What a way to make a livin’

Some rock musicians became such worldwide celebrities that it’s hard for us to imagine them in their pre-fame days. But at some point, they all were like the rest of us, toiling away at temporary, dead-end jobs, before they pursued their musical dreams and became household names. Perhaps it shouldn’t be surprising that most future stars came from humble beginnings, holding odd jobs that ranged from boring or unpleasant to exotic or bizarre.

Let’s take a look at 20 big rock stars and some of the curious lines of work they dabbled in when they were young and struggling.

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Freddie Mercury, along with Queen drummer Roger Taylor, ran a market stall in London’s Kensington Market, selling their own artwork, along with second-hand clothes.  They enjoyed it enough to keep the vendor space open from 1969 until 1973, even after the release of Queen’s debut LP.  It wasn’t until late 1974 that they became stars when “Killer Queen” rocked the charts.

In the mid-’60s, Tom Waits was hired as a dishwasher at a pizza parlor in San Diego but was soon promoted to pizza cook.  He wrote about his experience in his song “The Ghosts of Saturday Night (After Hours at Napoleone’s).”  Through his first 25 years, Waits managed only a cult audience, wallowing in the lower ranks of the US Top 200 album chart until finally reaching the Top 30 in 1999, but critics have praised his honest lyrics and jazz-inflected musical arrangements.  You might want to check out his first four albums, especially his superb 1973 debut LP, “Closing Time.”

In 1975, already age 30, Debbie Harry had worked as a waitress at Max’s Kansas City club in New York City, and then spent a few months as a Playboy bunny in New York City’s Playboy Club.  She later dyed her hair bright blonde, and became a sensation as the lead singer of Blondie, with huge hits like “Heart of Glass,” “Call Me” and “Rapture.”  She said she dealt with the clientele’s leers and gropes by dabbling in drugs to numb her to the experience.  “I was often half asleep and didn’t much notice, or care, what was going on.”

David Jones’s first job, at age 13, was as a delivery boy for a local butcher in a London suburb.  He used the money he earned to pay for saxophone lessons, and within three years, he became a professional musician and changed his name to David Bowie to differentiate himself from Davy Jones of The Monkees.  Suffice it to say Bowie’s extraordinary five-decade career ensured there was no mistaking the two David Joneses.

Ozzy Osbourne, who soon afterwards found himself the front man of the pioneering heavy metal band Black Sabbath, spent about nine months working in a slaughterhouse.  “The smell was repulsive,” he said.  “I had to slice open the cow carcasses and get all the gunk out of their stomachs.  I used to vomit from it every day.”

When he was 18, Mick Jagger worked part time as a porter in a psychiatric hospital, losing his virginity to a nurse in a storeroom. At the time, he was weighing the advantages of pursuing his passion for rock and roll or continuing as a student at the London School of Economics, where he was working toward a degree in business with an eye toward journalism or politics.  He co-wrote and performed some of the most iconic songs of the past 60 years, and his business schooling also helped make him one of the richest rockers of all time.

Long before joining the Jeff Beck Group, then Faces, and finally a lengthy solo career with multiple top-selling albums and singles, Rod Stewart spent time working in Highgate Cemetery in London, mostly mapping out burial plots but also periodically digging graves.  He also did a stint working in a funeral parlor, greeting guests at wakes and driving hearses.

Patti Smith — famous for her influential 1975 debut album “Horses” and breakthrough “Easter” LP in 1978, which included her version of Bruce Springsteen’s “Because the Night” — worked at a toy manufacturing company for a few months, assembling boxes and sometimes testing toys before packaging.  “I guess it was kind of fun checking out toys, but mostly they made me do the drudge work,” she recalled.  “The women who worked there were incredibly mean to me, I guess because I was too rebellious for them.  A horrible experience, for the most part.”

After Simon & Garfunkel’s 1964 debut album (“Wednesday Morning 3 A.M.”) bombed, the duo went their separate ways.  Paul Simon headed to England and tried his hand at “busking,” playing for spare change in the London subways, but Art Garfunkel put his college degree to work teaching high school algebra in Brooklyn.  Apparently, he was pretty good at it, because the principal said he was sorry to see him go when “The Sound of Silence” was re-released (with a folk-rock arrangement) and rocketed to #1 in 1966, and the duo quickly reunited and went on to become superstars.

