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Unusual Rock Trivia?

Discovered this while checking out the Hollies history....

JD Souther hopefully said a few prayers of thanks that folk singer/songwriter Judee Sill (RIP) wielded a wicked pen ONLY.
Perhaps her greatest song. Warren Zevon, The Hollies, Cass Elliot and Linda Ronstadt were a few that covered it.

Months after completing the recording sessions for her debut album, Sill was touring as an opening act and reeling from the end of a “dramatic affair” with fellow songwriter JD Souther.She began composing "Jesus Was a Cross Maker" while reading the 1955 Nikos Kazantzakis novel The Last Temptation of Christ, in which Jesus is portrayed as a carpenter who builds wooden crosses for the Romans. “I was so excited when I was writin’ that song,” Sill said in 1972, “because it was not only the best thing I’d ever written, and I knew it, but it took the weight off my heart and turned it into somethin’ else, and I was able to forgive the guy for the horrible romantic bummer he'd put me on. And I gained a new kind of strength from it, from that combination of forgiveness and creation.

In a 2014 interview, Souther recalled his first time hearing the song. “She came over to my house at about seven or eight in the morning,” he said. “Pounded on the door, woke me up, came in, sat on my bed, and said, ‘This is for you,’ very sourly. Then she played it for me.”

Personally, for me the lyrics are extremely powerful.
 
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Jeff Beck wrote the drum groove that inspired Stevie Wonder's hit "Superstition". Jeff and Stevie became friends in 1972 and hung out in the studio. According to Jeff: “One day I was sitting at the drum kit, which I love to play when nobody’s around, doing this beat. Stevie came kinda boogieing into the studio: Stevie: ‘Don’t stop.’ Me: ‘Ah, c’mon, Stevie, I can’t play the drums.’ Then the lick came out: ‘Superstition.’ That was my song, in return for playing on Talking Book. I thought, ‘He’s given me the riff of the century.'” Beck recorded his version first, which was supposed to appear on Beck, Bogert and Appice. But that album was delayed for various reasons. Meantime, Berry Gordy heard Stevie's version and knew it would be a hit, so it was released first.
 
Regarding BTO’s tune “Let It Ride”….


The distinctive guitar riff in this song is something Randy Bachman came up with after listening to a classical piece by Antonin Dvorak called “Piano Concerto in D.” He transposed a chord progression he heard in the piece to guitar, which sounded great.
 
Regarding the naming of Chicago’s 26 or 6 to 4.

Sometime late into the night in May 1969, songwriter Robert Lamm returned home from one of the band’s regular gigs at Whisky a Go-Go on the Sunset Strip and picked up a 12-string electric guitar that was missing some strings. Sitting “cross-legged on the floor,” he grabbed the 10-string guitar. “I had the guitar riff, which I played, and I had this melody, which I sang along with the riff. Then, once I sat at the piano and fleshed out the changes, and then the release, it sort of all came together.

It was indeed quite late, so he looked at the antique clock hanging across the room to see the time. “I couldn’t quite tell where the hands of the clock were pointing. It was 25 or 26 minutes before 4 a.m. I didn’t expect to keep those words, I expected to replace them with some actual lyrics. But it ended up working out okay.”
 
Not exactly…it was coined by the infamous William S. Burroughs in 1961…



“Soft Machine” was appropriated by the British jazz/prog-rock band, there was another 70’s Brit band, the Heavy Metal Kids, sort of a cross between early Mott The Hoople and AC/DC, then there was Burroughs’ mention of “Steely Dan”, which was, well, a sexual appendage prosthetic, so to speak.
 
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I've known Al Schackman for years who played guitar with Belafonte in the 50's and 60's both live and on the records as well as with Nina Simone during the same period - and sometimes with Simone later as well (he's in the Netflix documentary on her). Often the lone white guy. He has many related stories...
Al had also played with Olatunji in that era, who I played with in the 80s-00s, and we often had percussionist Leon Mobley (of Ben Harper and The Innocent Criminals and others) and he talked about traveling from Boston to Harlem as a teenager in the early 70s to take lessons from Olatunji and one time encountering the upstairs neighbor, Duke Ellington...