Episode 11: I’M STILL IN LOVE WITH YOU

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I’M STILL IN LOVE WITH YOU – Al Green – Hi Records – 1972

Al Green’s 1972 album I’m Still In Love With You is a personal one: an album for smooth Saturday nights and sweet Sunday mornings, for both weddings and double digit anniversaries. It recalls time spent with family, friends, and lovers, and inspires memories to be made in the future. It’s an album made for lasting connections, and is undoubtedly one that is best enjoyed when shared.

In this episode, we examine the foundation of this iconic record and explore the greater musical landscape from which it was born. We discuss the one-of-a-kind house band that gave the album its distinct sound, the Southern stronghold that informed the album’s character, and the producer who oversaw it all, mixing all the elements together to create what is arguably one the greatest American soul records of the 20th century. An album is only as good as the sum of its parts, and here, we examine how I’m Still In Love With You remains an upstanding example.

Listen to I’m Still In Love With You: iTunes | Spotify | YouTube

Subscribe on iTunes

(ps — while you’re there, please rate and review us in the iTunes store so more people can discover us and we can all be friends who talk about music together!) 

Episode notes and postscript corrections

  • Hello! We’re coming to you on a new day now, because ~Summer Fridays~ are life.
  • This in-depth interview with Willie Mitchell shows just how much he has done, and why he was such a BAMF.
  • Wait, wait, wait. “BAMF” this, “bub” that? We throw out some words that aren’t always part of the common lexicon. We get it. Which is why we made this handy glossary to explain what we’re talking about when we talk about Dad Rock, who a “stan” is, and what it means to be “shook.”
  • Again, for the people in the back: Just like a band is the sum of its parts, solo artists are the sum of the people they work with. Countless people go into creating and bringing forth into the world the music that we love. Ignoring their contributions is unacceptable to us.
  • Honestly, for real, if you think you haven’t heard “Green Onions” before, do you live under a rock?
  • Here’s a brief history of Memphis soul and Hi Records’ and Stax’s places within it.
  • Get ready now — we’re going to be swooning about how much we love love and these long relationships Green sings about and saying “I love this song!” a lot this episode.
    • You could play a drinking game if you wanted to, but we don’t endorse that. Please pod responsibly.
  • If you’re new here: we love sequencing — so much that we’ve started using #RespectTheSequence in our liner notes and our Spotify playlists.
  • Here’s a simple, science-y explanation for why sound quality on vinyl can degrade the closer you get to the center of the album — hence, why Carrie assumes making a full, deep song like “I’m Still In Love With You” the very first track was more of a quality control choice than a creative one.
  • The Al Green drum sounds are SO. GOOD. You can thank Al Jackson, Jr. and Howard Grimes for that.
  • Hey! Wish you could listen to all the songs that sample Al Green? Follow us on Spotify, where you’ll get them all in one place on our master playlist.
  • No offense, but you’d have to have a cold, dead battery in the place in your chest where your heart should be if you don’t love “Love and Happiness.”
    • Peep our further watching section below to watch Al Green’s Kennedy Center induction ceremony (and shed a tear or two watching the Obamas grooving together).
  • Listen to Kanye West’sI Met Oprah,” which heavily samples “What a Wonderful Thing Love Is”
    • Throwback to our episode on The Message, where Carrie explained why Kanye is a great producer, even though he’s not a great person.
    • She’s sorry for being a lowkey Yeezy stan. She can’t help it.
  • Listen to Chance the Rapper’s “Give and Take” in our master playlist on Spotify.
    • Chance is a cinnamon roll and we are not embarrassed to stan for him.
  • HELLO! Let’s get slightly off-topic for a few minutes and talk about what a bop “Oh, Pretty Woman” is — particularly THIS BADASS ALL-FEMALE VERSION FROM 1990
    • This is what happens when you go on a YouTube spiral. Embrace those hidden treasures, but share them with others (obviously).
    • This version is STACKED: Emmylou Harris. k.d. Lang. Bonnie Raitt. Tina Weymouth — to name a few.
    • The rest of this concert is STACKED. To name just a few of the other performers: David Crosby. Bob Dylan. John Lee Hooker. B.B. King. Booker T. Jones. Roger McGuinn. Was (Not Was).
    • So, yeah, if anyone can tell us why TF this concert is so buried and unreleased (or, really, if you can help us locate a better quality audio rip), get at us. You would be a friend of the pod for life.
  • Anyway. “For The Good Times” is another cover song on this album.
    • Carly prefers the 1976 Kristofferson-Streisand remake of A Star Is Born. @ her if you disagree.
    • “For The Good Times” sounds a lot like “How Can You Mend a Broken Heart,” to be completely honest.
    • This song is too long in comparison to how short this album is. Bye.
  • We both kind of, sort of think the second side of this album is weak. Good and enjoyable, but it all starts to run together. Tell us if you disagree.
  • Al Green’s life has been interesting since the release of I’m Still In Love With You.
    • Here’s a brief explainer on that girlfriend-burn altercation thing, which was insane.
    • Green went back to gospel music not long after this and is now an ordained reverend who primarily releases gospel music.
  • Just a few artists Green has influenced (and whose music you can find in our playlist): Prince, Sade, James Blake, John Legend, Leon Bridges, John Mayer, Justin Timberlake… the list goes on and on and on.
  • Any questions? We might have answers over on our ever-evolving FAQ page.
  • Come say hi! Follow us on Facebook, @ us on Twitter, or shoot us an email. We love new friends!

Favorite track: Love and Happiness (Carly) | Love and Happiness (Carrie)
Least favorite track(s): For The Good Times (Carly) | For The Good Times and One of These Good Old Days (Carrie) 

Album credits:

  • Al Green — lead vocals
  • Howard Grimes — drums, rhythm section
  • Al Jackson, Jr — drums
  • Ali Muhammed Jackson — drums
  • Charles Hodges — drums, organ, piano
  • Leroy Hodges — bass
  • Mabon “Teenie” Hodges — guitar
  • Wayne Jackson — horn section, trumpet
  • Andrew Love — tenor horn, tenor saxophone
  • Ed Hogan — tenor horn, tenor saxophone
  • Jack Hale, Sr. — horn section, trombone
  • James Mitchell — string and horn arrangements, tenor horn, baritone saxophone
  • Donna Rhodes — background vocals
  • Sandra Rhodes — background vocals
  • Sandra Chalmers — background vocals
  • Charles Chalmers — arranger, horn arrangements, string arrangements, background vocals
  • Larry Walsh — mastering
  • Pam Brady — assistant
  • Pete Welding — assistant
  • Robert Gordon — liner notes
  • Tom Cartwright — project director
  • Willie Mitchell — engineer, producer

