On That Note: Replacing a Part

CycloneRulzzz

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This week of OTN is one we really enjoy, because the topic came from one of our followers. We appreciate every suggestion, as we have done this for so long coming up with new and original topics can prove challenging.

This week, the topic comes from @CYdTracked. He calls it "The Replacements,” as Gene Hackman's passing kind of inspired this thought. Bands that "replaced" notable/key members of their band over the years and kept on rolling. Could be vocalists or musicians, but the replacement(s) added their own sound and flavor, either good or bad.

So, we are looking for songs by groups when a significant change to membership was made.

If you could with the clip mention the new people to the group we would appreciate it.

"On That Note” is presented weekly by @MeanDean, @cyclones500 and myself.

Last Week: Hammer Time
 
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cyclones500

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Kiss

First major transition, Ace Frehley to Vinnie Vincent. Peter Criss was first from original lineup to depart, but Ace was more “essential,” relatively, in pecking order.

Frehley’s last appearance with the group until the ‘90s reformation (interestingly, Vincent co-wrote this song with Gene Simmons).




First album with Vinnie Vincent as official/credicted member (and first LP w/ no makeup!)

Lick it Up (Vincent co-wrote w/ Paul Stanley)

 

cyclones500

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Blood, Sweat & Tears

Example of a group that has had a zillion members, and still tours, with a lineup that has little connection to its roots. Hasn’t released a studio album since 1980.

So, maybe it doesn’t fit the theme, but there was a shift in popularity/success (fleetingly) with departure of Al Kooper and arrival of David Clayton-Thomas on vocals, between first and second albums. (Kooper, btw, played organ on Dylan’s “Like a Rolling Stone.”)

The group’s second (self-titled) LP in 1969 won Grammy for Album of the Year and contained three #2 Billboard songs.

Whether that had anything to do with the switch, no way to know, but debut “Child is Father to the Man”) had a little bit more bluesy/psychedelia/proto-prog vibe compared to the jazz-pop of the successor (Chicago rode a similar template to massive success in the '70s).

With Kooper:






Clayton-Thomas:



 

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