With the proliferation of music video clips – my mind can’t help but hark back to the very first screening of MTV when I was a teen and of course the now iconic “Video Killed The Radio Star” soundtrack by the Buggles.

Since then of course – up and coming performers have come and gone – but their music clips live on.

From Robert Palmer and his “Simply Irresistable” clip in the early 80’s through to Jamiroquai’s, “Virtual Insanity”, Radio Head’s “Just” and my personal favourite , Christopher Walken and Fat Boy Slim’s “Weapon of Choice”, there have been some absolute classics.

Sure – Michael Jackson went a ‘little’ over the top with “Thriller” – and Basement Jaxx might not be quite your cuppa tea – but you’ve gotta take your hat off to those who help visualize the airwaves.

But what have been the classics that have reverberated with you?

Perhaps Cher and the Missouri Battleship gun imagery thing lngers or even Olivia’s “Let’s Get Physical” piece of 80’s steam/cheese is one for the punters.

Shania Twain and her bevy of boyfolk or is there something just a little more creative and errr tasteful?

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OK - so maybe she won't make the grade . . . but who would?

When conversation turns to music – there’s no holding back – we all have our favourites.

But given the chance – who would you include in your ultimate rock band?

 I’m not talking a cast akin to the Mormon Tabernacle or Earth, Wind and Fire for that matter – but a five-piece gods of rock ensemble.

Notwithstanding all you fans of country and western, gospel, jazz, hip hop or techno – I’m looking for hard-nosed, bull at a gate, classic bastions of the grail.

But first – a few simple rules.

 1) Your band can consist of either the here and now, the dead and buried or a combo of both.

2) You need to include a drummer. Now despite what you may have heard – drummers aren’t a bad bunch. Not necessarily the top of genetic musical tree – but the lynchpin to any successful group. Perhaps its Keith Moon, Ringo Starr or Phil Collins. Maybe John Bonham, Buddy Rich or Mick Fleetwood – the choice is entirely yours.

3) Then you’ll need a bass player. Situated just slightly higher on the periodic table of elements needed for a band to make it big time. It could be anyone from Roger Waters to Paul McCartney, John Entwistle to your own personal legend.

4) You’ll need a lead guitar. What’s to be said? Insert here some of the greats of our time including Jimmy Hendrix, Slash, Eddie Van Halen or even an Eric Clapton.

5) A front man (or woman). Yep – you’re going to need a lead vocalist. Has John Lennon, Mick Jagger, Bono or James Brown got what it takes. Perhaps Sheena Easton – hmmmmm – perhaps not!

6) PLUS one more of your choosing – (tambourine and castanet players not included) So there you have it! Wax lyrical and get into that headspace.

We’re getting the band together Elwood.

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‘The sirens are screaming and the fires are howling

Way down in the valley tonight . . . ‘

Could it be that the unmistakable melodic prose of Jim Steinman mixed with the bombastic style of one Marvin Lee Aday – better known to us all as ‘Meatloaf’ – afforded the world one of the greatest rock albums (commercially at least) that we’re ever likely to see?

Bat Out Of Hell (released in 1977) surely resides in either the mind or collection of every music lover – regardless of genre.

Still selling an estimated 200,000 copies each year, we know there’s at least 40 million fans out there who have willingly parted with their ‘hard-earned’ just so they can recount the delights of what Rolling Stone rated in its Top 500 Albums of all Time.

In fact it’s only one of two albums that have never actually exited the top 200 in the UK charts.

Facts aside – the album cover alone is a frame-able piece of pop art –
while culturally it is probably best remembered for the rock operetta “Paradise by the Dashboard Light.”

Without doubt the most thesponian and spectacularly dynamic piece on the album, it features wailing vocals extravagances and what reviewer Steve Gdula penned as being a “testosterone-crazed tenor in an incremental game of sexual bargaining with the resistant, but willing, Ellen Foley.