Further watching:
Al Green’s Kennedy Center Honors induction | 2014  
Take Me To The River (documentary about Memphis music and bridging the generation gap) | 2014 | Full Documentary (Netflix) • Watch the trailer   
Al Green live concert (source unknown) | 1974
Willie Mitchell on Al Green and Hi Studio | Date unknown
Down To Earth (short doc on Memphis soul) | 2009 

Further reading: 
R&B Gold: Leroy Hodges Goes Hi | Bassplayer (June 2017)
Al Green, the soul legend and Kennedy Center honoree, is still tired of being alone | The Washington Post (December 2014)
100 Greatest Singers of All Time: Al Green | Rolling Stone (December 2010)
Let’s Stay Together/I’m Still In Love With You/Greatest Hits reissue review | Pitchfork (April 2009)
Memphis Magic: The Al Green Sound | Rolling Stone (October 1973)
I’m Still In Love With You review | Rolling Stone (November 1972)
Hi Records’ history | Hi Records official site (date unknown but hella old school and accessed through WayBack Archives because this page doesn’t *actually* exist anymore)

Episode 9: MARQUEE MOON

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MARQUEE MOON – Television – Elektra Records – 1977

On March 31, 1974, a young band called Television played their first gig at recently-opened Bowery dive CBGB. Not long before, they had helped Hilly Kristal put the CBGB stage together; now, they were performing in the club that they would help to immortalize. Television, comprised of Tom Verlaine, Richard Lloyd, Richard Hell (replaced by Fred Smith in 1975), and Billy Ficca, soon became the de facto house band at CBGB, appearing regularly and becoming a staple of the growing scene that would come to include the Ramones, Blondie, Talking Heads, Dead Boys, and Patti Smith, to name a few.

With their popularity growing, the logical next step would have been to record an album, but Television bided their time. They chose to hone their sound, to develop and grow as a band, so by the time they were signed to Elektra Records in 1976, they were more than ready to begin work on what would become the seminal Marquee Moon. Released in early 1977, the album is regarded as one of the greatest of the punk era, containing songs that continue to be referenced today in covers and samples.

We chose this album as the first to be covered from our show’s namesake year because of its grit, its timeliness and timelessness, and its particular way of getting under your skin and making you feel more electrically charged than you were when you began the album. In this episode, we explore how Television’s and CBGB’s beginnings are inextricably linked, dive into Marquee Moon’s darkness and dreaminess, and outline the continuation of the band’s sound, proving that their legacy still thrives today.

Listen to Marquee Moon: iTunes | Spotify | YouTube

Subscribe on iTunes

(and hey, while you’re at it, please rate and review us in the iTunes store so more people can discover us and we can all be pod friends who talk about music together!) 

Episode notes and postscript corrections

  • We are 500 percent here for Fairfield Theatre Company’s Emerging Artists Series. It highlights the importance of providing a platform for developing musicians while simultaneously offering opportunities and experiences to expand a community’s interests with alternative live music you might have to take a trip into the city to hear.
    • If you’re in Connecticut: GO.
    • If you’re in New York: GO. It’s well worth the mini-field trip — people there are astoundingly nice (a teenager told Carly she looked “dope” and meant it) and everything is gorgeous and the venue itself is great. Also, the Metro North train ride was way better than any L we’ve been on, so maybe consider bopping up to Fairfield sometime instead of Bushwick. You know we’ll be there.
    • Here’s more information about the series, its upcoming featured acts, how to get tickets, and all that other logistical good stuff, if you’re interested.
  • If you’re into Kraftwerk, or into electronic music that’s less of that club trap stuff and more analog, atmospheric, transportive, and chill, check out Xeno and Oaklander.
  • If you’re into old-school, hip-hop style DJ sets with sick scratching, funky beats, and danceable samples, check out Kid Ginseng.
  • Brooklyn Flea’s annual record fair is a can’t-miss event and a great chance to score some of those albums you’ve been searching high and low for.  But, it’s extremely difficult to exercise self-control at the record fair. Don’t say we didn’t warn you.
  • 1977 was one of the greatest years of our lives and we weren’t even born yet.
    • Marquee Moon and Rumours were released in the same week. Like. The year was stacked, you guys.
  • RIP CBGB. We didn’t know you personally, but we’ve consumed enough (too much) secondhand information to miss you.
    • An anecdote about how long we’ve been the goobiest nerds: when CBGB was closing, Carrie begged her parents to take her to one of the final concerts. Unsurprisingly, they were like “You are 15 years old. No.” Carly, also 15 at the time, cried and moaned “Nooo, I’m never going to get to go to CBGB!!!!” These are very true stories. You can ask our parents.
    • We do not speak of or even look at the men’s designer fashion store (or even use its name) that’s in CB’s place now. It’s offensive.
    • See our further watching section below to feast on some great docs about Hilly Kristal and CBGB. Just don’t watch the CBGB movie. It’s… not good.
    • Our further reading section is also stacked, by the way.
  • You can listen to Neon Boys’ early demos here for a taste of what Television would become.
  • You can listen to the Brian Eno demos here to understand just how developed their final recorded music was.
  • Marquee Moon was a commercial flop in the U.S., but it was a moderate hit in the U.K., and it ended up on countless year-end best-of reviews (not to mention more 10, 50, and 100 Best of All Time lists).
  • 20th Century Women gets early punk so right, but this quote is particularly spot on: “It’s like they’ve got this feeling, and they don’t have any skill, and they don’t want skill, because it’s really interesting what happens when your passion is bigger than the tools you have to deal with it. It creates this energy that’s raw. Isn’t it great?”
    • What’s so fascinating about Television is that they were punks who had both — talent and passion — and were still able to exude raw energy.
  • We’ve discussed this before, but we love how diverse the CBGB microcosm was. Talk to us about it. We weren’t alive to witness it ourselves.
  • This episode goes out to Karin Berg and many, many other women whose histories have been buried. We’re doing our best to make sure their contributions aren’t forgotten.
  • Apparently “Venus” is about LSD? Or falling in love? Or both? Maybe don’t ask Tom Verlaine, because he’s actually said he doesn’t always understand what he’s writing.
  • Shoutout to basslines you can groove to. We love ‘em.
  • Okay, but “Friction” totally sounds like it could be a Zeppelin song, despite sounding authentically Television at the same time. This just shows how complex their sound could be and how many influences Television pulled in.
    • See our further reading section below to check out the NME review of Marquee Moon and an insanely in-depth interview with Richard Lloyd that covers all the bases. Click on that link. Actually read it. It’s good. Seriously.
    • Lawrence Welk? Really? Really.
  • Fasten your seatbelts, grab your pool floaties, do whatever you gotta do to roll safe. We’re about to tackle “Marquee Moon.”
    • What. A. Side. One. Closer. Honestly. “Stairway to Heaven” is possibly the only song that can come close to comparing.
    • “Marquee Moon” has several runtimes: 9:58 on the original vinyl pressing, 10:38 on subsequent rereleases, and 14 minutes or longer live. As much as we lust after having an OG copy of an album, we gotta say: those extra 40 seconds are so necessary.
    • Where were you when you first heard “Marquee Moon?”
    • No, really, someone wrote an opinion piece arguing that “Marquee Moon” is the best after party song ever.
    • Ranking it eighth in their flawed — we’ve mentioned our disdain for this list before (love you, Pitchfork, but cannot with this), but if you want to talk about it, by all means, contact us — list of the 200 best songs of the ‘70s, Pitchfork got something so, so right, describing “Marquee Moon” as: “punk’s contrarian think piece; a 10 minute odyssey for the dreamers and Deadheads inside CBGB.”
    • There is so. much. imagery. in this song. We would be here for hours if we went through it line by line, but here are the lyrics if you want to give it a stab.
    • RihannaMagic.gif = how it feels when “Marquee Moon” hits 9:15.
  • Yes, that’s “Elevation” you hear sampled in “Lovefool.”
    • Appropriation is the sincerest form of robbery, pass it on.
  • Go with Carrie here: Lindsey Buckingham totally appropriated crazy recording techniques off of punk artists while recording Tusk. Let’s imagine he heard the microphone lasso story and gave it a try.
  • Listen to Tennis’s dreamy cover of “Guiding Light” here.
  • Seriously, though, someone make us a mashup of “Heaven” and “Guiding Light” and we will love you forever. Those basslines.
  • Shoutout to Carly for playing music teacher and giving all of us a walk-through of the popular major-major-minor-major chord formula.
  • Musical scavenger hunts are fun — and we might be the ones to bring up Carole King, Ricky Nelson, and Creedence Clearwater Revival all in relation to Television.
  • Hey! Wish you could listen to all the songs we compared to Prove It? Follow us on Spotify, where you’ll get them all in one place on our master playlist.
  • Television’s legacy, though small in recorded output, is vast in influence, from playing an integral role in the incubator community of CBGB to influencing the sound of countless bands to follow them, from Pearl Jam to R.E.M. to the Strokes.
  • Television still plays live dates together, although with guitarist Jimmy Rip in Richard Lloyd’s place.
    • Television is hitting the festival circuit this summer, if you’re interested.
    • Richard Lloyd is performing solo these days, including a set on June 3 in New York at the Bowery Electric. You know we’ll be there, so if you’re in the area, check it out (and come say hi).
  • As always, say hello on Facebook, Twitter, or email. We’ve had some wonderful conversations and made some great friends of the pod so far, and the more, the merrier.

