It’s a thousand pages, give or take a few

If you’re trying to come out of your holiday fog, I think I’ve got just the thing to get your brain revved up for the New Year.

I’m offering a Rock Lyrics Quiz that focuses on The Beatles, which is still probably the most recognizable catalog in pop music history.

It won’t be as easy as it sounds, though. While the roughly 220 songs they recorded include a few dozen widely recognized hits, there were also plenty of album tracks that got less exposure and are therefore more difficult to pick out. So I’ve divided the quiz into three sections — easy, intermediate, and difficult.

I administered the quiz to my wife (who loves the Beatles’ music but I wouldn’t call her a fanatic), and she scored about as I expected she would: She aced the easy lyrics, did fairly well on the intermediate group and struggled with the difficult ones. She said it would have been far easier to recognize the lyrics if she heard them sung as opposed to reading them on a printed page or computer screen, and I’ll bet many readers will feel the same.

In any event, here’s how I suggest you play: Grab a pencil and paper and jot down your answers as you proceed.  When you’re done, simply scroll down to find the correct answers — no peeking! I’ve written a little bit about each song, and there’s the usual Spotify playlist at the end to hear the tunes after the fact.

It’s a good mental exercise to try to recall rock music lyrics. It just might clear your head and test your memory bank, which we all need now and then.  Enjoy!

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EASY

1 “Remember to let her into your heart, then you can start to make it better…”

2   “Well, my heart went ‘boom’ when I crossed that room, and I held her hand in mine…”

3   “He say, ‘I know you, you know me,’ one thing I can tell you is you got to be free…”

4   “I’ll pretend that I’m kissing the lips I am missing…”

5   “Many times I’ve been alone, and many times I’ve cried…”

6   “Say you don’t need no diamond rings and I’ll be satisfied…”

7   “I look at the floor, and I see it needs sweeping…”

8   “All these places had their moments with lovers and friends I still can recall…”

9   “Look at him working, darning his socks in the night when there’s nobody there…”

10   “Baby says she’s mine, you know, she tells me all the time, you know, she said so…”

11   “Why she had to go, I don’t know, she wouldn’t say…”

12   “Nothing you can say, but you can learn how to play the game, it’s easy…”

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INTERMEDIATE

13   “Newspaper taxis appear on the shore, waiting to take you away…”

14   “You don’t need me to show the way, love, why do I always have to say, love…”

15   “If looks could kill, it would’ve been us instead of him…”

16   “I’m taking the time for a number of things that weren’t important yesterday…”

17   “But ’til she’s here, please don’t come near, just stay away…”

18   “‘Cause I couldn’t stand the pain, and I would be sad if our new love was in vain…”

19   “Soon we’ll be away from here, step on the gas and wipe that tear away…”

20   “When you say she’s looking good, she acts as if it’s understood, she’s cool…”

21   “Then we’d lie beneath the shady tree, I love her and she’s loving me…”

22   “Boy, you’ve been a naughty girl, you let your knickers down…”

23   “Gather ’round, all you clowns, let me hear you say…”

24   “Sweet Loretta Martin thought she was a woman, but she was another man…”

DIFFICULT

25   “‘We’ll be over soon,’ they said, now they’ve lost themselves instead…”

26   “In my mind, there’s no sorrow, don’t you know that it’s so?…”

27   “Everybody pulled their socks up, everybody put their foot down, oh yeah…”

28   “You’re giving me the same old line, I’m wondering why…”

29   “But listen to the color of your dreams, it is not living, it is not living…”

30   “I know it’s true, it’s all because of you, and if I make it through, it’s all because of you…”

31   “You could find better things to do than to break my heart again…”

32   “Tell me, tell me, tell me the answer, you may be a lover but you ain’t no dancer…”

33 “Had you come some other day, then it might not have been like this…”

34 “Waiting to keep the appointment she made, meeting a man from the motor trade…”

35 “Don’t you know I can’t take it, I don’t know who can, I’m not going to make it…”

36 “The men from the press said, ‘We wish you success, it’s good to have the both of you back…'”

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Answers:

EASY

1   “Remember to let her into your heart, then you can start to make it better…”

“Hey Jude” (single, 1968)

This tune, their biggest-selling song ever, got its start as “Hey Jules,” Paul McCartney’s song of support for a young Julian Lennon, who was coping with his parents’ divorce in 1968. John Lennon interpreted the lyrics as a message to him and Yoko (“You have found her, now go and get her”). It became a singalong anthem for the ages.

2   “Well, my heart went ‘boom’ when I crossed that room, and I held her hand in mine…”

“I Saw Her Standing There” (from “Please Please Me” LP, 1963)

The Beatles’ set list during their formative years playing clubs in London and Hamburg was full of vintage tunes by Chuck Berry, Buddy Holly and Little Richard, but the first track on the band’s debut LP was an authentic rocker original written by McCartney and fine-tuned by Lennon. It’s every bit as valid an entry in the rock ‘n’ roll canon as “Long Tally Sally” or “Roll Over Beethoven.”

“He say, ‘I know you, you know me,’ one thing I can tell you is you got to be free…”

“Come Together” (from “Abbey Road” LP, 1969)

When Lennon was asked to write a song for LSD maven Timothy Leary’s ill-fated campaign for the California governorship, all he came up with was a chant using the slogan “Come together, join the party.” Lennon later created some whimsically enigmatic wordplay (“ju-ju eyeball,” “mojo filter”) and set it to a funky, bluesy tempo that became a #1 single and one of Lennon’s favorite Beatles tunes.