“By employing exaggerated power chords, screaming vocals, over-the-top arrangements, and a sense of rock & roll as Broadway theater, Bat made Meat Loaf a star. “

One thing is certain – Bat Out Of Hell provided an Everest for both Steinman and ‘Meat’ – a summit that they’ve never quite managed to reach since.

Collectively though – we – their musical Sherpa’s will continue to delight in the achievement.

I think somebody somewhere must be tolling a bell . . .

Click here to listen to Bat Out of Hell

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“Rock ‘n roll’s been going downhill ever since Buddy Holly died.”

Hardly the definitive piece of historic movie dialogue but  . . .  salient in it’s context none-the-less.

. . . Happy Days, Grease, Sha-na-na, Laverne and Shirley, Back to The Future Part 1 . . .  there’s little doubt that for the latter part of the 70’s, we were collectively captivated with the romance of the 1950’s.

Strangely enough though – it was a movie set in the 60’s which is uniformly acknowledged as the catalyst for the fervour which swept up most of English speaking world.

Click Here to Watch Trailer

American Graffiti – starring a young Richard Dreyfuss, Ron Howard, Cindy Williams, Mackenzie Phillips, Suzanne Sommers Harrison Ford, Joe Spano and Charles Martin Smith – to name just a few – recreated the feel, landscape, and sounds of early 60s, in small-town America – an historical time period (of JFK’s Presidency and the New Frontier before the jarring assassination of late 1963).

Advertising posters and theatrical trailers for the film asked: “Where were you in ‘62? . . . yet strangely enough the film (by Star Wars director – George Lucas – is credited with birthing the 50’s TV and film phenonomen.

Admittedly there were over 300 pre-1962 cars used in the 1973 film and the soundtrack featured an absolute fistful of songs harking back to the likes of Bill Haley and Comets with Rock Around the Clock, Johnny B. Goode by Chuck Berry and the Buddy Holly classic – That’ll be The Day.

But perhaps a less tangible (but very real) reason behind the film’s success (which was produced in just 28 days) is the measurable feel for a seemingly more innocent time – when cool music, hot cars, tough guys and cute chicks were the order of the day.

Of course this wasn’t lost on film and television producers either – and with the 60’s a little too reviled (and recent) in people’s minds – then the 50’s backdrop proved the perfect formula.

And so the era was re-birthed – Hollywood style.

It goes without saying that many of the film’s stars went on to receiving regular pay cheques, appearing in hit TV sitcoms such as Happy Days, Laverne and Shirley, One Day at a Time, Three’s Company and Hill Street Blues.

And although the film was nominated for five Academy Awards including Best Picture, Best Supporting Actress, Best Director, Best Original Screenplay, and Best Film Editing, it came away empty-handed.

In the words of Fats Domino – Ain’t That A Shame.

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Ya know – there are annoying songs, truly awful songs and then there are just plain – ‘you’re messin’ with my mind’ songs – that we just can’t stomach.

Trouble is of course – that collectively we would never hear these through mainstream sources such as radio – if they didn’t at least have a modicum of support.

For example – if I never heard – “My Heart Will Go On” from Celine Dion, “Shiny Happy People” from REM or “Tainted Love” from Soft Cell – it would be too soon.

Of course novelty songs such as ‘Day Trip to Bangor”, “Convoy” or “Disco Duck” don’t really count – but I suspect that’s another post altogether.

So what songs could you live without ever hearing again?

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They say that music matters most when you’re a teenager.

Apparently (as reported in an article appearing the in the SMH back in 2004) it is a ’social lubricant and signifier in your 20s and represents the person you remember you were (and wish you were still) when you’re in your 30s and 40s’.

“Along the way you go from searching out the thrill of the new to pondering the strangeness of the new to dismissing the inadequacies of the new.

“If you believe there hasn’t been a great band since (insert your preferred period here) ask yourself: do I really want to hear new music? Do you read about new bands, new songwriters? Do you want to be challenged to think differently or do your prefer to have your tastes confirmed?

“The chances are if you’re already past your mid-20s you did (or should, if you’re being honest) answer no to those questions. Just like every generation you are stuck in the music of your youth and young adulthood.

