known for his bestselling Bat Out of Hell albums and roles in films as varied as The Rocky Horror Picture Show and Fight Club, died Thursday at the age of 74.
The news was confirmed by the singer’s family in a post on his official Facebook page. A cause of death was not given.
“Our hearts are broken to announce that the incomparable Meat Loaf passed away tonight surrounded by his wife Deborah, daughters Pearl and Amanda, and close friends,” the family wrote. “We know how much he meant to so many of you and we truly appreciate all of the love and support as we move through this time of grief in losing such an inspiring artist and beautiful man. We thank you for your understanding of our need for privacy at this time.”
Meat Loaf first found success on the Broadway stage in the groundbreaking musical Hair, and he had a brief, but memorable role in The Rocky Horror Picture Show as the ill-fated delivery boy Eddie — but it was his 1977 album Bat Out of Hell that turned him into a superstar and rock & roll icon.
The songs on Bat Out of Hell were written by stage composer Jim Steinman, but Meat Loaf’s boundless passion and bravado brought them to life in incredible ways. “I sang every song we ever did in character,” Meat Loaf told Rolling Stone in 2021. “I left me. I was not method. I didn’t have to find something in my past life to be able to sing his songs. I became the song.”
That explains why Meat Loaf always saw himself as a very unique figure in the rock world. “I’m different from Bette [Midler] or Cher or Sinatra,” Meat Loaf told Rolling Stone in 1993. “This might be a huge ego thing, but I tend to think of myself as the Robert De Niro of rock. I know that’s absurd, but my idols are either sports figures or Robert De Niro.”
The Robert De Niro of rock saw Bat Out of Hell go platinum 14 times over thanks to the hit singles “Paradise by the Dashboard Light,” “You Took the Words Right Out of My Mouth (Hot Summer Nights),” and “Two Out of Three Ain’t Bad.” But the pressure to create a follow-up caused Meat Loaf to have an emotional breakdown, and he temporarily lost his singing voice.
It was the beginning of a dark chapter of his life marked by lawsuits, commercially disastrous records, and significant financial woes. “I felt like a leper,” Meat Loaf said in 1993. “I felt like I was on an island with my wife and my two daughters.”
But a miracle took place in 1993 when he re-teamed with Steinman to record Bat Out of Hell II: Back Into Hell. The album went on to sell an astounding 14 million copies, thanks in large part to the worldwide hit single “I Would Do Anything for Love (But I Won’t Do That).” It’s one of the most stunning comebacks in rock history.
Marvin Lee Aday was born in Dallas, Texas, on September 27, 1947. He was a chunky baby and he claimed his father named him “Meat” when he was just four days old. His father was also a violent alcoholic that regularly beat him, and things at school weren’t much better since his large size caused the kids to mercilessly tease him. Things turned around in high school when his stature proved to be an asset on the football team. He also discovered he suddenly had a three and a half octave vocal range his sophomore year after a 12-pound shot landed on his head during a track and field event. (For the rest of his life, he believed the accident somehow created his singing voice.)
When Meat Loaf was just 18, his mother died after a long battle with breast cancer. Shortly after the funeral, his father lunged into the teenager’s bedroom in a state of drunken fury with a butcher knife in his hand. “I rolled off the bed just as he put that knife right in the mattress,” he said in 2018. “I fought for my life. Apparently I broke three ribs and his nose, and left the house barefoot in a pair of gym shorts and a T-shirt.”
Seeing no reason to remain in Texas, Meat Loaf moved to Los Angeles to seek out a career in show business. He formed a group called Meat Loaf Soul and opened up for acts like Taj Mahal and Janis Joplin, but he didn’t find any traction until he was cast in Hair in 1968. That led to a record contract with the Motown subsidiary Rare Earth and a 1972 album of duets with female singer Shaun Murphy under the banner Stoney & Meatloaf.