“I’ll pretend that I’m kissing the lips I am missing…”

“All My Loving” (from “With the Beatles,” 1963)

When millions of Americans got their first glimpse of The Beatles as they performed for the first time on “The Ed Sullivan Show” in February 1964, this is the first song the band played. It’s an infectious McCartney melody with simple lyrics about sending loving thoughts home to his girl while he’s away. It’s one of the better examples of the band’s innocent early songs, and would have made a terrific single.

5   “Many times I’ve been alone, and many times I’ve cried…”

“The Long and Winding Road” (from “Let It Be” LP, 1970)

Because this McCartney ballad was released in 1970 just as the group’s break-up was announced, it’s tinged with sadness and regret. Although it was written more than a year earlier, the song’s lyrics portend the separation and estrangement that was on the horizon (“You left me standing here a long long time ago”). It was the final Beatles single in the US until “Free As a Bird” 25 years later.

6   “Say you don’t need no diamond rings and I’ll be satisfied…”

“Can’t Buy Me Love” (from “A Hard Day’s Night” LP, 1964)

Producer George Martin correctly suggested the group begin this song with the catchy chorus instead of the first verse, and that helped instantly grab the attention of radio listeners much as “She Loves You” had done. It became a linchpin song on the soundtrack of their madcap debut film “A Hard Day’s Night,” accompanying a sequence where the boys ran and jumped around an open courtyard to let off steam.

7   “I look at the floor, and I see it needs sweeping…”

“While My Guitar Gently Weeps” (from “The White Album” LP, 1968)

George Harrison, motivated by the “relativism” taught in Eastern literature, decided to write a song based on the first words he saw upon opening a book. Those words were “gently weeps,” and he chose to use them to describe the sound of an electric guitar. His friend Eric Clapton famously played the solo (uncredited at the time), and the track ignited a prolific period of quality songwriting for Harrison.

8   “All these places had their moments with lovers and friends I still can recall…”

“In My Life” (from “Rubber Soul” LP, 1965)

Lennon always maintained he wrote the bulk of this song of tender reflection, but McCartney claims he wrote “at least half” of the words. Regardless, the tune has become one of the most popular non-singles they ever wrote, and because of its lyrics of remembrance and affection (“Some are dead and some are living, /In my life, I’ve loved them all”), it is often played at weddings and funerals.

9   “Look at him working, darning his socks in the night when there’s nobody there…”

“Eleanor Rigby” (from “Revolver” LP, 1966)

This groundbreaking single features no Beatles playing instruments, with only a string quartet, McCartney’s lead vocal and Lennon and Harrison adding harmonies. The lyrics offer a remarkable commentary on loneliness, describing an old woman sweeping up rice following a wedding and a clergyman dutifully “writing the words to a sermon that no one will hear.”

10   “Baby says she’s mine, you know, she tells me all the time, you know, she said so…”

“I Feel Fine” (single, 1964)

When Lennon heard feedback from a guitar that had been inadvertently left leaning on an amplifier, he wanted the sound included in the intro to the band’s newest single, “I Feel Fine.” It was one of many “happy accidents” that occurred during Beatles recording sessions over the years that brought such unusual sounds to listeners’ ears, even when the accompanying words were just simplistic love songs.

11   “Why she had to go, I don’t know, she wouldn’t say…”

“Yesterday” (from “Help!” LP, 1965)

McCartney fell out of bed one morning, sat at the piano, and this iconic song came out almost fully formed. He was sure he must’ve heard it somewhere before, but it was indeed a brilliant original melody. It was the first group song featuring only a solo Beatle, with Paul playing acoustic guitar and singing lyrics that yearned for easier, happier times (“I said something wrong, now I long for yesterday”).

12   “Nothing you can say, but you can learn how to play the game, it’s easy…”

“All You Need is Love” (from “Magical Mystery Tour” LP, 1967)

When The Beatles were invited to participate in the first live global television link seen by 400 million people, they were asked to write a song with a universal message everyone could understand. Lennon jumped at the assignment and came up with the simple maxim “All you need is love, love is all you need,” set to a happy-go-lucky chant melody that, naturally, went straight to #1 in 1967’s “Summer of Love.”

INTERMEDIATE

13   “Newspaper taxis appear on the shore, waiting to take you away…”

“Lucy in the Sky With Diamonds” (from “Sgt. Pepper’s Lonely Hearts Club Band” LP, 1967)

Because this song title’s three key words start with L, S and D, many observer’s concluded Lennon was writing about the hallucinogenic drug in the lyrics. The colorful images (“Cellophane flowers of yellow and green towering over your head”) reinforced that viewpoint. He always insisted, however, that the impetus for the song was a picture his son Julian drew in kindergarten of his friend Lucy.

14  “You don’t need me to show the way, love, why do I always have to say, love…”

“Please Please Me” (from “Please Please Me” LP, 1963)

Lennon recalled playing around with the word “please,” as in “please listen to my pleas,” but then took it step further with “please please me,” which sends a message about asking for more pleasure. It has since been interpreted as wanting sexual pleasure, but in 1963, this wasn’t something you’d find in a pop song. “Please Please Me” became The Beatles’ first #1 hit in the UK, and reached #3 in the US in 1964.

15 “If looks could kill, it would’ve been us instead of him…”

“The Continuing Story of Bungalow Bill” (from “The White Album” LP, 1968)

While in India on their meditation retreat, Lennon observed an American college boy and his mother going on a tiger-hunting expedition, which he opposed. He wrote a lyrical tale about it as if it were a children’s story, using a decidedly mocking tone (‘he’s the all-American, bullet-headed Saxon mother’s son”) and changing the stereotypical Buffalo Bill to the tongue-in-cheek Bungalow Bill.