“And there’s nothing wrong with that. Who says you have to like or care about any new music, whether it’s new to you in 1967, 1977 or 2007?”

That said – there are song’s that live in everyone’s mind – songs – as so eloquently penned by ELO in the mid 70’s – that you simply can’t get out of your head.

So at the risk of having those very tunes resonate throughout the day – what’s yours?

Click Here to listen to ELO and Cant Get It Out of My Head

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Damn – that’s a tough one!

Conversation turned to this at a party held in the confines of the Doctor’s palatial residence recently – and the jury was still out 2 hours after the topic was raised.

Jimmy Hendrix vs Elton John, The Beatles v the Bee Gees, the Moon Landing vs Star Wars – the lists were endless – or seemingly at least.

The 70’s was afterall a time when Grease was the Word that We Heard, and The Jackson 5 taught us that learning the ABC was as easy as 1-2-3 and flares were either something you wore . . . a distress signal . . . or both.

It was a time when The Fonz was cool, the girls from ABBA were hot and protest marches were on the boil.

We had mood rings and sea monkeys, platforms and pet rocks, safari suits and slinkies Rubiks Cube and Rod Stewart.

We had Rocky, the Brady Bunch and CHiPs and a Million Dollar Man.

We saw Travolta dazzle and Nixon frazzle and we paid homage to a raft of new Hollywood Queens – yet publicity mourned the loss of the one and only King.

So welcome to the 70’s – where Stayin’ Alive was a credo – not a survival technique.

Of course the 60 saw indiginous Australians win the vote – and Americans lose a president.

 . . . when a band of 4 cheeky Monkees were telling us they were Believers

. . . and 4 foreign Beatles were wanting to Hold our Hand

Where Woodstock and the Flintstones both rocked

. . .  and hippies were simply chose to get stoned.

It was time when knee-high boots and Mini Skirts were in – and Vietnam resulted in our troops being shipped out, where The Sound of Music and My Fair Lady waxed lyrical and the Beach Boys waxed surfboards.

It was an era of hope and the Age of Aquarius . . .

So which was cooler?

I’m still getting splinters from sitting on the fence.

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What is it about 70’s music that evokes seemingly mature men to spontaneously adopt a Fender air guitar stance amidst normally civil (yet like-minded) individuals – and women to shun their inhabitations and regail in either the Nut-Bush or encouraging their girlfriends to join them on the dance floor – simply because “I love this song”?

One hit wonders including the likes of Patrick Hernandez or The Knack have a lot to answer for while groups such as the Bee Gees and their almost spirtual Saturday Night Fever album are just the tip of the whole disco iceberg.

Yes – Donna Summer, Roger Voudouris – the list goes on – and so does their music – no matter how good or bad their puritan talent may have been – you’ve gotta love an era where tie-dye was a fashion statement, where you could not only play vinyl but could wear it, where being a fan of big hair, big heels and big jewellery meant you were a big player.

But it was the ‘big acts’ – such as ACDC, Kiss and later Van Halen which led the Air Guitar renaissance – initiated by Chuck Berry and his legendary moves (so visually recreated in both Back to the Future I and II) with Johnny B. Goode.

There’s no doubt about it – the 70’s afforded us so much – yet the air guitar with its wailing six string riffs and hypnotic chord changes is a legacy which has defied the ages.

Go on – admit it – we’ve all done it before (either in the privacy of your own company) or on the dance floor – no doubt to the adulation of those adoring fans around you.

Why, there’s even a US Air Guitar Championship – with auditions in no less than 14 States including Boston, LA, Washington and New York – where those handy with an invisble “Axe” via for $1000 in prize money and a trip to Finland to take part in the World Air Guitar titles.

Yes – disciples unite.

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The Monkees were the quinessential ‘manufacturerd’ pop quartet, assembled in LA during the mid 60’s – purportedly to combat the scourge of the British invasion by bands such as The Beatles.

Marketed to the pre-teen and teen audience – the group is probably best known for its hit TV series – known (strangley enough) as The Monkees.