Favorite track(s): Marquee Moon and Friction (Carly) | Marquee Moon and See No Evil (Carrie)
Least favorite track: Torn Curtain (Carly) | Torn Curtain (Carrie)

Album credits:
Billy Ficca – drums
Richard Lloyd – guitar (solo on tracks 1, 4, 5, and 6), vocals
Fred Smith – bass guitar, vocals
Tom Verlaine – guitar (solo on tracks 2, 3, 4, 7, and 8), keyboards, lead vocals, production

Further watching:
Richard Lloyd interview | 2013
Punk Revolution NYC (Television comes in around part 4, but all parts are enthralling) | 2011
Rock and Roll Punk | 1995
Tom Verlaine interview | 1992
Hilly Kristal interview (Warning: you will get feels) | 1990
The Blank Generation | April 1976

Further Reading:
Television’s Punk Epic “Marquee Moon,” 40 Years Later | Pitchfork (February 2017)
How Television Made Marquee Moon, the Best Punk Guitar Album Ever | The Observer (February 2017)
1976-1978: CBGB’s House Photographer | Mashable (September 2014)
Friction: The Making of Marquee Moon (aka the brilliant, super long Richard Lloyd interview) | Uncut Magazine (March 2012)
Television’s Marquee Moon (from the 33 1/3 book series) | 2011
The Rise of New York’s ’70s Rock Scene | Vanity Fair (November 2002)
Marquee Moon review | NME (February 1977)
Everything is Combustible (Richard Lloyd’s forthcoming memoir) | October 2017

Episode 8: SONGS FOR BEGINNERS

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SONGS FOR BEGINNERS – Graham Nash – Atlantic Records – 1971

The year is 1970. America is in the midst of political turmoil: the Vietnam War faces extensive grassroots backlash, four students are killed at Kent State University in Ohio, and women strike for equality in New York. The music world is not without its share of anguish: the Beatles announce their breakup, American Top 40 is about to make scoring a hit record even more important to artists, and both Jimi Hendrix and Janis Joplin overdose and die within weeks of each other. Graham Nash is dealing with his own personal unrest. Fresh off of two breakups, romantically with Joni Mitchell and professionally with Crosby, Stills, Nash, and Young, and politically charged, Nash takes to the studio to record his debut solo album, Songs For Beginners.

Assembled with the assistance of a slew of members of the crescendoing Laurel Canyon music community, Songs For Beginners succinctly captures the trifecta of traits that have defined Nash’s songwriting: gut-punches of raw emotion, crafted with a pop sensibility in mind, and full of rallying cries for social and political activism. Nash openly and unabashedly shares his most personal feelings, whether they are intimate depictions of heartbreak or outraged shouts, in a manner that will influence folk-rock and indie singer-songwriters for generations to come.

In this episode, we examine Graham Nash’s powerful lyrics and their lasting impression on society, discuss the wealth of music released during the Laurel Canyon era and the importance of creative incubator communities, and get deep into our feels about the relationship between Graham Nash and Joni Mitchell that fueled this album.

Listen to Songs For Beginners: iTunes | Spotify | YouTube

Subscribe on iTunes

(and hey, while you’re at it, please rate and review us in the iTunes store so more people can discover us and we can all be pod friends who talk about music together!) 