16 “I’m taking the time for a number of things that weren’t important yesterday…”

“Fixing a Hole” (from “Sgt. Pepper’s Lonely Hearts Club Band” LP, 1967)

On the surface, this seems to be a song about repairing an actual hole in the roof, but McCartney later said he was venting frustrations about the pressures of fame and people always wanting something from him (“See the people standing there who disagree and never win”). He yearned to be left alone to explore and experiment, a passion that marked many of the tracks on the “Sgt. Pepper” LP.

17 “But ’til she’s here, please don’t come near, just stay away…”

“Don’t Bother Me” (from “With the Beatles” LP, 1963)

In the early years, George Harrison played lead guitar and sang harmonies, occasionally stepping up to sing lead vocals, but he wasn’t yet confident as a songwriter. Still, he came up with “Don’t Bother Me” for the group’s “With the Beatles” LP, a surprisingly strong melody with somewhat moody lyrics about being left alone to wallow in self-pity. It contributed to his reputation as “the quiet Beatle.”

18 “‘Cause I couldn’t stand the pain, and I would be sad if our new love was in vain…”

“If I Fell” (from “A Hard Day’s Night” LP, 1964)

Lennon’s first ballad, written for the “A Hard Day’s Night” soundtrack, is relatively sophisticated for its time, both musically and lyrically. The narrator appears to be thinking about leaving his current love for someone new, but he wants assurances “that you’re gonna love me more than her.” “If I Fell” was also the B-side of the “And I Love Her” single, which peaked at #12 in the US.

19 “Soon we’ll be away from here, step on the gas and wipe that tear away…”

“You Never Give Me Your Money” (from “Abbey Road” LP, 1969)

All four Beatles expressed how frustrated they were in 1969 with how much of their time was consumed with financial meetings and business headaches. McCartney felt the need to write about it in “You Never Give Me Your Money,” the first track of the lengthy suite on Side Two of “Abbey Road.” The lyrics bemoaned the “funny paper” and breakdown in negotiations that hurt their group dynamics at the time.

20 “When you say she’s looking good, she acts as if it’s understood, she’s cool…”

“Girl” (from “Rubber Soul” LP, 1965)

As 1965 was winding down, The Beatles took a major leap forward in their songwriting with the material they wrote for “Rubber Soul.” Among the tunes Lennon penned was the rather complex, philosophical track “Girl,” which cryptically expressed his curious desire for an artistic, intellectual sort of woman to come along — “the kind of girl you want so much, it makes you sorry.”

21 “Then we’d lie beneath the shady tree, I love her and she’s loving me…”

“Good Day Sunshine” (from “Revolver” LP, 1966)

Lennon and McCartney (and Harrison too) were eager to carefully balance the tracks on each album, alternating moods and tempos and styles. On “Revolver,” the switch from Lennon’s hard-edged and lyrically heavy “She Said She Said” to McCartney’s jaunty “Good Day Sunshine” is a good example. On Paul’s simple song, it’s a nice day and he has a nice girlfriend, and that’s about all there is to it.

22 “Boy, you’ve been a naughty girl, you let your knickers down…”

“I Am the Walrus” (from “Magical Mystery Tour” LP, 1967)

When Lennon was told that college professors were teaching courses interpreting the lyrics of Beatles songs, he chuckled and said, “Here’s one they’ll never figure out.” This extraordinary track is a pastiche of literary references, playground nursery rhymes and cryptic, nonsensical phrases set to a lugubrious arrangement inspired by a British police siren. It’s one of Lennon’s most extraordinary works.

23   “Gather ’round, all you clowns, let me hear you say…”

“You’ve Got to Hide Your Love Away” (from “Help!” LP, 1965)

Lennon went through a phase when he was especially enamored with Bob Dylan — his songs, his voice, his overall persona. This manifested itself most overtly in “You’ve Got to Hide Your Love Away,” a Lennon number from the “Help!” film soundtrack. He later said he was furtively writing a message to manager Brian Epstein, who was forced to keep his homosexuality a secret.

24   “Sweet Loretta Martin thought she was a woman, but she was another man…”

“Get Back” (single, 1969)

If you watch Peter Jackson’s 2021 eight-hour documentary “The Beatles: Get Back,” you’ll watch in awe as McCartney comes up with the melody and feel for the song “Get Back” seemingly out of thin air while no one is paying much attention. It’s one of McCartney’s most compelling rockers, with lyrics that focus on the band’s desire to “get back to their roots” on their “Let It Be” album.

DIFFICULT

25 “‘We’ll be over soon,’ they said, now they’ve lost themselves instead…”

“Blue Jay Way” (from “Magical Mystery Tour” LP, 1967)

Harrison was staying at a rented home in the Hollywood Hills (on a street called Blue Jay Way), waiting for a friend to arrive, who was two hours late because of foggy conditions. He busied himself by writing this spacey song about it. Every Beatles tune was combed over for hidden meanings (were they lost on the road, or had they lost their way in life?), but Harrison said this song had no lyrical depth.

26 “In my mind, there’s no sorrow, don’t you know that it’s so?…”

“There’s a Place” (from “Please Please Me” LP, 1963)

The Beatles’ songwriters were working under pressure to produce songs to fill their debut album, and this one, mostly by Lennon, sounds hurried and not particularly noteworthy. Lyrically, the “place” he is writing about is not geographical — it’s his mind, the place he likes to go for solace when he feels down and out. Lennon wrote quite a few songs at this point about feeling “blue.”

