My cousin Sue had two extra tickets to the Eagles in 1975 so I snatched them up for myself and a date. We ended up sitting next to my cousin and her date, a young fellow who eventually became a Mayor, State Representative and State Senator here in Ohio. (Dan Fogelberg, who recently passed, was opening act).
 
KISS mania had taken hold at high schools all across Ohio and everyone had KISS Alive and Destroyer. We hardcore KISS fans had everything they had done of course. For the March 9, 1976 KISS/Artful Dodger appearance at the Richfield Coliseum Flash and I went to the Ticketmaster location at the Belden Village Mall and bought three complete rows of seats. One row was around six rows below the other two rows. So we went to Orrville and sold most of them (at cost) to our pals (so we could control who we sat with). I had people in school (my senior year) who never spoke to me coming up asking if I had any tickets left and pleading for one. The power! A few tickets we gave away to some very charming young ladies and we kept two each. (I’d tell you the ‘details’ of that night but I have five grandchildren who may read this someday.)
 
I remember the Foghat/Starz show on February 20, 1978 because my pal Rog caught a flying drumstick from Foghat drummer Roger Earl. The two bands always kicked ass live.
 
I remember the January 8, 1978 KISS concert at the Richfield Coliseum because it took 20-25 minutes to get there and after the show we went to the car to be greeted by a mountain of snow. We had two blizzards that year (the second one, even bigger, in March) and the night of KISS was the first one. It took nearly three hours to get home, dodging sliding cars going backwards down Route 21 past us as I kept the hammer down on the Cutlass trying to get up those big hills with what seemed like five feet of snow and more coming down. We made it back to Orrville and were snowed in for three days.
 
I remember seeing Alice Cooper again later that year in ’78 because that was the first concert my older sister Cheryl had ever been to (we broke her in with that one!). That was May 5 and Jay Ferguson opened. A good time was had by all, as is the case anytime you see Alice Cooper.
 
I remember not expecting much out of Rod Stewart on November 4, 1977 because he didn’t have Faces with him (they were killer in ’75 at the Stadium). Wrong. Stewart kicked ass that night, had everyone out of their seats and had the audience n the palm of his hand.
 
New Year’s Eve 1977 was celebrated at the Richfield Coliseum seeing Todd Rundgren’s Utopia and Derringer. A friendly law enforcement officer stopped us on the way home and inquired about our health and sent us on our way after promises of getting to Orrville ASAP and staying there. Derringer owned the night.
 
I remember taking three or four people for their first Angel concert on March 8, 1978 and them being blown away by Angel’s stage show.
 
New Year’s Eve 1978 at the Richfield Coliseum: Bruce Springsteen. Nuff’ said.
 
Ian Hunter & Mick Ronson on September 22, 1979. One of my favorite concerts at the Coliseum. Too many reasons to list. But what a night!

[caption id="attachment_179" align="aligncenter" width="300" caption="Ian Hunter & the late, great Mick Ronson"][/caption]

Boston and Sammy Hagar on my birthday in 1978. Boston was good but Sammy laid the smackdown.
 
The Who on December 9, 1975. Nuff’ said.
 
In 1978 went to see Black Sabbath and Van Halen. Had heard maybe one or two Van Halen songs on the radio at that point and none of us that went gave them much thought. We were there for Sabbath. Result: Van Halen whipped Black Sabbath performance-wise and musically like a bastard redheaded stepchild.
 
Led Zeppelin on January 24, 1975 that saw a mini-riot erupt and thousands and thousands of dollars worth of broken window glass by a group outside who were unable to get tickets. That made the papers.
 
I think I saw Aerosmith there at least four times at the Coliseum and only once was the sound working right and you could actually hear the band. Guess they were just jinxed there.
 
After a Ted Nugent/J.Geils Band show Bug, Mott & myself shaking hands with Peter Wolfe. As we came out of the Coliseum we walked by a couple limos and in the back of the first one with the window down was Peter Wolfe sitting between two lovely ladies with a drink in hand. We stopped, told him, “You guys kicked ass!” His response? “I know!” He slapped us each a high five and off we went.
 