When the album failed to find an audience, he moved to New York and was cast in the Public Theater’s production of More Than You Deserve, a musical created by Steinman. Meat Loaf’s big moment in the show was “More Than You Deserve.” “When I sang [that] song, everyone stood on their feet and went crazy,” Meat Loaf told Rolling Stone last year. “That happened every night, all week. By the end, I was going, ‘Maybe I should work with this guy Steinman. People tell me I can sing, but I’ve never sang like that.'”
Steinman and Meat Loaf formed a tight bond that only strengthened when they hit the road with the National Lampoon road show. Steinman played piano and Meat was the understudy to John Belushi, but during downtime they started to work on songs and dream of a collaborative album. It took a while to actualize, and in 1975 the partnership took a slight pause when Meat Loaf took the role of pompadoured motorcycle freak Eddie in The Rocky Horror Picture Show. The duo finally managed to release Bat Out of Hell in October 1977 thanks to help from Steve Popovich of Cleveland International Records and producer Todd Rundgren.
Critics dismissed Bat Out of Hell as a ludicrously overblown mess, but relentless touring and an appearance on Saturday Night Live managed to win over a huge fan base. “Saturday Night Live broke the egg and Bat Out of Hell spilled out all over the world,” Meat Loaf said last year. “We went from selling no records at the end of May to being five times platinum. From that point on, I was always at 11. I would get up, go the morning radio, go to soundcheck, do interviews, do the show, sometimes go to a radio station after the show. I’d go to the Rocky Horror Picture Show screenings.”
The attempt to record a follow-up was as absolute disaster. “The problem was with a million different forces — his manager, his lawyers, his vocal cords, his brain,” Steinman told Rolling Stone in 1993. “I actually just left. I spent seven months trying to make a follow-up to Bat out of Hell with him, and it was an infernal nightmare. He had lost his voice, he had lost his house, and he was pretty much losing his mind.”
By the time he emerged from the madness in 1981 with Dead Ringer, Meat Loaf’s fans had moved on and the album was a huge commercial disappointment. Follow-up albums Midnight at the Lost and Found, Bad Attitude, and Blind Before I Stop fared even worse and Meat Loaf wound up declaring bankruptcy.
“It was horrible,” Meat Loaf said in 1993. “The kids took a beating. My wife would try to write a check at the grocery store, and they wouldn’t take it, even though it was fine. So I just worked. I always have. No big deal.”
But he never stopped touring, particularly in Europe where he maintained a loyal audience, and he found acting work in movies like Wayne’s World, Leap of Faith, and The Gun in Betty Lou’s Handbag.
Throughout this time, Steinman continued to write hits for the likes of Air Supply, Bonnie Tyler, and Barbra Streisand. After years of talk and false starts, he finally got back together with Meat Loaf in 1993 for Bat Out of Hell II: Back Into Hell.
“Jim doesn’t know this,” Meat Loaf told Q before the album came out, “But a psychic told me that Jim has written his best stuff already and he’ll never write like it again. If this doesn’t do 3 or 4 million, it’ll be a cold day in hell before they let us do another.”
The psychic was a bit off. Bat Out of Hell II became the least likely hit album of the grunge era, and leadoff single “I Would Do Anything for Love (But I Won’t Do That)” was, far and away, the biggest song of his entire career. The album hit Number One on the Hot 100 and he won a Grammy for Best Solo Rock Vocal Performance.
Meat Loaf was suddenly a household name again, and he landed acting jobs in everything from Spiceworld to Nash Bridges — including a memorable role as *kitten* Tits in Fight Club.
The follow-up albums to Bat Out of Hell II: Back Into Hell were largely underwhelming affairs that were made without the cooperation of Steinman, and their attempt to craft a true Bat III fell apart when Steinman had a stroke. There were also many lawsuits between the two parties, but Meat Loaf felt the public didn’t truly understand them.
“We never sued each other, no matter what people write,” he said in 2021. “It’s a *kitten*’ lie to say otherwise. I never sued Jim. Jim never sued me. Our managers sued each other. But my heart never sued Jim. And I know Jim’s heart never sued me.”