27 “Everybody pulled their socks up, everybody put their foot down, oh yeah…”

“I’ve Got a Feeling” (from “Let It Be” LP, 1970)

Lennon and McCartney often wrote separately and then helped each other finish their songs. In this case in early 1969, they took two songs that shared a similar structure and chord pattern and mashed them into one. McCartney’s tune has “a feeling deep inside,” no doubt about his bride-to-be Linda, while John’s wearily points out, “everybody had a hard year.” They recorded it live on the Apple rooftop.

28 “You’re giving me the same old line, I’m wondering why…”

“Not a Second Time” (from “With the Beatles” LP, 1963)

Here’s yet another example of Lennon crying and hurt because some girl has disappointed or betrayed him, and he’s telling her she won’t be getting a second chance with him. He sings it convincingly, and it’s a competent piece of work from the “With The Beatles” album, but it’s unremarkable, like two or three throwaway songs found on each of The Beatles’ first five LPs.

29 “But listen to the color of your dreams, it is not living, it is not living…”

“Tomorrow Never Knows” (from “Revolver” LP, 1966)

George Martin called this Lennon song from “Revolver” to be “absolutely groundbreaking.” It’s based around only one chord, with lyrics about expanding one’s consciousness through recreational drug use (“Lay down all thoughts, surrender to the void”). Surrealistic sound effects created through home-made tape loops gave the track a very trippy sound, paving the way to more sonic experiments.

30 “I know it’s true, it’s all because of you, and if I make it through, it’s all because of you…”

“Now and Then” (single, 2023)

Unfinished demos of songs Lennon was working on at the time of his death in 1980 became the finished Beatles songs “Free as a Bird” and “Real Love” when Paul, George and Ringo collaborated in 1995-1996. A third song, “Now and Then,” was finally completed in 2023 thanks to audio restoration technology advancements. Lyrically, it’s an homage to love and how we mean it even if we don’t always show it.

31 “You could find better things to do than to break my heart again…”

“I’ll Be Back” (from “A Hard Day’s Night” LP, 1964)

Lennon sure seemed to love writing songs that center on someone breaking his heart. This time, though, it’s not so threatening because he’s confused about his feelings (“If you break my heart I’ll go, but I’ll be back again”). I’ve always loved this one because of the tight harmonies and melancholic melody, but it has received very little attention as the final track on the “A Hard Day’s Night” LP.

32 “Tell me, tell me, tell me the answer, you may be a lover but you ain’t no dancer…”

“Helter Skelter” (from “The White Album” LP, 1968)

McCartney was inspired by the latest music from The Who to have a go at writing something that would freak everyone out and prove he wasn’t just a ballad writer. In England, a helter skelter was a fast, scary, spiral fairground ride, and he used that image go make the analogy to a frenetic sexual “ride,” exemplified by harsh guitars, thundering bass and shouted vocals.

33 “Had you come some other day, then it might not have been like this…”

“If I Needed Someone” (from “Rubber Soul” LP, 1965)

Carried by shimmering 12-string guitar and glorious three-part harmonies, Harrison’s “If I Needed Someone” was curiously dismissed by its composer at the time as “like a million other songs written around the D chord,” but I’ve always loved it. Lyrically, the narrator is telling a woman he would love to be in a relationship with her if he wasn’t already in love with someone else.

34 “Waiting to keep the appointment she made, meeting a man from the motor trade…”

“She’s Leaving Home” (from “Sgt. Pepper,” 1967)

McCartney was touched by news reports of girls who ran away from home to join the hippie movement in California, and was inspired to write a short story describing her parents’ despair when they found her farewell note. Lennon added less sympathetic lines that implied the parents “gave her everything money could buy” but apparently not sufficient attention nor affection.

35   “Don’t you know I can’t take it, I don’t know who can, I’m not going to make it…”

“I Call Your Name” (from “Long Tall Sally” EP, 1964)

Lennon said this was among the first songs he ever wrote, around 1960, and even then, his lyrics focused on the pain of unrequited love instead of the happy love songs that would be The Beatles’ stock in trade during their initial releases. “I Call Your Name” appeared on the US-only LP “The Beatles’ Second Album,” and on a British EP at the same time (early 1964). The Mamas and Papas recorded a cover version in 1966.

36 “The men from the press said, ‘We wish you success, it’s good to have the both of you back…'”

“The Ballad of John & Yoko” (single, 1969)

Written almost as a diary entry, Lennon detailed his whirlwind marriage and honeymoon travels with Yoko in March 1969. Despite tensions between Lennon and McCartney at the time, the two collaborated without George or Ringo to quickly record the song and release it as a stand-alone single, and it reached #8 in the US, even with its controversial use of “Christ! You know it ain’t easy” in the lyrics.

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We’ll always remember the music and memories

Once again, it’s time to honor the fallen musical heroes who left us during the past calendar year.

Out of the 30 musicians mentioned here, a dozen were of sufficient stature to be the subject of detailed tributes/obituaries in Hack’s Back Pages at the time of their deaths — artists like Brian Wilson, Sly Stone, Ozzy Osbourne and Roberta Flack — and I’ve provided links to those earlier posts. Others might have arguably been singled out for individual treatment but didn’t quite qualify, in my view. Nonetheless, we’ve lost some stellar musicians, some of whom enjoyed enviable careers that lasted decades, while others had spectacular but only relatively brief success.