Madonna had always been ambitious, earning great grades and hoping to do well with her natural instinct for modern dance.  Although she won a scholarship for dance at the University of Michigan, she dropped out at age 20 and moved to New York City to pursue a professional career in dance, but she had no support and wondered how she’d survive with “about 35 bucks to my name.”  To help make ends meet, the future pop star and trendsetter worked the Dunkin’ Donuts counter for several months.  She would “live to tell” many other stories…

At age 18, Jimi Hendrix found himself in trouble with the law when he was twice caught riding in stolen cars.  Given the choice between jail time and military service, Hendrix enlisted, where he served at bases in California and Kentucky.  He completed paratrooper training but alienated his superior officers, often shirking his duties in favor of practicing guitar.  He managed to finagle an honorable discharge from the Army in 1962 after only one year, and immediately started playing gigs with various bands, including King Curtis, Sam Cooke, Wilson Pickett and The Isley Brothers.  By 1967, he was an international sensation (“Are You Experienced?,” “Electric Ladyland”) before his untimely death in 1970.

Born into poverty in South Carolina, James Brown showed an early predilection for music, and wanted to pursue it, but it took some time.  He was a boxer for a while as a teen, then got arrested for car theft and formed a gospel group in prison.  Later he worked as a truck mechanic, a shoeshine boy and a high school janitor. At 22, he joined The Flames, eventually becoming their star singer and frontman, earning the nickname “The Godfather of Soul” with a long list of R&B hits and back-to-back mainstream hits “Papa’s Got a Brand New Bag” and “I Got You (I Feel Good)” in 1965.

Before donning face paint and becoming the menacing, long-tongued bass player of Kiss, Gene Simmons served as “an excellent typist” for an editor of the fashion department of Vogue magazine.  He also served a stint as a sixth grade teacher in New York’s upper West Side, focusing on art and music.  In recent years, apparently, he has helped his friends’ kids by typing some of their lengthy essay assignments.  His stage persona never had anything to do with any of this, evidently.

As a young boy, Keith Richards spent time watching his father play tennis at a local tennis club, and at 15, he was persuaded to spend a summer as a ballboy there.   He didn’t last long — he was prone to goof off, which embarrassed his father and angered his boss.  “I didn’t respond well to authority,” he chuckled.  “Still don’t.”  But his 60-plus years as guitarist for The Rolling Stones shows he could give the finger to just about anyone.

From meager roots in Tupelo, Mississippi, Elvis Presley and his family moved to Memphis when he was a teenager, and from there he pursued his dream to become a singer.  He did numerous auditions and demos for companies like Sam Phillips’ Sun Records, but nothing much happened at first, so he took a job as an electrician, and then a truck driver, for Crown Electric in Memphis.  One bandleader dismissed him with the comment, “Keep driving a truck, Elvis.  You’re not much of a singer.”  I think maybe that guy was wrong about that.

As a boy, Marvin Aday was a beefy Texas kid who decided he didn’t want to play football, as everyone thought he should, but instead got involved in high school drama, playing a part in “The Music Man.”  He moved to Los Angeles and, adopting his mother’s favorite dish to cook, assumed the name Meat Loaf, hoping to make something of his acting dreams.  He appeared in a production of “Hair” and was then signed by Motown to do an album of soul songs with Shaun “Stoney” Murphy in 1971. In 1974, he played a key part in “The Rocky Horror Picture Show,” on stage and in the film version.  But things stalled, and he found himself putting in brief stints as a bouncer in various L.A. night clubs.  By 1977, Meat Loaf was a superstar, thanks to the work he did on Jim Steinman’s opus “Bat Out of Hell.”