Led Zeppelin on April 27 and April 28, 1977. Tickets were available via mail order only with a minimum number of tickets per order. So Flash and I got our money orders prepared and each ordered the maximum number allowed for both nights. We went to the Richfield Post Office and at midnight of the date orders could be postmarked we dropped our order in the mail (along with probably 100 others lined up). We got lucky and each got four tickets for both nights. First night was with dates, second night with buddies. The April 27 performance is a huge bootleg bestseller on the black market. Full details on this night can be found here: http://doclehman.wordpress.com/2008/03/09/
 
There’s more, lots more, but you get the idea. I’d like to hear from others about their experiences at the Richfield Coliseum.
 
I know I saw well over 100 bands there during the 70’s and very early 80’s. A couple performances I missed that I always regretted were not seeing George Harrison (’74) and Paul McCartney (’76) on their respective tours because tickets were mail order and my orders didn’t get picked. I also went as far as making plans to buy tickets to see Elvis in 1977. One of my cousins saw him at the Coliseum in ’75 and convinced me I had to see him at least once. But right before the Cleveland tickets went on sale he died.
 
Lots of good memories there and lots of good bands came through many times. I think I saw KISS there four or five times, Aerosmith the same, Alice Cooper four times, Fleetwood Mac four times, the list goes on….
 
With the opening of Gund Arena in Cleveland the Richfield Coliseum was doomed. It shut down in 1994 and in 1999 was demolished and the property returned to woodland and under stewardship of the Cuyahoga Valley National Park.  You can find more info here: http://en.wikipedia.org/wiki/Richfield_Coliseum

Art by JESSERZZZ
AAAAARRRGGGGGHHHHHHHHHHH ! Just as one child is out of hospital, another one is in with, what was first thought as a broken neck with a possible severe outcome. Now without going into detail like an ongoing ER episode, all turned out well. However, i am over hospitals. Period.
On a brighter note, i am back home from a deep south trip for work and i am pleased to say i have adjusted from the time zone change. After all its really hard to turn your casio watch back twenty years and then move back to the latest millenium. Figure that out McFly

Aretha Franklin is one of the giants of soul music, and indeed of American pop as a whole. More than any other performer, she epitomized soul at its most gospel-charged. Her astonishing run of late-'60s hits with Atlantic Records -- "Respect," "I Never Loved a Man," "Chain of Fools," "Baby I Love You," "I Say a Little Prayer," "Think," "The House That Jack Built," and several others -- earned her the title "Lady Soul," which she has worn uncontested ever since. Yet as much of an international institution as she's become, much of her work -- outside of her recordings for Atlantic in the late '60s and early '70s -- is erratic and only fitfully inspired, making discretion a necessity when collecting her records.
Art by sanne707
Franklin's roots in gospel ran extremely deep. With her sisters Carolyn and Erma (both of whom would also have recording careers), she sang at the Detroit church of her father, Reverend C.L. Franklin, while growing up in the 1950s. In fact, she made her first recordings as a gospel artist at the age of 14. It has also been reported that Motown was interested in signing Aretha back in the days when it was a tiny start-up. Ultimately, however, Franklin ended up with Columbia, to which she was signed by the renowned talent scout John Hammond. Franklin would record for Columbia constantly throughout the first half of the '60s, notching occasional R&B hits (and one Top 40 single, "Rock-a-bye Your Baby With a Dixie Melody") but never truly breaking out as a star. The Columbia period continues to generate considerable controversy among critics, many of whom feel that Aretha's true aspirations were being blunted by pop-oriented material and production. In fact, there's a reasonable amount of fine items to be found on the Columbia sides, including the occasional song ("Lee Cross," "Soulville") where she belts out soul with real gusto. It's undeniably true, though, that her work at Columbia was considerably tamer than what was to follow, and suffered in general from a lack of direction and an apparent emphasis on trying to develop her as an all-around entertainer, rather than as an R&B/soul singer.