As the year comes to an end, now is the appropriate time to pay our respects to the contributions they made to popular music during their lives.  There’s a Spotify playlist at the end that includes representative songs from each artist.

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Wayne Osmond, the second oldest of the singing siblings known as The Osmonds, died January 1 at age 73. He was blessed with perfect pitch and became the group’s vocal arranger as they became hugely successful teen idols through the 1970s. The Osmond Brothers appeared regularly on “The Andy Williams Show” in the 1960s, then reached the Top 20 of US pop charts ten times with hits like “One Bad Apple,” “Yo-Yo,” “Down By the Lazy River” and “Love Me For a Reason.” While Wayne Osmond (second from left in photo) didn’t reach the heights his brother Donny and sister Marie did with their own TV show, he is credited with both songwriting and guitar-playing talents in addition to his vocals.

Peter Yarrow, one third of the internationally famous folk trio Peter, Paul & Mary, died January 7 at age 86. Bob Dylan’s manager Albert Grossman brought Yarrow together with Paul Stookey and Mary Travers in 1961, and they hit a home run right out of the box with their self-titled Grammy-winning debut LP, which reached #1 and included folk standards like “Where Have All the Flowers Gone,” “500 Miles,” “Lemon Tree” and “If I Had a Hammer.” They went on to more success with Dylan covers (“Blowin’ in the Wind,” “Don’t Think Twice, It’s All Right”) and more hits like “Puff the Magic Dragon,” “I Dig Rock ‘n’ Roll Music,” “Day is Done” and “Leavin’ on a Jet Plane.” For more about Yarrow and his career with PP&M and as a solo artist, please see my earlier tribute: Https://hackbackpages.com/2025/1/17/tell-me-why-youre-crying-my-son

Sam Moore, one half of the ’60s soul powerhouse duo known as Sam & Dave, died January 10 at age 89. In their formative years, Moore (left in photo) and Dave Prater each sang gospel music in their Baptist church choirs, and by the time they reached 30, they honed their “call and response” style of soul tunes that proved popular in the 1965-1970 period. While their personalities may have clashed, their voices meshed effectively on many great Stax Records tracks, notable “Hold On, I’m Comin'” (#21), “Soul Man” (#2) and “I Thank You” (#9). For more on Moore and the Sam & Dave legacy, please see my earlier tribute: Https://hackbackpages.com/2025/1/24/r-i-p-to-a-soul-man-and-a-band-leader

Garth Hudson, the oldest and last surviving member of the pioneering Americana/roots music group known simply as The Band, died January 21 at age 87. Regarded as a “musical polymath” and gifted multi-instrumentalist, Hudson (far left in photo) contributed organ, sax, violin and accordion to dozens of tunes on The Band’s eight highly regarded LPs between 1968-1977. He and his Bandmates played behind Ronnie Hawkins in the early ’60s and Bob Dylan after that, then struck out on their own with the celebrated “Music From Big Pink” LP. Notable tunes by the group included “The Weight,” “Chest Fever,” “The Night They Drove Old Dixie Down” and “Up on Cripple Creek.” For more on Hudson’s life and The Band’s career, please see my earlier tribute: Https://hackbackpages.com/2025/1/24/r-i-p-to-a-soul-man-and-a-band-leader

Barry Goldberg, a legendary blues keyboardist/producer from Chicago, died January 22 at age 83. While still just a teenager, he sat in with Muddy Waters and Howlin’ Wolf and was a founding member of the Paul Butterfield Blues Band in 1965 and the Electric Flag with guitarist Mike Bloomfield in 1967. He also worked with such luminaries as Steve Miller, Rod Stewart, Joe Cocker, Gladys Knight, Gram Parsons and Leonard Cohen, and appeared on the iconic “Super Session” LP with Al Kooper, Bloomfield and Stephen Stills. Goldberg remained active as a session musician and producer through the years, reuniting with Stills in the 2010 supergroup The Rides, whose album “Can’t Get Enough” was a Blues Music Awards nominee in 2013.

Marianne Faithfull, a British singer and actress in the mid-’60s, died January 30 at age 78. She was discovered by Rolling Stones producer Andrew Loog Oldham in 1965 and had immediate success with her recording of the Stones ballad “As Tears Go By” (#9 in the UK, #22 in the US). Faithfull’s three-year romance with Mick Jagger gave her more exposure, which helped her win major acting roles on British stage and screen in a broadly praised career that outlived her success as a singer. While she recorded nearly two dozen albums between 1965 and 2021, they charted only modestly in the UK and barely at all in the US.

Roberta Flack, a gifted singer of both R&B and pop genres, died February 24 at age 88. Her debut LP “First Take” in 1969 turned heads, as did her subsequent albums, “Chapter Two” and “Quiet Fire.” In 1971, director Clint Eastwood used her recording of “The First Time Ever I Saw Your Face” in his moody thriller “?Play Misty For Me,” and the song vaulted to #1 on US pop charts. In 1973, Flack topped that with her Record of the Year Grammy winner, “Killing Me Softly With his Song.” For much more about Flack’s life and career, see my earlier tribute: https://hackbackpages.com/2025/2/28/telling-my-whole-life-with-her-words

David Johansen, the charismatic frontman of the influential promo-punk band The New York Dolls, died February 28 at age 75. He and his bandmates offset the macho rock star image by wearing women’s clothing and makeup, bringing a vaudevillian energy to their aggressive music. Although they never broke the Top 100 of either the US or UK charts, the group proved to be hugely influential, pointing the way from glam to the punk music that was beginning to brew in New York City. Johansen served as the band’s lead vocalist with a distinctive, gravelly delivery, and also co-wrote much of the material with guitarist Johnny Thunders. The band dissolved in the mid-’70s, but Johansen demonstrated remarkable versatility when he reinvented himself in the 1980s as the pompadoured lounge singer Buster Poindexter, focusing on swing, jump blues and calypso. He enjoyed modest mainstream success in 1988 with his cover version of “Hot Hot Hot,” a popular dance club single that went on to become a “go-to” song on cruise ships and at karaoke bars ever since.