Episode notes and postscript corrections

  • We are concert freaks and we saw some really great shows this week, all from artists you should really check out, that we have to call out: Lulu Lewis, Mokoomba, Roya, Wooing, Ryan Adams, Angelique Kidjo and Friends (some of which we aren’t going to talk about or mention).
  • On that note: Hello. Here’s a gentle, diplomatic reminder from your friends at the ‘77 Music Club: Bands are the sum of their parts. Please remember this. We have a lot of opinions (have we met?), but we’ll leave it at that. 
  • See our further watching section for a great short doc of Graham Nash’s history with the Hollies.
  • We love the music of Laurel Canyon. Here’s a playlist.
  • We long for the days of creative incubator communities. Here are some great articles about the Laurel Canyon scene, New York’s punk/post-punk/new wave scene, the Omaha indie rock movement, and the Market Hotel scene in Brooklyn worth checking out if you feel the same way.
  • SO. MANY. PEOPLE. play on this album. Check out the personnel list below. It’s stacked.
  • Pop music doesn’t have to be meaningless, algorithm-pleasing, saccharine drivel. Pass it on.
  • We are going to talk so much about Joni Mitchell and feelings on this episode, so get ready.
    • Here’s something tiny and lovely about Joni and Graham that will make your heart swell.
    • Blue is Joni’s own breakup album, and it heavily features her relationship with Graham. It is one of the most perfect, heartbreaking, profound albums ever. (Sorry if you disagree, but also, if you do, who are you and has your heart been replaced with a cold battery?)
  • For those of you wondering what “shook” or “shooketh” means, here’s a brief definition.
  • Follow our master soundtrack playlist on Spotify to hear how King Midas is a recurring character in Graham Nash’s songwriting.
    • Also, it’s worth noting that CSN songs about Joni Mitchell often use royal, fairy tale language. See: “Guinevere.”
  • A short history of Jerry Garcia just randomly deciding to play pedal steel guitar.
  • David Crosby and Graham Nash both dated Joni Mitchell and remained good friends. They are not friends now. We don’t have nearly enough time to cover their petty drama right now, but the headline on this article about the current state of their relationship is quite entertaining.
  • Here’s a definition of what the “silent majority” is, in case you weren’t alive for Nixon’s presidency or just didn’t pay attention in history class.
  • Preach, DeRay.
  • This is exactly how we feel when we listen to “Simple Man.”
    • Also, this.
    • “If you hold sand too tightly in your hand, it will run through your fingers. Love, Joan.” It’s fine. We’re fine.
    • Graham Nash is a grown man who unapologetically displays all of his feelings and we love him so much for that.
    • Will never be over this photo of Joni and Graham, truly.
    • See the further watching links below for a fantastic interview with Graham from the Library of Congress. His anecdotes on love at first sight are around 45:20.
    • Obviously, they’d never work out, because Joni is the “Cactus Tree.”
    • Okay, pause us for a minute to feel your feelings before the next song. We’ll be here when you get back.
  • Let’s talk about “Chicago.”
    • Oh my God, you guys. We are such nerds and we have always been such nerds, stanning for the ‘60s and ‘70s since at least the age of 12. Thank you for liking us.
    • Here’s a summary of the Chicago Eight (later reduced to seven) trials.
    • This core theme — we must stand up for what is right and fight this systematic injustice — is still so unsettlingly relevant. Can we pause and think about that for a second?
    • Read Graham’s thoughts about that changed “rules and regulations, who needs them?” lyric.
    • Go see Graham Nash live, if you can. “Chicago” is still a showstopper.
    • “Woke bae” is a thing, and Graham Nash is definitely one of the originals.
  • Seriously, we cannot put our finger on what iconic protest songwriter said something in the vein of “people still do write protest songs, the problem is that mass audiences haven’t heard them because of how fragmented the music industry is.” Please hit us up if you end up being better at Google than us. It’s driving us crazy.
  • Let’s try to make “We Can Change The World” the next march song. (We wish we didn’t have to say this right now.)
  • Graham Nash’s influence on artists can be seen anywhere from M. Ward to Fleet Foxes to Bon Iver (watch this live cover of “Simple Man” if you want to feel feelings) and is vast. See 2010’s Be Yourself: A Tribute to Graham Nash’s Songs For Beginners to see just how sweeping.
  • Graham Nash is still “shooting his mouth off” through art, whether it’s touring, recording new albums (his most recent, This Path Tonight, is quite good), painting, or photography. His philosophy is one we are behind 100 percent and one of the reasons why we have a great deal of respect for him: “This is what I do with my life. I get up in the morning and create. What an incredible life I get to lead. [….] I just want to make sure that, with every second I have left of my life, I need to be creating.”
  • Ask yourself: Why did you love music in the first place, and what can you do to add to the story? We’re trying to answer that question every day.
  • As always, hit us up with your thoughts on today’s episode or just to say hey. Like and follow us on Facebook and Twitter, or drop us an email.

Favorite track(s): Simple Man and Better Days (Carly) | Chicago (Carrie)
Least favorite track: There’s Only One (Carly) | There’s Only One (Carrie)

Album credits:
Graham Nash — vocals; guitar all tracks except “Better Days” and “Simple Man”; piano on “Better Days,” “Simple Man,” “Chicago” and “We Can Change the World”; organ on “Better Days,” “There’s Only One,” “Chicago” and “We Can Change the World”; paper and comb on “Sleep Song”; tambourine on “Chicago” and “We Can Change the World”
Rita Coolidge — piano on “Be Yourself” and “There’s Only One”; electric piano on “Be Yourself”; backing vocals on “Military Madness,” “Better Days,” “Simple Man,” “There’s Only One,” “Chicago” and “We Can Change the World”
Jerry Garcia — pedal steel guitar on “I Used to Be a King” and “Man in the Mirror”; piano on “I Used to Be a King”
Joe Yankee — piano on “Better Days” and “Man in the Mirror”
Dorian Rudnytsky — cello on “Simple Man” and “Sleep Song”
Dave Mason — electric guitar on “Military Madness”
David Crosby — electric guitar on “I Used to Be a King”
Joel Bernstein — piano on “Military Madness”
Bobby Keys — saxophone on “There’s Only One”
David Lindley — fiddle on “Simple Man”
Sermon Posthumas — bass clarinet on “Better Days”
Chris Ethridge — bass on “Man in the Mirror,” “There’s Only One,” “Chicago” and “We Can Change the World”
Calvin “Fuzzy” Samuels — bass on “Military Madness,” “Better Days,” and “Be Yourself”
Phil Lesh — bass on “I Used to Be a King”
Johnny Barbata — drums on “Military Madness,” “I Used to Be a King,” “Be Yourself,” “Man in the Mirror,” “There’s Only One,” “Chicago” and “We Can Change the World”; tambourine on “Chicago”
Dallas Taylor — drums on “Better Days”
P.P. Arnold — backing vocals on “Military Madness”
Venetta Fields, Sherlie Matthews, Clydie King, Dorothy Morrison — backing vocals on “There’s Only One,” “Chicago” and “We Can Change the World”