In the late '60s, Franklin became one of the biggest international recording stars in all of pop. Many also saw Franklin as a symbol of black America itself, reflecting the increased confidence and pride of African-Americans in the decade of the civil rights movements and other triumphs for the black community. The chart statistics are impressive in and of themselves: ten Top Ten hits in a roughly 18-month span between early 1967 and late 1968, for instance, and a steady stream of solid mid- to large-size hits for the next five years after that. Her Atlantic albums were also huge sellers, and far more consistent artistically than those of most soul stars of the era. Franklin was able to maintain creative momentum, in part, because of her eclectic choice of material, which encompassed first-class originals and gospel, blues, pop, and rock covers, from the Beatles and Simon & Garfunkel to Sam Cooke and the Drifters. She was also a fine, forceful, and somewhat underrated keyboardist.

Franklin had a few more hits over the next few years -- "Angel" and the Stevie Wonder cover "Until You Come Back to Me" being the most notable -- but generally her artistic inspiration seemed to be tapering off, and her focus drifting toward more pop-oriented material. Her Atlantic contract ended at the end of the 1970s, and since then she's managed to get intermittent hits -- "Who's Zooming Who" and "Jump to It" are among the most famous -- without remaining anything like the superstar she was at her peak. Many of her successes were duets, or crafted with the assistance of newer, glossier-minded contemporaries such as Luther Vandross. There was also another return to gospel in 1987 with One Lord, One Faith, One Baptism.

Critically, as is the case with many '60s rock legends, there have been mixed responses to her later work. Some view it as little more than a magnificent voice wasted on mediocre material and production. Others seem to grasp for any excuse they can to praise her whenever there seems to be some kind of resurgence of her soul leanings. Most would agree that her post-mid-'70s recordings are fairly inconsequential when judged against her prime Atlantic era. The blame is often laid at the hands of unsuitable material, but it should also be remembered that -- like Elvis Presley and Ray Charles -- Franklin never thought of herself as confined to one genre. She always loved to sing straight pop songs, even if her early Atlantic records gave one the impression that her true home was earthy soul music. If for some reason she returned to straight soul shouting in the future, it's doubtful that the phase would last for more than an album or two. In the meantime, despite her lukewarm recent sales record, she's an institution, assured of the ability to draw live audiences and immense respect for the rest of her lifetime, regardless of whether there are any more triumphs on record in store. ~ [Richie Unterberger, All Music Guide]

For the Beatles see Number 947, #894, #587 & #489
For Simon & Garfunkel see Number 964
For Stevie Wonder see Number 657
For Luther Vandross see Number 916
For Elvis Presley see Number 840 & #501