Jesse Colin Young, leader and chief songwriter of The Youngbloods and a respected solo artist as well, died March 16 at age 83. With The Youngbloods, Young sang the iconic ’60s hits “Get Together” and “Sunlight” and went on to Top 20 success with mid-’70s albums like “Song For Juli,” “Light Shine” and “Songbird.” For more about Young and his career, please check out my earlier tribute: Https://hackbackpages.com/2025/3/21/if-you-hear-the-song-i-sing-you-will-understand

Rick Derringer, a guitarist-singer-songwriter who found fame at multiple points in his career, died May 26 at age 77. He was only 18 when his fledgling Ohio-based group The McCoys were picked by a New York producer to record the song “Hang On Sloopy,” which became a #1 song on US pop charts in 1965 and an iconic example of the “garage rock” genre. By the 1970s, he became affiliated with The Edgar Winter Group, adding stinging guitar to their 1973 hits “Frankenstein” and “Free Ride.” That same year, Derringer had his own Top 40 hit with “Rock and Roll Hoochie Coo,” a remake of the song he wrote for Johnny Winter in 1970. His stellar guitar work made him an in-demand session player for major artists like Steely Dan and Todd Rundgren in the ’70s and ’80s.

Sylvester Stewart, known as the innovative leader/singer/songwriter Sly Stone for the irrepressible Sly & The Family Stone, died June 9 at age 82. James Brown may have invented the funk genre, but Stone and his group perfected it, with a bevy of hits like “Stand!” “Hot Fun in the Summertime,” “Everyday People,” “Thank You (Falettinme Be Mice Elf Agin)” and “Family Affair.” For more about the man and the band’s roller-coaster life and career, please see my earlier tribute: Https://hackbackpages.com/2025/6/13/all-i-have-to-hold-on-to-is-a-simple-song-at-last

Brian Wilson, one of the finest songwriters and musical minds of our time as the leader of The Beach Boys, died June 11 at age 82. Virtually every major songwriter of the past 60 years has heaped praise on Wilson’s remarkable work, which included producing, arranging, writing and singing such monumental tracks as “I Get Around,” “California Girls, “Sloop John B,” “Good Vibrations, “Wouldn’t It Be Nice” and “God Only Knows.” I wrote a comprehensive obituary/tribute about Wilson back in June, and it’s here if you’re interested: Https://hackbackpages.com/2025/6/27/god-only-knows-where-wed-be-without-him

Lou Christie, a 1960s American pop singer known for his distinctive falsetto voice, died June 18 at age 82. He emerged in 1962-63 with back-to-back Top Ten hits “The Gypsy Cried” and “Two Faces Have I.” A stint in the military put his career on hold, but he came roaring back with the #1 smash hit “Lightnin’ Strikes” in 1966, followed by “Rhapsody in the Rain” (#16) and “I’m Gonna Make You Mine” (#10). In the ’70s he dabbled in a country music career and got more involved in producing other artists, and in later years he became active on the oldies circuit, touring with the likes of Lesley Gore and Bobby Rydell.

Mick Ralphs, guitarist for British hard rockers Mott the Hoople and the more mainstream rock band Bad Company, died June 23 at age 81. He provided the stinging guitar fills and crunchy chords behind singer Ian Hunter on Mott’s albums, notably “All the Young Dudes” in 1972. He then teamed with vocalist Paul Rodgers, formerly with the British band Free, to form Bad Company, a huge arena rock band with five solid albums in the ’70s, co-writing hits like “Can’t Get Enough,” “Ready For Love,” “Feel Like Makin’ Love” and “Rock ‘n’ Roll Fantasy.” When Rodgers left in 1982, Ralphs and drummer Simon Kirke persevered with other vocalists to keep Bad Company a reasonably successful entity into the 1990s.

Bobby Sherman, one of the more enduring teen idols in pop music history, died June 24 at age 81. Following in the footsteps of ’60s heartthrobs Fabian, Frankie Avalon and Tommy Roe, Sherman found his success first as an actor on the TV series “Here Come the Brides,” and later appeared on multiple shows like “The F.B.I.,” “The Mod Squad” and “Murder, She Wrote.” He was best known as a singer of pop hits in the ’70s, including high-charting sin goes like “Easy Come, Easy Go,” “La La La (If I Had You),” “Julie Do You Love Me” and “Little Woman.” He toured relentlessly in the ’70s, performing for packed houses of screaming teen girls. In the ’90s, he re-emerged with Peter Noone and Davy Jones on a successful “teen idol tour” before retiring in 2004.