Liverpool was a tough place to grow up in the 1950s, still suffering from the effects of World War II.  For Richard Starkey, later known worldwide as Ringo Starr, it was even worse — he contracted appendicitis and then peritonitis as a youngster and spent much of his childhood in convalescence and under medical care.  Eventually Ritchie pursued a life as a drummer, but not before accepting a position as an apprentice at an industrial equipment manufacturer in Liverpool.  That lasted about four months before he joined Rory Storm and The Hurricanes, where he was admired by John Lennon and Paul McCartney, and Ringo was asked to replace Pete Best on drums for The Beatles.  Perhaps you’ve heard of them?

Divorce and other circumstances meant Eddie Vedder‘s childhood was split between Evanston, Illinois and San Diego.  His interest in music, spiked by The Who’s “Quadrophenia” album, had him working in bands and cutting demos on home equipment.  To make ends meet, Vedder worked as a security guard at La Viencia Hotel in San Diego for a spell, but things came to an abrupt end when he was discovered in a back room practicing guitar instead of being at his security post.  Eventually, Vedder became the lead singer of one of grunge rock’s most impressive bands, Pearl Jam, whose albums in the 1990s and 2000s (“Ten,” “Vs.,” ” Vitalogy,” “No Code”) routinely reached the Top Five of the US charts.

Ross MacManus, a bandleader and musician in London in the ’50s, took the stage name Day Costello, and when his son Declan decided at age 17 to form a band, he adopted the name Elvis Costello as a tribute to his dad as well as rock hero Presley.  To support himself in the mid-’70s, he worked as a data entry clerk at the London offices of Elizabeth Arden.  He also served a stint as a computer operator for Midland Bank.

In 1960 at Hudson’s Department Store in Detroit, Diana Ross became the first black employee who was allowed to work “outside the kitchen.”  She excelled as a saleswoman in the ladies fashion department because of her schooling in modeling, cosmetology and fashion at Cass Technical High School in Michigan.  Within four years, she was the lead singer in The Supremes with five consecutive #1 hits in 1964 (“Where Did Our Love Go,” “Baby Love,” “Come See About Me,” “Stop in the Name of Love” and “Back in My Arms Again”) and many more successes afterwards, followed by an impressive solo career throughout the ’70s and ’80s.

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This Spotify playlist includes early tracks from the debut albums by the 20 artists featured above.

A small piece of the bigger picture

Because I’m always researching musical artists, albums, songs and lyrics, my social media feed often sends me things related to these topics. I saw something pretty cool the other day that I thought would make a great idea for a quiz on Hack’s Back Pages.

In the ’60s, ’70s and ’80s, when we bought a new album, we held it in our hands and studied the album cover. The artful depictions were alternately fascinating, enigmatic, shocking, busy, sublime, even boring sometimes, but we looked at them so often, they became deeply ingrained images that still register today. Or do they?

What if you were to see only a small fraction of a classic album cover? Could you still recognize it?

I perused several dozen well-known album covers from the classic rock era, saved the images, then cropped way in so that only about 10% of the cover is visible. Below you’ll find 25 album covers you would likely recognize if you saw the entire images, but can you identify them from the small sections I’ve captured?

Study the partial images, jot down your guesses, and then scroll down to see how well you did, and learn some background on how the covers were created. There’s a Spotify playlist at the end to enjoy later.

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ANSWERS:

#1

This fanciful cover is the work of Ian Beck, a British illustrator and author of children’s books. He dabbled in album cover illustrations for a short while in the 1970s, turning in an amazing image for Elton John’s “Goodbye Yellow Brick Road,” the 1973 double LP of 20 John/Taupin songs that pay tribute to the movie business.

#2

Frank Stefanko, a photographer inspired by film noir movies and reality photographer Diane Arbus, developed a long-time relationship with Bruce Springsteen, conducting many photo shoots with him since the 1970s. He captured the stark image of the star in a small New Jersey house that graces the cover of 1978’s “Darkness on the Edge of Town.”

#3

The artwork for Stevie Wonder‘s landmark 1976 double album “Songs in the Key of Life” is credited vaguely to “Motown Graphics Department.” The story goes that it was designed as a double-edged metaphor — Wonder looking inward for personal visions and outward to the cosmos for divine inspiration.

