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Unusual Rock Trivia?

The recording of the song "Movin' Out (Anthony's Song" by Billy Joel ends with the sound effect of a car, bass player Doug Stegmeyer's 1960s Corvette, starting and driving away, symbolizing departure. The 45RPM single slightly differs from the album version as the sound effects of the car near the end of the song were removed.

 
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In 1970, Sérgio Mendes, a Brazilian musician, employed a shaggy-haired young carpenter to build a music studio in his backyard in Encino. The worker was an aspiring actor named Harrison Ford, but had taught himself carpentry to support his young family. That’s him on the right below.

At the time, there was little to suggest that Harrison Ford, then 28, was destined to be one of the most famous leading men in Hollywood. A few years later, he landed a small part in George Lucas’ “American Graffiti.” But he returned to woodworking as his principal profession. In 1976, Ford was asked to help Lucas audition other actors for the director’s next film. It was the carpenter, however, who stole the show. Ford became Han Solo and the carpentry became a thing of the past.

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In 1970, Sérgio Mendes, a Brazilian musician, employed a shaggy-haired young carpenter to build a music studio in his backyard in Encino. The worker was an aspiring actor named Harrison Ford, but had taught himself carpentry to support his young family. That’s him on the right below.

At the time, there was little to suggest that Harrison Ford, then 28, was destined to be one of the most famous leading men in Hollywood. A few years later, he landed a small part in George Lucas’ “American Graffiti.” But he returned to woodworking as his principal profession. In 1976, Ford was asked to help Lucas audition other actors for the director’s next film. It was the carpenter, however, who stole the show. Ford became Han Solo and the carpentry became a thing of the past.

View attachment 7032488

Which is why he was able to find the right cup:



Who would know the cup of a carpenter better than a carpenter...
 
Marc Moreland of Wall of Voodoo is the subject of the song "Joey" by Concrete Blonde. Lead singer Johnette Napolitano wrote the song about being in love with an alcoholic, and confirmed the song was about Moreland in the Concrete Blonde D.C. Sessions concert in 2002. About Moreland, Napolitano said:

"I had met Marc Moreland in Australia the first time (Concrete Blonde) toured. That was the first country we toured outside of America. We were opening for Wall of Voodoo in Australia and we just became tighter than anything in a very short time. There was a lot of mutual worship there."
 
Per the producer of the Rumours album during the recording of "You Make Loving Fun".

Lindsey Buckingham wanted accented tom-tom beats in the chorus, but Mick Fleetwood was unwilling to try this idea. Instead, Buckingham played the instrument himself. Producer Ken Caillat remarked that "Lindsey was the accent king. He could accent with guitars, he could accent with toms [and] he could accent with Naugahyde chairs."
 
Per the producer of the Rumours album during the recording of "You Make Loving Fun".

Lindsey Buckingham wanted accented tom-tom beats in the chorus, but Mick Fleetwood was unwilling to try this idea. Instead, Buckingham played the instrument himself. Producer Ken Caillat remarked that "Lindsey was the accent king. He could accent with guitars, he could accent with toms [and] he could accent with Naugahyde chairs."
I always gave credit to Mick for that…how wrong one can be!
 
I always gave credit to Mick for that…how wrong one can be!
Mick redeems himself a bit for his reluctance in a strange way on the same song.

Christine McVie played a Rhodes electric piano that was sent through a Stratoblaster, which boosted the instrument's output by 15 decibels. John McVie's bass was re-recorded, and Christine McVie overdubbed a Hohner Clavinet, which was fed through a wah-wah pedal. McVie struggled to play the clavinet in tandem with the wah-wah pedal, so Fleetwood got on the floor and operated the pedal with his hands while McVie played the keys of the clavinet.
 
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The title for the Aerosmith song "Walk This Way" was inspired by the Mel Brooks produced movie Young Frankenstein. When the group was halfway through recording the Toys in The Attic album in early 1975 at Record Plant in New York City, they had written three or four songs for the album. Joe Perry had come up with a song but it did not have lyrics or a title yet. Deciding to take a break from recording, band members and producer Jack Douglas went down to Times Square to see Young Frankenstein. Returning to the studio, they were laughing about Marty Feldman's Igor character telling Gene Wilder's Dr. Frederick Frankenstein character to follow him in the film, saying "walk this way" and limping. Douglas suggested this as a title for their song; but, they still needed lyrics.

 
Mick redeems himself a bit for his reluctance in a strange way on the same song.

Christine McVie played a Rhodes electric piano that was sent through a Stratoblaster, which boosted the instrument's output by 15 decibels. John McVie's bass was re-recorded, and Christine McVie overdubbed a Hohner Clavinet, which was fed through a wah-wah pedal. McVie struggled to play the clavinet in tandem with the wah-wah pedal, so Fleetwood got on the floor and operated the pedal with his hands while McVie played the keys of the clavinet.
Maybe that's why Stevie Wonder used a Mu-Tron III envelope filter (aka auto wah) instead of a wah pedal on his clav.
 
John Lennon on the BBC TV Show Juke Box Jury hearing (You're The) Devil In Disguise by Elvis Presley for the first time

In June 1963, when the song was debuted to a British audience on the BBC television show Juke Box Jury, celebrity guest John Lennon voted the song "a miss", stating that Presley had become "like Bing Crosby". The song subsequently peaked at No. 1 on the UK singles chart for one week and was a huge international hit. So much for John's opinion.

 
There’s another thread out here on TB saying how they need to pare down their equipment. Especially their pedalboards. Maybe guitarist don’t have this issue. Apparently Frank Marino of Mahogany Rush wasn’t moved by it. This from a Guitar World article.

Marino is a devoted Gibson SG player and uses them with the original PAF pickups, as well as two with DiMarziohumbuckers.He also has an SG with single-coil DiMarzio pickups.

He is noted for complicated setups; according to Guitar Player, he has "an entire pedalboard ... assigned to hold the expression pedals that control the parameters of the effects on anotherpedalboard."