Concetta Franconero, the internationally beloved pop singer in the ’50s, ’60s and ’70s known as Connie Francis, died July 16 at age 87. She had more in common with traditional ’50s crooners like Rosemary Clooney, Doris Day and Jo Stafford than the early ’60s pop/rock singers like Lesley Gore, Dionne Warwick or Nancy Sinatra but found plenty of chart success, particularly in other countries with several foreign-language albums and singles. She is best known in the US for “Where the Boys Are,” the #4 hit single, as well as her acting appearance in the 1964 movie of the same name. For more about Francis and her life and career, please see this tribute: Https://hackbackpages.com/2025/7/25/where-the-boys-are-someone-waits-for-me

Ozzy Osbourne, one of hard rock’s most notorious bad boys as the lead singer of Black Sabbath and as a solo artist, died Jul 22 at age 76. Osbourne helped found the heavy-metal genre with Black Sabbath in 1970, churning out eight successful albums and hits like “Paranoid” and “Iron Man.” On his own in the ’80s, ’90sd and beyond, his fame grew, as did his penchant for addictive self-destruction. In the 2000s, he became an unlikely TV star on the MTV reality program “The Osbournes” as the pathetic father figure. For a more detailed look at Osbourne’s wild life and career, please check out my lengthy tribute from last summer: Https://hackbackpages.com/2025/8/1/i-cant-stand-to-say-goodbye

Chuck Mangione, the celebrated flugelhorn/trumpet player, died July 22 at age 84. The talented instrumentalist got his start in bandleader Art Blakey’s Jazz Messengers ensemble in the ’60s before forming his own quartet in the early ’70s. He is best known for his international hit single and album “Feels So Good” in 1977, which reached #4 in the US that year. His other main claim to fame came with two compositions he wrote and recorded as theme music for the 1976 Summer Olympics (“Chase the Clouds Away”) and the 1980 Winter Olympics (“Give It All You Got”). He participated in the recording of more than 30 albums between 1960 and 2000.

Terry Reid, the British vocalist known better for the roles he turned down than the ones he chose, died August 5 at age 75. He was regarded as “an artists’ artist,” praised more within the British rock scene than by the public at large. At only 19, he released his solo debut, “Bang Bang, You’re Terry Reid,” and toured behind Cream in 1968. When Jimmy Page approached him about being lead vocalist for his new band Led Zeppelin, he declined and instead suggested his friend Robert Plant. Similarly, he said no when Ritchie Blackmore invited him to become Deep Purple’s new lead vocalist in 1969. He released six LPs between 1968-1978, none of which fared well with US audiences, but he was an in-demand session musician in the ’80s in Los Angeles.

Bobby Whitlock, keyboard player withDelaney & Bonnie and then Derek & The Dominos, diedAugust 10 at age 77. A native of Memphis, Whitlock came up through the Stax Records family of soul artists, then became an integral accompanist for Delaney & Bonnie & Friends in 1969. From there, he joined forces with Eric Clapton on his solo debut LP and also George Harrison’s hugely successful “All Things Must Pass” solo debut. Whitlock, bassist Carl Radle and drummer Jim Gordon became The Dominos, who, along with guest guitarist Duane Allman, backed Clapton on his legendary double album “Layla” in 1970. Whitlock co-wrote and sang vocals on several tracks (“Keep On Growing,” “Any Day,” “Why Does Love Got to Be So Sad?”). After the Dominos disbanded amidst rampant drug use, Whitlock turned solo, releasing three LPs in the later ’70s.

Mark Volman, one of the founding members of the ’60s pop band The Turtles, diedSeptember 5 at age 78. Volman and lead vocalist Howard Kaylan formed the band in Los Angeles in 1965, and they scored a half-dozen Top Ten hit singles in the late ’60s, notably the #1 smash “Happy Together,” “It Ain’t Me Babe” (#8), “She’d Rather Be With Me (#3), “You Baby,” “Elenore” and “You Showed Me.” The Turtles disbanded in 1970, and Volman and Kaylan joined forces first with Frank Zappa’s Mothers of Invention and then the British glam band T. Rex, presenting themselves as Flo & Eddie due to contractual restrictions on using their own names. Much later, Volman and Kaylan participated in many “Happy Together Tour” reunions of several Top 40 bands from the ’60s, which played to sold out arenas and drew rave reviews.

Rick Davies, one of the two creative forces behind the music of Supertramp, diedSeptember 7 at age 81. He and fellow singer-songwriter Roger Hodgson split the duties as front men for the British group, who earned a cult following for most of the ’70s until their 1979 LP, “Breakfast in America,” took the US and the UK by storm. Davies was more into blues and prog rock (“Goodbye Stranger,” “Bloody Well Right,” “My Kind of Lady” and “Cannonball” are his best-known tunes), contrasted with Hodgson’s preference for art pop. For a fuller look at the life and career of Davies and Supertramp, check out this tribute from earlier this year: Https://hackbackpages.com/2025/9/12/goodbye-stranger-its-been-nice

Bobby Hart, one half of the successful songwriting team with Tommy Boyce, died September 10 at age 86. The duo worked for impresario Don Kirshner in the ’60s and were selected to write for The Monkees, including their #1 debut “Last Train to Clarksville.” Boyce and Hart wrote many dozens of songs for other artists and were also session musicians and singers (they had their own #8 hit, “I Wonder What She’s Doing Tonight,” in 1968). The Monkees broke up in 1970, but when Mickey Dolenz and Davy Jones wanted to reunite without their other bandmates in the mid-’70s, Boyce and Hart took their places, and they toured as Dolenz, Jones, Boyce and Hart. Hart remained active with studio work and songwriting long after Boyce died at age 55.