#4

After watching a TV show on water births, Nirvana‘s Kurt Cobain wanted something similar for their second LP cover. Photographer Kirk Weddle shot photos of 4-month-old Spencer Elden, the son of a friend, at a neighborhood pool, using a dollar bill dangling on a fishhook to symbolize our lifelong pursuit of wealth. The cover of the 1991 album “Nevermind” is one of the decade’s most iconic.

#5

Pop artist Andy Warhol designed this famous image for The Rolling Stones‘ 1971 classic “Sticky Fingers.” Original pressings featured not only a working zipper, but a hidden second cover showing a pair of “tighty whities” and Warhol’s name stamped on each copy. It marked the first release on The Stones’ own record label after their Decca contract expired.

#6

Carlos Santana saw German/French painter Mati Klarwein’s dazzling 1961 work in a magazine one day and insisted that it be selected for use on the cover of Santana’s 1970 classic second LP “Abraxas.” Klarwein went on to contribute art for several other albums in the 1970s by the likes of Miles Davis, Herbie Hancock, Earth Wind & Fire and Gregg Allman.

#7

Two adjacent five-story apartment buildings (with the fourth stories airbrushed out) in New York City’s East Village were used on the award-winning die-cut album cover for Led Zeppelin‘s 1975 extravaganza, “Physical Graffiti.” Designer Peter Corrosion used interchangeable inner sleeves to depict various people in the window slots. One sleeve uses letters in the windows that spell out the album title.

#8

For the cover of their next album, “Morrison Hotel,” in early 1970, The Doors hired legendary rock music photographer Henry Diltz to shoot them in front of the actual Morrison Hotel in downtown L.A. The manager refused permission, so they waited until the front desk clerk was called away before quickly taking positions in the front window while Diltz snapped a few frames to get what they wanted.

#9

Jeff Ayeroff and Norman Moore came up with the cover artwork using a variety of different photos of band members Stewart Copeland, Sting and Andy Summers, overlaid by horizontal stripes of the three primary colors. In one of more than 30 variations, the middle montage showed Sting reading a copy of Carl Jung’s book “Synchronicity,” on which The Police‘s 1983 LP was based.

#10

Big Brother and the Holding Company‘s lead singer, the incomparable Janis Joplin, was a huge fan of underground comic books. She commissioned the great Robert Crumb to illustrate the song titles and band members for the back cover art, but once she saw the result, Joplin insisted it be on the front cover. The album title (originally “Sex, Dope and Cheap Thrills“) was shortened by the record label.

#11

Elliot Landy rivaled Henry Diltz as the “go to” rock photographer in the late ’60s and early ’70s, shooting important covers for Bob Dylan (“Nashville Skyline”) and Van Morrison (“Moondance”) and portraits of Jimi Hendrix, Jefferson Airplane, Frank Zappa and others. His work appears on the covers of “Music From Big Pink” and “The Band,” the first two LPs by Robbie Robertson, Levon Helm and company.

#12

For the cover of his 1978 jazz-influenced album “52nd Street,” Billy Joel was photographed leaning against the dingy side of the Griddle Coffee Shop at 7th Avenue and 52nd Street in Manhattan, once a popular hangout location for jazz musicians, and just a block away from the CBS Building and the studio where the album was recorded.

#13

Many psychedelic rock bands used oils and waters on a glass surface projected onto huge screens behind the bands to add trippy visuals to the acid rock music being performed. For the cover of their “In-A-Gadda-Da-Vida” album in 1968, Iron Butterfly used an image by photographer Stephen Paley of the group on stage that year with the liquid light show behind them.

#14

Keith Emerson became fascinated with the “biomechanics” artwork of Swiss artist Hans Reudi Giger, and in 1973, Giger was commissioned to create two pieces to serve as an outer (mechanical male) cover and inner (human female) cover for the new Emerson, Lake & Palmer album, “Brain Salad Surgery.” Giger also designed a new ELP logo as part of the outer cover that was used on all subsequent releases.