Production personnel:
Graham Nash — producer
Bill Halverson, Russ Gary, Larry Cox — recording engineers
Doug Sax — mastering
Gary Burden — art direction
Joel Bernstein, Graham Nash — photography

Further watching:
Graham Nash: “Wild Tales: A Rock & Roll Life” | 2014
Hotel California: LA From the Byrds to the Eagles | 2007
The Hollies: Graham Nash | Documentary date unknown

Further reading:
Graham Nash Talks Life After Divorce, CSNY’s Future | Rolling Stone (August 2016)
Wild Tales: A Rock & Roll Life | Graham Nash’s memoir (2014)

Episode 6: #1 RECORD

Big-Star-1-Record

#1 Record – Big Star – Ardent Records – 1972

Towards the end of 1971, four young men from Memphis — some established musicians already, some just starting out — came together to record their debut album. Known collectively as Big Star, they delivered a set of songs that were at once intensely intimate and emphatically exuberant. Their music depicted how it feels to have boundless energy with limited places to spend it, coupled with curious, angst-ridden minds in search of kindreds. It is music that encapsulates the essence youth, yet remains universal and relatable at any age. It’s music that is very much of its time, yet still sounds fresh today.

Their debut album, #1 Record, was released in the summer of 1972, and was followed by two more albums in the 1970s before the group disbanded, never reuniting until nearly two decades later. Big Star has since influenced some of today’s most enduring and celebrated artists; publications like Rolling Stone consistently rank the group’s albums among the greatest of all time, so the question must be asked: why is Big Star not a household name?

In this episode, we discuss #1 Record‘s origins, influences, and what kept it from commercial success. We also talk about why it is so personal to us, and why it’s the kind of music that, once found, cannot be forgotten.

Listen to #1 Record: iTunes | Spotify | YouTube

Subscribe on iTunes

Episode notes and postscript corrections

  • Yes, we threw some shade at The Classic. Desert Trip — you’re still okay. We are more than open to discussing opinions on the two classic rock festivals with you.
  • Spotify’s Discover Weekly feature may just be the only thing that makes Mondays suck less, and has led to us discovering a wide variety of music, both new and old. Check yours out and let us know how you like it.
  • Certain music evokes seasonal or weather related feelings for us, and we’re sure we’re not the only ones, but question for the crowd (let us know on Twitter, Facebook, or email): What are your favorite “season” albums? Or, do you have some other off-beat way you categorize music? We’re interested.
  • Here’s a more thorough timeline of the formation and evolution of Big Star.
  • Give us a semi-tragic story of a great album getting “lost” and we will probably love it.
  • We highly recommend the documentary Big Star: Nothing Can Hurt Me. See our further watching links below to watch the trailer and where to find it online
    • Here’s that Twitter thread on the rest of our favorite music docs that we mentioned. Check out ones you haven’t seen yet, or just rewatch some perennial faves.
  • Big Star has been called one of the pioneers of “‘70s power pop,” and, a full definition of what exactly that sub-genre is (because, to be honest, we were a little “okay, clarification, please” when we read this) can be found here.
  • “The Ballad of El Goodo” has been seen in some instances as a Vietnam War protest song, primarily due to these lyrics: “They’ll zip you up and dress you down and stand you in a row / But you know you don’t have to, you can just say no.”  
  • Yes, “In the Street” is the That ‘70s Show theme song.
    • Yes, they actually used a Cheap Trick cover version.
    • Again, no offense to any That ‘70s Show fans or anyone who worked on it, but we did not watch that show. So, sorry, this will be a relatively That ‘70s Show-free podcast.
  • Studio banter is the key to our hearts. 
  • If you’re new here: we love sequencing (so much that we’ve started using #RespectTheSequence), and, save for The India Song, side 1 of #1 Record is quite possibly one of the perfectly sequenced sides of any album, ever.
  • Chris Bell’s struggles with depression, anxiety, and sexuality have been speculated upon for years after his death, and “Try Again” can be seen as a window into his “tortured soul.”
  • Honestly, how can you not want to at least try to be a morning person, even if only for one day, when you listen to “Watch The Sunrise”?
    • Here’s Carrie’s mellow running playlist, good for slow runs when you’re still half asleep, long walks, or just chilling.
    • Carly will definitely be making a playlist with songs she considers to be a “breakfasts,” so stay tuned.
  • If someone can make a mashup of ST 100/6 over The Beatles’ “Because,” that would be so welcomed by us.
  • Big Star influenced a host of modern artists, from Elliott Smith and M. Ward to Wilco and REM. Follow us on Spotify — our master playlist has all the songs we referenced in this episode, along with some choice related music to draw out these comparisons.
  • We discovered this album on the internet, through an algorithm’s ridiculously accurate recommendation. Let us know if you’ve ever discovered (or rediscovered) an analog artist through some sort of digital means.
  • Feel free to get in touch with us! We have had some great conversations so far. We have an ever-evolving FAQ page here, but shoot us an email, like and message on Facebook, and follow on Twitter to get at us with your questions, comments, or just a “hello!”

Favorite track(s): Watch the Sunrise (Carly) | Feel (Carrie)
Least favorite track: The India Song (Carly) | The India Song (Carrie)

Album credits:
Chris Bell – vocals, guitar
Alex Chilton – vocals, guitar
Andy Hummel – vocals, bass guitar
Jody Stephens – drums
Terry Manning – electric piano, harmony vocals

Further watching:
Thank You, Friends: Big Star’s THIRD Live trailer | April 2017
Big Star: Nothing Can Hurt Me trailer | 2012 | Currently available to stream on Amazon

Further reading:
Big Star: #1 Record/Radio City rerelease review | Pop Matters (October 2014)
The Ballad of Big Star | Grantland [ed. note: RIP, Grantland. We miss you.] (July 2013)
The 10 Best Big Star Songs | Stereogum (September 2012)
Depression, Quaaludes, and the Wildest TGI Fridays in America: The Real Story of Big Star | Noisey (March 2012)
You’ve Never Heard Big Star’s ‘#1 Record’?! | NPR (June 2011)
Big Star: The Unluckiest Band in America | NPR (February 2010)

Episode 5: THE SLIDER

t-rex-the-slider

THE SLIDER – T. Rex – T. Rex (UK)/Reprise (USA) – 1972

By 1972, British music had fully renewed itself on the American scene in the form of glam rock. David Bowie, Slade, and Roxy Music were all part of this musical landscape that Marc Bolan and his band T. Rex expanded and exemplified. Glitter, platform boots, sci-fi imagery, and ’50s rock n’ roll roots made this sub-genre exciting, fresh, and new to kids of the ’70s who may not have realized that this was the rock n’ roll of Chuck Berry, Howlin’ Wolf, and Little Richard — just amped up and fuzzed out for the new generation.