 Featuring Americans Mickey Dolena, Michael Nesmith, Peter Tork and Englishman, Davy Jones – the group’s rise to stardom came about when two spiring filmmakersBob Rafelson and Bert Schneider  – having been besotted by the Beatles film A Hard Days Night – decided to develop a television series about a fictional rock ‘n’ roll group.

While both Nesmith, a guitarist, and Tork, who could play several instruments were legitimate musicians – Dolenz was in essence an actor (having starred on early TV programs such Circus Boy) and Jones and actor and sometimes session singer.

Spending up to 12-hour days on the set, before being called in to the recording studio to cut vocal tracks, the Monkees were essentially the creation of the recording studio, there were few limits on how long they could spend in the recording studio, and the result was an extensive catalogue of hit after manufactuered hit – with collaborative writers including Neil Sedaka and Carol Bayer Segar.

With Jones sticking primarily to vocals and tambourine (except when filling in on the drums when Dolenz came forward to sing a lead vocal), the Monkees’ act constituted a classicpower trio of electric guitar, electric bass, and drums.

Critics of the Monkees observed that they were simply the “prefab four”, a made-for-TV knockoff of The Beatles but the Beatles took it in stride, and made the Monkees welcome when they visited England. John Lennon publicly compared the Monkees’ humor to The Marx Brothers, George Harrison praised their self-produced musical attempts, saying “When they get it all sorted out, they might turn out to be the best” (Peter Tork was later one of the musicians on Harrison’s Wonderwall Music playing Paul McCartney’s five-string banjo.

The Monkees had several international hits which are still heard on pop and oldies stations. These include I’m A Believer, Daydream Believer, Last Train to Clarksville and Pleasant Valley Sunday along with their signature theme tune from the TV series.

 Despite their seemingly permanent reputation as a made-for-TV act, their hits and many lesser recordings present an enduring quality that has earned respect over the years.

Click Here To Hear The Monkees on YouTube

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We all know that no matter what time of the year it is – Girls Just Wanna Hun!

So when the Pop Doctor’s better half was asked along to a ‘Girls Night Out’ last week – thought it presented an opportunity to list a few Girl Songs – to help get the party started.

I’ve compiled a few here – but girls help me out  . . .

1) Man I Feel like a Woman – Shania Twain 

Click Here for Shania

 2) Ladies Night – Kool and the Gang

Ladies Night

3) It’s Raining Men – the Weather Girls

It\’s Raining Men

4) I’m So Excited – The Pointer Sisters 

Click Here

5) Bad Girls – Donna Summer

Click Here for Bad Girls

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We all have em’

Tunes we secretly love – but are too embarrassed to admit to in mixed company.

Hidden amongst the shelves of our album or CD collections they remain musical recluses to anyone other than you – finding freedom only occassionally – and then no doubt through the sanctity of the ipod.

Sandwiched between Spiderbait and Empire of the Sun pehaps there’s a Michael Bolton classic that you never freely admit to.

Maybe Boy George or Wham have infiltrated your ‘dirty musical secrets list’ or if the thought of a Flock of Seagulls/Roger Voudouris is too much to bear testimony to – perhaps you’d rather post your guiltiest pleasure anonymously.

But remember – when you’re with with good Doc Pop – there is always patient – doctor confidentially – trust me – I’m a xxxxxxxxx

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You’ve been given a mandate by Rolling Stone Magazine to induct five (yes only five) rock n’ roll legends into a hall of fame.

You do the homework, you agonise over the plethora of artists and finally you’ve narrowed it down to eight or nine – the question is who do you leave out?

Would love to hear your what you’ve got to say.

And just to help you get started why not check out http://www.rockhall.com//

Rock On . . .

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OK – so with such a tightly packed field vying for the title of Greatest Guitar Riff of All Time – it comes down to being subjective and (in many cases) the era you hold closest as far as creative palance is concerned.