#15

When John Lennon re-entered the public arena in 1980, he was adamant that his new songs be presented in partnership with the new offerings of his wife, Yoko Ono. The album, entitled “Double Fantasy,” alternated ballads and rockers from each artist, all focusing on their idealized romance. Ono selected acclaimed Japanese photographer Kishin Shinoyama to capture the loving couple in mid-kiss.

#16

The cover for Fleetwood Mac‘s ubersuccessfulRumours” album bears some resemblance to the 1975 “Fleetwood Mac” album that precedes it. Photographer Herbert Worthington and designer Desmond Strobel again featured 6’6″ Mick Fleetwood’s beanpole frame, but this time he was paired with sultry songstress Stevie Nicks in her diaphanous stage garments, lending a ballet-like aura to the image.

#17

When Eric Clapton first spied “La Fille Au Bouquet,” a painting by French artist Émile-Théodore Frandsen de Shomberg, he saw a strong resemblance between the girl depicted and his obsessive love interest, Pattie Boyd Harrison, the subject of his brilliant tune “Layla.” The painting became the cover art for “Layla and Other Assorted Love Songs,” the 1970 double LP by Derek (Clapton) and The Dominos.

#18

For his hugely influential 1965 LP “Highway 61 Revisited,” Bob Dylan was photographed sitting on the front stoop of manager Albert Grossman’s apartment in Gramercy Park in Manhattan. Photographer Daniel Kramer, who positioned Dylan’s cohort Bob Neuwirth behind Dylan “to give the shot extra color and depth,” urged Dylan to adopt an expression of “hostile moodiness” that fit his rebel image.

#19

Actors, statesmen, models, singers and celebrities of nearly every stripe were eager to be photographed by acclaimed portrait photographer Richard Avedon in the 1950-1990 era. Paul Simon and Art Garfunkel felt honored that Avedon accepted the assignment to shoot the duo for the cover of their “Bookends” LP in 1968. It was one of only a half-dozen album covers in which he was involved.

#20

Steven Georgiou, later known worldwide as Cat Stevens and then eventually Yusuf, was a promising art student as well as a singer-songwriter. His two most popular albums — 1970’s “Tea For the Tillerman” and 1971’s “Teaser and the Firecat” — feature album cover artwork created by Stevens himself. He used children’s book illustration techniques to complement the gentle music and lyrics of his songs.

#21

Henry Diltz’s talent shows up a second time in this indelible image of Graham Nash, Stephen Stills and David Crosby sitting on an abandoned couch in front of a condemned home in Hollywood. Realizing they’d been positioned out of order, they returned a few days later to reshoot, but the house had been razed. So the “Crosby, Stills and Nash” album went out as is in the spring of 1969.

#22

It’s one of the most iconic images of David Bowie‘s long career, but it was the only time he wore the striking thunderbolt face makeup. As the cover for the 1973 LP “Aladdin Sane,” the image maintained and enhanced his breakthrough “Ziggy Stardust” persona, with photographer Brian Duffy using an unprecedented seven-color system that made it the most expensive cover ever made up to that point.

#23

Art designer Janet Perr won the 1985 Best Album Package Grammy for this boldly colorful presentation of Rolling Stone photographer Annie Leibovitz’s shot of Cyndi Lauper on Henderson Walk in Coney Island. For the “She’s So Unusual” cover, Lauper wore vintage clothing and accessories she found at Screaming Mimi’s, a vintage clothing shop near there where she once worked.

#24

The design team of Alton Kelly and Stanley Mouse again worked with The Grateful Dead on the cover artwork for their superb 1972 triple live album “Europe ’72.” The triple-gatefold sleeve illustrations feature not only the familiar “truckin'” foot stepping across the Atlantic Ocean to Europe, but also, on the back cover, the “truckin’ fool” smashing an ice cream cone against his forehead.

#25

Photographer Dan Hudson Jr.’s bucolic photo of young Vaylor Trucks (son of drummer Butch Trucks) playing in the autumn leaves provides a stark contrast to the tension and grief that surrounded The Allman Brothers Band in 1973 following the deaths of Duane Allman and Berry Oakley. This shot, and a similar shot of Oakley’s daughter Brittany on the back, appear on their “Brothers and Sisters” LP.

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