T. Rex’s album The Slider made full use of all of these elements to create a vibe that spoke to a new generation of rock fans. The album was the pinnacle of the dreamworld that Marc Bolan created, and it leaves us spellbound more than 40 years later. In this episode, we theorize over some extremely poetic lyrics, attempt to decode Bolan, introduce a new hashtag (#RespectTheSequence), and somehow, somehow connect T.Rex to DJ Khaled.

Listen to The Slider: iTunes | Spotify | YouTube

Subscribe on iTunes

Episode notes and postscript corrections

  • First things first: we haven’t properly met, and we’ve gotten some great questions from listeners about who we are and what we do. You can read more about us (Carly and Carrie) on our about page, and answers to the most frequently asked questions on our new (and ever-evolving) FAQ page here.
  • We sound better! Thanks to our friend Jesse Berney for the mic recommendation.
  • We’re on Facebook! Like and follow us here, or just search for us. We are literally the only thing that comes up when you search 77 Music Club.
    • We’re also on Twitter! We tweet fun things! Follow us!
    • Last shameless self-promotion bit: follow us on Spotify, where we host a master playlist with all the songs we reference in each episode, as well as individual playlists from Carly and Carrie (your favorite kids who like music made before they were born and respect the art of sequencing) covering a slew of different themes, moods, and tunes we’re listening to in our off weeks.
  • Here’s a summary of how T. Rex morphed from psychedelic folk group Tyrannosaurus Rex to glam rock T. Rex.
  • Shoutout to A1 (again — no, this isn’t sponsored, but we wouldn’t be opposed to that…). If you’re in New York or visit sometime, we would love to go record shopping with you. 
  • “Ride a White Swan” was T. Rex’s real breakthrough to glam rock in 1970.
  • The 77 Music Club Soundtrack playlist (our master playlist) has “Metal Guru” and “My Sweet Lord” back to back, for comparison. Listen and let us know your thoughts.
  • Pitchfork placed “Metal Guru” at 154 on their best 200 songs of the 1970s (more about that later) — read what they had to say about it here.
  • “Panic” by The Smiths is also next to “Metal Guru” on our playlist — let us know what you think of the comparison.
  • Can anyone tell us where we can sit in on a college course called Glam Rock 101 (or something comparable)? Thanks.
  • Fun fact: Ringo Starr and Marc Bolan were bros. He did the photography for the album sleeve.
  • Another fun fact: The Slider was one of many albums recorded at the legendary Honky Chateâu. 
  • Hey, remember that time Dylan went electric?
  • Here’s another plug for our master playlist: compare and contrast Sheryl Crow’s “There Goes the Neighborhood” with “Rock On.” Tell us what you think.
  • Our last episode highlighted a band whose method was music first, then lyrics. With Marc Bolan, the lyrics came first, then the music. When met with criticism that T. Rex’s music was often repetitive or formulaic in composition, Bolan explained that this was intentional: the music needed to remain simple to let his complex lyrics shine.
  • “The Slider” definitely references drugs, definitely has exaggerated coke sniffing lines, and allusions to growing pot. Just @ us if you think we’re wrong, but it screams “Hm, do you get high? Do you? I don’t know, why don’t you tell us more.”
    • Jokes aside, RIP Marc Bolan. Bolan died in a car crash in 1977, two weeks before his 30th birthday. An ironic twist to the tragedy: he feared a premature death, so never learned to drive, but still harbored a fascination with cars.
  • We see you with that Max’s Kansas City shoutout in “Baby Boomerang,” Marc Bolan. We see you.
  • Marc Bolan’s lyrics are bonkers poetry and we absolutely love them. Just read “Baby Boomerang” and see for yourself.
    • The songs were mostly nonsense, but rather than sounding like gibberish, Bolan seemed to be speaking in an alien code that, to this today, we’re still not cool enough to decode.” — Pitchfork, getting something right in their deeply flawed (our opinion) 200 Best Songs of the 1970s list.
    • The Shins covered “Baby Boomerang” in 2004 and you should definitely give it a listen.
  • Anyway, here’s “Spaceball Ricochet.”
    • Part of punk rock’s merits was that it heralded in a greater acceptance of songs that weren’t joyous or pompous, rather, songs that were real, songs that were honest about insecurities in their lyrics and weren’t pretending to be cool. We think “Spaceball Ricochet” stands as a precursor to the genre; we’d love to know your thoughts on this hypothesis.
  • Listen to “Buick McCane.” Then listen to the Black Keys. (They’re both in our playlist; and, actually, it’s been noticed more than once that they wrote a song that is basically “Mambo Sun,” so.) Let us know if you think they could totally kill a T. Rex cover.
  • “Telegram Sam” is about Marc Bolan’s accountant, not his drug dealer. Sorry.
  • Hear us out: “Telegram Sam” did the DJ Khaled pep talk before DJ Khaled.
    • Brief background: DJ Khaled is a producer and a (not that great, tbh) rapper who is famous on the internet (Snapchat, mostly) for videos he shares from his daily life, mostly sharing his “major keys” to success. One time he got “lost” at sea on a jet ski and documented the saga. It was nuts.
    • He has a new baby son and likes to share videos in which he gives him inspirational pep talks. Here is our favorite. Google for more. Your heart will thank you.
    • Anyway, DJ Khaled’s “You’re a boss. You’re a don. You’re an icon. You’re a legend. You’re doing such a good job” spiel is the 21st century’s answer to Marc Bolan giving his friends shoutouts: “Telegram Sam, you’re my main man. Bobby’s alright, he’s a natural born poet — he’s just out of sight.”
    • Lesson: Be a good friend. Pep talk your bros.
  • Can anyone tell us what “Rabbit Fighter” is about? Because we are truly stumped.
  • If “Ballrooms of Mars” sounds like a very Bowie-esque title (and song), don’t be surprised— Bowie and Bolan were bros.
  • Blast “Chariot Choogle” in the car, windows down, volume all the way up. You’ll feel amazing.
    • We will definitely be renting a Zipcar (we live in New York; give us a break), picking a road trip, and doing this once the weather gets warm. We will report back.