For Ray Charles see Number 518

For Sam Cooke see Number 481

What does Pappy Stone think about Miss Franklin?
Aretha Franklin is not only the definitive female soul singer of the '60s, but one of the most influential and important voices in the history of popular music. Aretha Franklin fused the leaps and swoops of the gospel music she grew up on with the sensuality of R&B, the innovation of jazz, and the precision of pop. After she hit her artistic and commercial stride in 1967, she made over a dozen million selling singles, and since then has recorded 20 #1 R&B hits. She moved toward the pop mainstream with fitful success in the ’70s, but in the late ’80s experienced a resurgence in popularity, and continues to record in a less ecstatic, perhaps more mature style.
In 1966 she signed with Atlantic. With the help of producer Jerry Wexler, arranger Arif Mardin, and engineer Tom Dowd, Franklin began to make the records that would reshape soul music. Her first session (and the only one recorded at Muscle Shoals, in Alabama) yielded “I Never Loved a Man (the Way I Love You)” (#9 pop, #1 R&B, 1967) and heralded a phenomenal three years in which she sold in the millions with “Respect” (#1 pop and R&B, 1967), “Baby I Love You” (#4 pop, #1 R&B, 1967), “Chain of Fools” (#2 pop, #1 R&B, 1968), “Since You’ve Been Gone” (#5 pop, #1 R&B, 1968), “Think” (#7 pop, #1 R&B, 1968), “The House That Jack Built” (#6 pop, #2 R&B, 1968), “I Say a Little Prayer” (#10 pop, #3 R&B, 1968), “See Saw” (#14 pop, #9 R&B, 1968), “The Weight” (#19 pop, #3 R&B, 1969), “Share Your Love With Me” (#13 pop, #1 R&B, 1969), “Eleanor Rigby” (#17 pop, #5 R&B, 1969), “Call Me” (#13 pop, #1 R&B, 1970), and “Spirit in the Dark” (#23 pop, #3 R&B, 1970).
In 1987 Franklin became the first woman inducted into the Rock and Roll Hall of Fame. In 1988 Franklin’s sister Carolyn died of cancer; around the same period her brother and manager, Cecil, also died. She appeared with Frank Sinatra on his Duets album and in 1993 starred in her own television special, Duets, which featured her singing with a number of current pop stars, including Bonnie Raitt, Elton John, Smokey Robinson, George Michael, and Rod Stewart. She appeared at the inaugural celebration for President Bill Clinton, where her rendition of “I Dreamed a Dream” (from Les Miserables) barely got more attention than her wearing a fur coat (for which she offered no apologies). “A Deeper Love” (#63 pop, #30 R&B, 1994), from the Sister Act 2 soundtrack, was written and produced by Robert Clivilles and David Cole of C + C Music Factory. “Willing to Forgive” was another Top 20 R&B hit that year. In 1994 Franklin received a Grammy Award for Lifetime Achievement. ~ [from The Rolling Stone Encyclopedia of Rock & Roll (Simon & Schuster, 2001)]

For Frank Sinatra see Number 933
For Smokey Robinson see Number 565
For George Michael see Number 821
For Blues Brothers see Number 875

For Elton John see Number 531

Rolling Stone Top 500 Songs ranked this song at Number 5 the Album ranked at Number 83

This song has a crowbarred rating of 73.4 out of 108

Lyrics to the song

Previous Song 562 ..... Next Song 564

Tags:Aretha Franlin, 1967, Soul, Beatles, Stevie Wonder, Luther Vandross, Elvis Presley, Frank Sinatra,Smokey Robinson, Music Video, Rolling Stone Magazine, Crowbarred, New Zealand, Crowbarred Unleashed, The Definitive 1000 Songs Of All Time, Mellow Mix Volume 1, Mellow Mix Volume 2, Mellow Mix Volume 3, Mellow Mix Volume 4, Mellow Mix Volume 5, Mellow Mix Volume 6, Mellow Mix Volume 7, Mellow Mix Volume 9, Mellow Mix Volume 10, Mellow Mix Volume 11, Mellow Mix Volume 12

Search Artist here1-2-3-A-B-C-D-E-F-G-H-I-J-K-L-M-N-O-P-Q-R-S-T-U-V-W-X-Y-Z

By The Year 1955 to 2005:

1955, 1956, 1957, 1958, 1959, 1960, 1961, 1962, 1963, 1964, 1965, 1966, 1967, 1968, 1969, 1970, 1971, 1972, 1973, 1974, 1975, 1976, 1977, 1978, 1979, 1980, 1981, 1982, 1983, 1984, 1985, 1986, 1987, 1988, 1989, 1990, 1991, 1992, 1993, 1994, 1995, 1996, 1997, 1998, 1999, 2000, 2001, 2002, 2003, 2004, 2005

underlay

Un brinco más, total, que más da. Rod Stewart nos trae un tema que se quedó en la mente de todos los "jóvenes" que andan rondando los 35 a 40 años y que pasamos a las generaciones para poner de moda el no envejecer de ninguna manera. Un tema que recuerda evidentemente a aquel concierto de Querétaro y que marcó el banderazo para los conciertos en México. Por supuesto ajusta perfectamente para la carretera, y si es en un convertible, mejor.

Avedrio