The contenders are a virtual who’s who of the musical world and straight off the top of my head would cite “Smoke On The Water” by Deep Purple,  “Stairway To Heaven” by Led Zeppelin, “Johnny B. Goode” by Chuck Berry, Iron Man from Black Sabbath, Day Tripper for Beatles fans and even Leonard Skinnards – Sweet Home Alabama.

But what would be yours?

With barely a struck match between artists – and not a whole lot of room to move as each contest for centre stage – I would (for the sake of discussion at least) like to declare my hand in all this as well.

To find out where I stand click on the link below.

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Ever had one of those sorryful moments in your life when the radio and your own self absorbed mind found solice in a particular tune?

Perhaps Kelly Clarkson and Since U Been Gone struck a chord or Gloria Gaynor’s – I Will Survive – maybe even The Eagles – Heartache Tonight is a contender for pulling on the bleeding strings of your soul

The concept itself of listening to woe is me songs after a breakup  doesn’t make a whole lot of sense when in essence we should be trying to cheer ourselves up yet, there’s little doubt that most people tend to spend days, weeks (even longer) after a breakup indulging their misery.

You do reach a point though and whether its Achy Breaky Heart by Billy Ray Cyrus or Always On My Mind by Elvis – we’ve probably all been there done that!

While I’m on the point – it would be interesting to know if these songs vary depending on whether your a fella or a girl.

Does “Hurt” by the Nine Inch Nails mean the same as say Irreplaceable by Beyonce?

Would love to hear your tale of woe.

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Before vinyl became fodder for the retro revolution- album covers were justifyable coming into their own as ‘art’.

The 70’s in particular were a dynamic era in rock art where the marketing needs of the record industry and the aesthetics of rock & roll came together in an often spectacular visual marriage.

OK – so the purists will point to cover design - especially in the jazz field as being the ‘real deal’ as far as pioneers in thei field in the album art – which preceeds even efforts such as The Beatles and their Sgt Peppers or Abbey Road covers.

In fact, Rolling Stone magazine surveyed a panel of distinguished art directors, designers, photographers and editors for what can only be described as a highly subjective list of the 100 greatest album covers of all time – with a number of suprises.

The twelve-inch album cover may be (in the main) dead and buried – but its artistic legacy endures to this day even if it is in miniature on compact disc.

For the record – some of my personal favourites include

Hotel California – The Eagles

Breakfast In America – Supertramp

Dark Side of the Moon – Pink Floyd

Candy-O – The Cars and

. . . and the definitive Goodbye Yellow Brick Road album by Elton John.

Would love to hear if you have any personal favs?

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At what point in your musical journey do you earn the right to be simply acknowledged by your first name?

Is it all to do with marketing or is it fame? Perhaps it’s more to do with your birth name.

Madonna, Prince, Bono are all recognisable by their singular and exclusive moniker – but given some of the labourious titles some of our greatest musicians and pop icons have been lumbered with – is it any wonder they go out of their way to head straight to the deed poll office.

Alice Cooper— Vincent Furnier

Elvis Costello— Declan Patrick McManus

Gary Glitter— Paul Francis Gadd

Engelbert Humperdinck — Arnold George Dorsey

Elton John — Reginald Kenneth Dwight

Marilyn Manson — Brian Warner

Freddy Mercury— Farouk Pluto Bulsara

Cher— Cherilyn Sarkisian LaPierre

Gene Simmons— Chaim Witz

Sid Vicious — John Simon Richie

Bono — Paul David Hewson

 Bobby Darin – Walden Waldo Robert Cassotto

Snoop Dogg – Cordazer Calvin Broadus Jr.

Herb (Peaches & Herb) – Haer Feemster

Adam Ant – Stuart Leslie Goddard

David Bowie – David Robert Hayward Stenton Jones

Irene Cara – Irene Escalera

 . . . and then you get the legendary 50’s idol Sam Cooke who, just to throw his fans off the scent decided to simply add an ‘e’ to his surname, in what was thought, no doubt at the time, to marketing coup.

Any wonder his PR guy was back pumping gas after Sam’s untimely demise.

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