Favorite track(s): Telegram Sam and Ballrooms Of Mars (Carly) | Metal Guru (Carrie)
Least favorite track: Rabbit Fighter (Carly) | Rabbit Fighter (Carrie)

Album credits:
Marc Bolan – vocals, guitar
Steve Currie – bass guitar
Mickey Finn – percussion, vocals
Bill Legend – drums
Mark Volman (“Flo”) – background vocals
Howard Kaylan (“Eddie”) – background vocals
Tony Visconti – production, sleeve photography, string arrangements
Ringo Starr – sleeve photography
Dominique Blanc Francard – engineering
Freddy Hansson – engineering
David Katz – orchestra contractor
Andy Scott – engineering assistance
Mark Paytress – liner notes
Chris Welch – liner notes

Further watching:
T. Rex – Get It On (Bang a Gong) on Top of the Pops | 1971 (Note: Bolan wears glitter under his eyes in a move that many music historians credit as the ushering in of glam rock)
T. Rex in Concert – Wembley | March 1972
Marc Bolan-Russell Harty interview | 1972

Further reading:
The Slider reissue review | Consequence of Sound (October 2010)
The Slider reissue review | Pop Matters (December 2010)
The Slider box set review | The Quietus (December 2012
The 10 Best T. Rex songs | Stereogum (June 2013)
Revisiting a Glam Milestone, T. Rex’s The Slider | Ultimate Classic Rock (July 2012)
The T. Rex Wax Co. Singles review | Pitchfork (January 2006)

Episode 3: ABANDONED LUNCHEONETTE

abandoned-luncheonette

ABANDONED LUNCHEONETTE – Hall and Oates – Atlantic Records – 1973

Hall & Oates’ Abandoned Luncheonette was the second album that the duo released during their formative years at Atlantic Records. Containing “She’s Gone,” one of their biggest and most recognizable hits, the album does not have a genre that is easy to pinpoint. Part folk, part rock, part soul, the meshing of sounds and instrumentation techniques make this album one that is unique to its time period and resonant to modern listeners.

In this episode, we talk about the legacy of this record and why young listeners can find as much to love within its album sleeves as those who have enjoyed it for decades. We also have some side discussions on the merits of dad rock, saxophones, and instruments as characters, and we reveal the name of our favorite local record store.

Listen to Abandoned Luncheonette: iTunes | Spotify | YouTube

Subscribe on iTunes 

Episode notes and postscript corrections

  • Life comes at you fast
  • Debate amongst yourselves: Is Hall and Oates dad rock or mom rock, one, and two, what is the differentiator between the two?
  • Shoutout to A-1 Records — if you’re ever in New York, be sure to hit it up.
  • If you know what the technical term for “Dad language” is (Fatherese? Dadish?), please let us know.
  • Abandoned Luncheonette was their second album, but the first album Hall and Oates made upon moving to New York from Philadelphia. After their first album failed to perform, they felt they had nothing to lose — thus, the melting pot of influences all on one album.
    • Other people who recorded at Atlantic Studios at the same time: Bette Midler, Aretha Franklin, Bob Dylan, and Led Zeppelin, which blew Hall and Oates’ minds.
  • “Had I Known You Better Then” had a great live version on Daryl Hall’s TV show, “Live from Daryl’s House” — see the further viewing below.
  • This is who Nick the Lounge Singer is, in case you’re not woke.
  • Somehow we made a Father John Misty reference and it works. (Here’s why.)
  • About that rando music video for “She’s Gone”…
    • MTV wasn’t created until 1981, so if you’re like “wait, they had a video,” you’re not alone.
    • Pitchfork included the video for “She’s Gone” in their 25 Best Music Videos of the 1970s, because it is a head scratcher. 
    • John Oates claims he leaked it to YouTube, which, like, okay. You should watch it below in our further watching section.
  • There is a real life abandoned luncheonette. It sat outside Pottstown, PA and, as of 2010, was still standing.
  • Given guitarist/not-quite-producer-but-influential-nonetheless Chris Bond’s Beatles-affinity, the use of horns on “Laughing Boy” isn’t surprising. They can be compared to The Beatles’ “For No One” — an instrument used almost as a way to echo the narrator’s mind. (It works better for Paul McCartney.)
  • Follow us on Spotify and we’ll hit you with that comparison between “Everytime I Look at You” and Joni Mitchell’s “Trouble Child.”
  • Speaking of legacy and influence, The Bird and the Bee recorded an entire album of Hall and Oates covers in 2010.
  • The Chocolate Watchband, the band that Carly mentioned she discovered on Spotify and thought was a new band, only to find that they were from the late ’60s, was a San Francisco band that was active in the Bay Area at the same time as Fritz, Stevie Nicks’s and Lindsey Buckingham’s pre- Buckingham Nicks band.
  • We would really love to talk to you about how millennials can all carry the torch for old music. Like, would really, really love to talk to you about it.

Favorite track: When The Morning Comes (Carly) | When The Morning Comes (Carrie)
Least favorite track: Laughing Boy (Carly) | Las Vegas Turnaround & I’m Just a Kid (Don’t Make Me Feel Like a Man) (Carrie)

Album credits:
Daryl Hall – lead vocals, mandolin, electric piano, keyboards
John Oates – lead vocals, acoustic guitar, wah-wah guitar
Joe Farrell – oboe, tenor saxophone, alto saxophone
Hugh McCracken – electric guitar
Chris Bond – mellotron, electric guitar, synthesizer
Steve “Fontz” Gelfand – bass
Bernard Purdie – drums
Ralph MacDonald – percussion
Jerry Ricks – acoustic guitar
Rick Marotta – drums, percussion
Gordon Edwards – bass
Richard Tee – piano
Gloria Agostini – harp
John Blair – electric vi-tar
Marvin Stamm – flugelhorn
Larry Packer – fiddle
Mark Horowitz – banjo
Arif Mardin, Christian Bond, Donald Wanner, John Oates, Kathy Mae Hohl, Ronald Wanner, Walter F. Hohl – “humanity chorus”

Produced by Arif Mardin
Production Assistant: Christopher Bond
Recording & Engineering: Alan Ade, Jimmy Douglass, Lewis Hahn, Joel Kerr, Gene Paul
Recorded at Atlantic Recording Studios and Advantage Sound Studios (New York, NY)
Mixing: Christopher Bond, Jimmy Douglass
Mastered By Stephen Innocenzi at Atlantic Recording Studios
Album Design and Photography: B. Wilson
Coordinator: Tommy Mottola