Meat Loaf continued his heavy tour schedule through the 2000s, but the sheer physicality of his stage show began taking a toll on his health. He collapsed onstage in 2016 while singing “I Would Do Anything for Love (But I Won’t Do That)” at a show in Edmonton, Canada. It wound up being the last tour of his career.
When Rolling Stone caught up with him at his Texas home in 2018, he said he spent much of his time watching reruns of Law and Order and Blue Bloods, playing the online role-playing game Gladiator, and arguing with fans on his Facebook page. But he did acknowledge that his once-mighty singing voice wasn’t what it used to be.
“What’s different now is the tone of my voice,” he said. “They call it flat or out of key. It’s not. It’s just that my tone is completely different from what it was, and there’s nothing I can do about it.”
When Steinman died in 2021, Meat Loaf spent two days on the phone with Rolling Stone talking about their long partnership, pausing occasionally to cry. “I don’t want to die, but I may die this year because of Jim,” he said. “I’m always with him and he’s right here with me now. I’ve always been with Jim and Jim has always been with me. We belonged heart and soul to each other. We didn’t know each other. We were each other.”
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This day in history.
https://www.history.com/this-day-in-history/america-meets-the-beatles-on-the-ed-sullivan-show
February 09, 1964
America meets the Beatles on “The Ed Sullivan Show”
At approximately 7:12 p.m. Central time, Sunday, February 9, 1964, The Ed Sullivan Show returned from a commercial (for Anacin pain reliever), and there was Ed Sullivan standing before a restless crowd. He tried to begin his next introduction, but then stopped and extended his arms in the universal sign for “Settle Down.” “Quiet!” he said with mock gravity, and the noise died down just a little. Then he resumed: “Here’s a very amusing magician we saw in Europe and signed last summer….Let’s have a nice hand for him—Fred Kaps!”
For the record, Fred Kaps proceeded to be quite charming and funny over the next five minutes. In fact, Fred Kaps is revered to this day by magicians around the world as the only three-time Fédération Internationale des Sociétés Magiques Grand Prix winner. But Fred Kaps had the horrific bad luck on this day in 1964 to be the guest that followed the Beatles on Ed Sullivan—possibly the hardest act to follow in the history of show business.
It is estimated that 73 million Americans were watching that night as the Beatles made their live U.S. television debut. Roughly eight minutes before Fred Kaps took the stage, Sullivan gave his now-famous intro, “Ladies and gentlemen…the Beatles!” and after a few seconds of rapturous cheering from the audience, the band kicked into “All My Lovin’.” Fifty seconds in, the first audience-reaction shot of the performance shows a teenage girl beaming and possibly hyperventilating. Two minutes later, Paul is singing another pretty, mid-tempo number: “Til There Was You,” from the Broadway musical Music Man. There’s screaming at the end of every phrase in the lyrics, of course, but to view the broadcast today, it seems driven more by anticipation than by the relatively low-key performance itself.
And then came “She Loves You,” and the place seems to explode. What followed was perhaps the most important two minutes and 16 seconds of music ever broadcast on American television—a sequence that still sends chills down the spine almost half a century later.0 -
This radio station is counting down the Top 20 best Double Albums (as voted by their listeners)
Here's a link if you'd like to follow along:
https://wmgk.com/event/the-mgk-top-20-double-albums/
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AT40 in 1971.
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This game had a long run and kind of ran out of steam. Let's try and jumpstart it again.
The Rules:
Take two (or more) facts and make an equation. When you add them together you get the answer.
Examples:
Abba + Napoleon = Waterloo
Elton John + The Wizard of Oz = Yellow Brick Road
Post the addition problem without the answer. The person who answers the question earns the honor of posting the next Rock 'n' Roll Arithmetic problem.
Here goes...
John Fogerty + Willie Mays =0 -
Centerfield
The Monkees + Ms. Tyler Moore, Ms. Blige0 -
Mary Mary
Bob Seger + The Lone Ranger =0 -
The Silver Bullet Band
B.J. Thomas + Paul Newman =0 -
Raindrops Keep Falling on My Head ?0
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Steve Miller + Jack Nicholson =0
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