Sonny Curtis, a member of Buddy Holly’s group The Crickets and an accomplished songwriter, died September 19 at age 88. At 19, he was invited to join The Crickets on guitar and continued with the band even after Holly’s early death. During that period, he honed his songwriting skills, and The Crickets recorded early versions of songs he wrote that would become big hits for other artists. In particular, “I Fought the Law” went on to be a #9 hit in 1965 for The Bobby Fuller Four, then again for The Clash in 1979. Curtis also wrote “More Than I Can Say” (a #2 hit for Leo Sayer in 1980), the theme song for “The Mary Tyler Moore Show” (“Love Is All Around”) and “I’m No Stranger to the Rain,” a #1 country hit for Keith Whitley” in 1989.

Chris Dreja, founding member and rhythm guitarist of The Yardbirds, died October 2 at age 79. He and guitarist Top Topham recruited singer Keith Relf, drummer Jim McCarty and bassist Paul Samwell-Smith to form The Yardbirds in 1963, who became one of England’s premier blues bands. After Topham left, the group became the proving ground for three of rock’s best guitarists ever: Eric Clapton, Jeff Beck and Jimmy Page, in succession. Once The Yardbirds disbanded in 1968, Dreja (second from left in photo) pursued his interest in photography and made it his life’s work.

John Lodge, bass player and vocalist behind the wondrous progressive pop of The Moody Blues, died October 10 at age 82. He and guitarist/singer Justin Hayward joined the group’s lineup in 1966 and became their chief songwriters and frontmen. Lodge wrote such classic Moodies tracks as “Ride My Seesaw,” “Isn’t Life Strange,” “I’m Just a Singer (in a Rock and Roll Band)” and “Gemini Dream.” If you’re interested in more about Lodge’s life and career with The Moody Blues, click here: Https://hackbackpages.com/2025/10/17/isnt-life-strange-a-turn-of-the-page

Ace Frehley, guitarist for the heavy metal show band Kiss, died October 17 at age 74. Frehley answered a want ad in The Village Voice in 1972 for “a lead guitarist with flash and ability,” and became Kiss’s guitarist a couple days later. The band wore elaborate makeup and costumes every time they appeared in public — on stage or elsewhere — and Frehley adopted the persona of “Spaceman.” He didn’t always see eye to eye with founders Gene Simmons and Paul Stanley, precipitating his departure in 1982, but he returned in 1996, then left again in 2002. For more about Frehley and his life inside and outside the Kiss lineup, please see: Https://hackbackpages.com/2025/10/24/dont-let-em-tell-you-that-theres-too-much-noise

Jimmy Cliff, one of the pioneers and most celebrated musicians of Jamaican reggae, died November 24 at age 81. He remained true to his reggae roots while reaching out across racial and cultural lines to a mainstream audience internationally to increase awareness of Jamaican music. His initial popularity with his original songs in his home country soon expanded to England and later to the US, when songs like “Wonderful World, Beautiful People” and “Vietnam” caught on. His breakthrough came with the 1972 film “The Harder They Come,” in which he starred and provided several songs to the soundtrack, including the title tune. He had a hit in 1983 with “Reggae Nights,” and Bruce Springsteen helped familiarize rock fans with Cliff’s name when he recorded his song “Trapped” for the 1985 “We Are the World” LP. Cliff won two Grammys for Best Reggae Album in 1986 and 2013.

Steve Cropper, the highly respected guitarist on many dozens of albums by artists at Stax Records in Memphis, died December 3 at age 84. Cropper was an integral member of Booker T. and the MGs, the Stax house band, who played behind classic soul recordings by Sam & Dave, Otis Redding, Wilson Pickett and others. He was immortalized in Sam & Dave’s “Soul Man” when the duo shouted “Play it, Steve!” in the middle chorus. He co-wrote legendary songs like “Knock on Wood,” “In the Midnight Hour” and “(Sitting’ On) The Dock of the Bay.” He formed TMI Studios in the ’70s and worked with many other notable rockers including Ringo Starr, Rod Stewart, Jeff Beck and Levon Helm. When John Belushi and Dan Aykroyd turned a “Saturday Night Live” sketch into a touring/recording entity, The Blues Brothers, Cropper played a key role, also appearing in the films. Cropper continued to perform throughout the 1990s and 2000s in various configurations of The MGs at high-profile concerts and awards shows.

Mick Abrahams, the original guitarist of Jethro Tull and founder of blues band Blodwyn Pig, died December 19 at age 82. Tull frontman Ian Anderson praised Abrahams as “a dyed-in-the-wool rocker and blues man” who played a key role during Tull’s early years in British clubs, and on his performances of “Cat’s Squirrel” and his own “Move On Alone” on Tull’s “This Was” LP. When Anderson took the band in a different direction in 1969, Abrahams quit to form Blodwyn Pig, which focused largely on blues with elements of jazz and rock with tracks like “See My Way,” “It’s Only Love” and “Summer Day.” Abrahams stayed active on the British blues scene off and on throughout the 1970s and 1980s.

Chris Rea, a hugely popular British rock and blues singer-songwriter-guitarist who was only a one-hit wonder in the US, died December 22 at age 74. He charted six Top Ten albums in the UK between 1987 and 1998, releasing 25 albums in all between 1978 and 2019. Curiously, his only US success came in 1978 with his debut LP, which included the uncharacteristic “Fool (If You Think It’s Over),” which peaked at #12 on US pop charts. Said Rea, “I wrote it for Al Green as a Memphis blues song, but it somehow became this huge California thing, and the only track I didn’t play guitar on. It was not at all typical of my style, but it became a hit anyway.” It earned him a Best New Artist Grammy nomination, but because he never toured the US, that was the extent of his success here.

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This eclectic playlist includes one song for each of the 30 artists mentioned listed here, presented chronologically by the date of death. Consequently, there several jarring segues between selections…