Further watching
“Had I Known You Better Then” from Live from Daryl’s House (2008)
“She’s Gone” — original music video from 1973

Further reading
How Hall and Oates Found Themselves on Abandoned Luncheonette | Ultimate Classic Rock (November 2015)
Graded on a Curve: Hall & Oates, Abandoned Luncheonette | The Vinyl District (February 2014)
Hall & Oates: 40 Years of Abandoned Luncheonette | American Songwriter (February 2013)
The Story of the Abandoned Luncheonette, AKA the Rosedale Diner | Diner Hotline Weblog (August 2010)
Hall and Oates, Abandoned Luncheonette | Pop Matters (June 2007)
Hall and Oates: The Self-Righteous Brothers | Rolling Stone (January 1985)

Episode 1: BUCKINGHAM NICKS

HOSTS’ NOTE: This podcast was born from an idea that predates the 2016 election. We kept pushing the release date back, thinking, “Does anyone really want to listen to a music podcast right now?” The answer to that will probably change daily, but the conclusion we came to is this: art is not going to stop. We will not stop auditioning, playing music, writing, or following any of our other passions. We need the arts — the joy, escapism, and enlightenment they bring — now more than ever. The albums we love will play on, so we will continue to talk about them. We are sure there will be times in the future when it feels trite to do this, but as long as music heals and uplifts, we’ve got a podcast to bring to you.

“Does anyone remember laughter?” — Robert Plant

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BUCKINGHAM NICKS – Buckingham Nicks – Polydor – 1973

Two years before joining Fleetwood Mac, Stevie Nicks and Lindsey Buckingham had no idea what lay ahead of them. They were just two kids who wanted to make great music — and they just happened to be in love.

A cult favorite of Fleetwood Mac fans, this album is curiously still only available on vinyl. While bootlegs of the album can be streamed on YouTube, it has never been (officially) released on cassette, CD, or to streaming services like Spotify. This is perhaps part of the attraction to the album — this is music that doesn’t outright present itself; it must be found.

In this episode, we discuss why we both call this album our favorite of all time, what makes it unique, and why it still takes our breath away hundreds of listens later.

Subscribe on iTunes

Episode notes and postscript corrections

  • Lindsey was already in high school band Fritz Rabyne Memorial Band (later shortened to Fritz) when Stevie was asked to join in mid-1967 to replace the lead singer.
    • From 1968 to 1971, Fritz was Stevie Nicks on lead vocals, Lindsey Buckingham on bass and vocals, Brian Kane on lead guitar, Javier Pacheco on keyboards, and Bob Aguirre on drums.
    • Listen to live recordings of Fritz here.
  • Buckingham Nicks was recorded at the now-iconic Sound City studios in the Valley, working closely with producer Keith Olsen and friend and engineer Richard Dashut.
    • Keith Olsen’s production credits include albums with artists like Fleetwood Mac, Grateful Dead, Rick Springfield, Joe Walsh, and more.
    • Richard Dashut went on to serve as a producer and engineer with Fleetwood Mac and Lindsey Buckingham from 1977 to 1995.
    • The Buckingham Nicks song “Crying in the Night” was the first song ever to be recorded on Sound City’s Neve analog console, known for its rarity, unique, warm sound, and extensive mixing capabilities. (This console now resides in Dave Grohl’s recording studio.)
  • The album cover imagery was shot by guitarist Waddy Wachtel’s brother, Jimmy, and features Stevie and Lindsey topless (but totally safe for work!). Stevie was hesitant to remove the expensive silk blouse she bought for the photoshoot with some of their last money. She was mortified that the final choice was one of the nude photos.
  • Listen to all three versions of Crystal (discussed 20 minutes in) and tell us which one is your favorite: Buckingham Nicks | Fleetwood Mac | Stevie Nicks 
  • A “simmering in the South” is definitely a way they described their cult following in Alabama — on more than one occasion.
  • About that European influence on “Long Distance Winner”… Stevie says it’s Greek, which, like, okay.
  • Buckingham Nicks went on a brief tour in the winter of 1974 before ending their live run with four shows in Birmingham, Tuscaloosa, and Jacksonville, Alabama in January 1975.
  • Stevie and Lindsey joined Fleetwood Mac on New Year’s Eve, 1974, after Mick Fleetwood extended an offer to Lindsey and he replied, “Well, you gotta take my girlfriend, too.” Initially thinking of the gig as a temporary way to make a little money, Buckingham Nicks continued to hold onto their brand, contributing background vocals and production credits on albums like Warren Zevon’s Warren Zevon, Walter Egan’s Fundamental Roll, and John Stewart’s Bombs Away Dream Babies until the success of Fleetwood Mac and Rumours pretty much decided their well-documented fate.

Favorite track(s): Crying in the Night & Frozen Love (Carly) | Frozen Love & Stephanie (Carrie)
Least favorite track: Lola (Carly) | Django (Carrie)

Album credits:

  • Lindsey Buckingham – vocals, guitars, bass guitar, percussion
  • Stevie Nicks – vocals

Additional personnel:

  • Waddy Wachtel – guitars
  • Jorge Calderón – percussion
  • Jim Keltner – drums
  • Jerry Scheff – bass guitar
  • Peggy Sandvig – keyboards
  • Richard Hallagan – string arrangement
  • Monty Stark – synthesizer
  • Mark Tulin – bass guitar
  • Ronnie Tutt – drums
  • Gary ‘Hoppy’ Hodges – drums, percussion

Production:

  • Producer and engineer: Keith Olsen
  • Executive producer: Lee Lasseff
  • Assistant engineer: Richard Dashut

Further watching:
Sound City documentary trailer
Stevie Nicks’s solo performance of “Crying in the Night” in 2016

Further reading:
How the Elusive ‘Buckingham Nicks’ Established Stevie Nicks’s Songwriting Voice | NPR Music (January 2018) ed note: this is by Carrie so we’re a lil biased
Stevie Nicks and Lindsey Buckingham made a fine pop record pre-Fleetwood Mac | AV Club (Sept. 2015)
How Sound City Rocked Dave Grohl’s World | The Wall Street Journal (Jan. 2013)
Recording Studios May Die, but the False Mythology Around Them May Not[on Sound City] | The Atlantic (Dec. 2012)
Buckingham Nicks reveal future plans in interview | Birmingham After Dark (Feb. 1975)