If You Can’t See The One You Love, See The One You Can

According to my good music blogger friend Music Enthusiast, who only not writes a great blog but also seems to be a pretty good guitarist, I’m the King of the Tribute Band. As such, I thought I have to live up to the kind title and do a piece on tribute bands.

In 1970, Stephen Stills wrote the lyrics, And if you can’t be with the one you love, love the one you’re with. Since this pretty much captures how I generally feel about tribute bands, I used a variation of Stills’ words as the headline for this post.

I know some folks are only mildly excited about the concept. While I acknowledge it’s hard to find tribute bands that sound exactly like the real artists, as long as they don’t sound terrible, I enjoy seeing them. Since I usually do some research before going to a show, I’ve yet to have a bad experience.

Here’s how I look at it. With today’s oftentimes outrageous ticket prices, I simply can’t afford to see everybody I like; and even if I could, many of my favorite artists or bands are no longer around. Some of the best tribute bands I’ve seen performed at free summer-concert-in-the-park type of events, or music festivals with very reasonable cover charges. So for little or no money I can listen to music I dig – not much of a downside here, in my opinion!

Following are some tribute bands I like and have seen over the past couple of years.

Who’s Next

Their name already pretty much says it all. Who’s Next is a tribute to The Who. Like The Who, I’ve seen them twice and thought they were dynamite. Their members include Bill Canell as Pete TownshendDave McDonald as Roger DaltreyMike Conte as John Entwistle and Rich Savarese as Keith Moon. Apart from nicely capturing the sound and energy of the British rockers, these four guys also look a bit like their heroes. All of this is pretty remarkable, given the band doesn’t appear to perform frequently. For more information, check out their website. Here’s The Real Me and 5:15 I captured earlier this year during a British Invasion festival in Atlantic City.

Britain’s Finest

As a huge fan of The Beatles, of course I need to include a tribute band in this post! There are many tribute acts to the Fab Four, and I must have seen at least half a dozen myself. One of the best if not the best is Britain’s Finest. Similar to Who’s Next, their show is about both recreating the sound and the looks – they even mimic The Beatles’ humor. According to their Facebook page, Britain’s Finest were founded in Los Angeles in September 2011. Their lineup features Ruben Amaya (John Lennon), Benjamin Chadwick (Paul McCartney), Robert F. Bielma (George Harrison) and Luis G. Renteria (Ringo Starr). Here’s a clip of She Loves You.

The Glimmer Twins

Adopting the nickname of the songwriting partnership of Mick Jagger and Keith Richards, the Glimmer Twins hail from Philadelphia. The band is led by Keith Call (vocals, harp) and Bernie Bollendorf (guitars, vocals), who bring to life the sound and looks of Jagger and Richards in the ’70s. While the band’s remaining musicians don’t resemble the other members of The Rolling Stones, they sound pretty awesome:  Michael Rubino (guitars), Bobby Corea (drums), Rob Ekstedt (Bass), Rocco Notte (keyboards), Valorie Steel (vocals), Bobby Michaels (saxophone, flute, organ) and Carl Crabtree (saxophone, organ, acoustic guitar). For more information, check out their website. Here’s their rendition of Jumpin’ Jack Flash.

STARMAN: The Bowie Tribute

Formed in 2014, STARMAN is a tribute band to David Bowie. While Bowie obviously was a very well-known artist, I was still intrigued when I learned about these guys recently. Unlike The Beatles, I don’t think there are many Bowie tributes out there, which was in part why I decided to catch one of their recent gigs. In addition to Bowie’s songs, this Jersey band captures the looks and stage shows during different times of his career. STARMAN are Johwie Bowie (lead vocals), David Citron (keyboards, vocals), Tom Coughlin (saxophone, guitar, vocals), Jody Lynn Lisa (vocals, percussion), Mark Christopher (lead guitar), Dan D’Elia (drums) and Phil Liebergall (bass, vocals). Additional information can be found on their website. Here’s a clip of Ziggy Stardust and Suffragette City from the above mentioned show I attended.

TUSK

TUSK, another band from New Jersey, is an excellent tribute to Fleetwood Mac I’ve seen a couple of times. While their website and Facebook page don’t mention when they were founded, it’s clear their members are longtime artists. The band, which captures Fleetwood Mac during their most commercially successful phase, features Kathy Phillips (vocals) as Stevie NicksKim Williams (keyboards, vocals) as Christine McVieScott McDonald (guitars, vocals) as Lindsey BuckinghamRandy Atiglere (bass) as John McVie, and Tom Nelson (drums) as Mick Fleetwood. According to their website, TUSK has a packed schedule and tours nationally. What struck me the most about them was how well they capture Mac’s harmony vocals. Check out this clip of The Chain.

Hotel California

To recreate the music of the Eagles, especially the harmony vocals, is a formidable task. While I’ve seen a few Eagles tribute bands, Hotel California from Toronto, Canada has been the most compelling thus far. Undoubtedly, at least in part this must be the result of their longtime experience – the band was founded in 1986. The current lineup includes  Andy Lapointe  (bass, vocals), Mike Dimoulas (electric guitar, acoustic guitar, keyboards, double-neck guitar, Talk Box, vocals), Rick Spyder (electric guitar, vocals) and Kevin O’Donnell (drums, vocals). The band’s website reveals that they tour heavily throughout Canada and the U.S. Here’s a nice highlights reel. While it’s a few years old, this is how I recall they sounded when I saw them last September.

Get The Led Out

Get The Led Out, another band from Philadelphia, are an amazing Led Zeppelin tribute that got together in 2003. Rather than aiming to look like Robert Plant, Jimmy Page, John Paul Jones and John Bonham or sound like they did in concert, these guys are all about bringing Zeppelin’s studio sound live to the stage. And that takes more than four musicians – six to be precise: Paul Sinclair (lead vocals, harmonica), Paul Hammond  (electric and acoustic guitars, mandolin), Jimmy Marchiano (electric and acoustic guitars), Phil D’Agostino (bass, vocals), Andrew Lipke (keyboards, electric and acoustic guitars, vocals, percussion) and Adam Ferraiolo (drums, percussion). In addition, Diana DeSantis serves as guest vocalist for The Battle Of Evermore. I saw GTLO last November, and boy did they kick ass! The band’s current national tour schedule is on their website. Here’s a clip of Whole Lotta Love.

Echoes

This Pink Floyd tribute band from Delaware was founded in 1991. I’ve had the fortune to experience the real Pink Floyd (minus Roger Waters) twice and was really impressed how well Echoes recreated their complex music when I saw them last September. The band includes John Cassidy (drums, vocals), Kyle Frederick (bass), Dan Long  (keyboards, sound effects, vocals), John Ratcliffe (vocals, guitar), William (Bill) Swezey  (guitar, vocals), David Fox (guitar, lap steel), Andrew Bedell (saxophone), Michelle Sumler Hover (backing vocals), Chris Tuminello Duncan (backing vocals, keyboards) and Kat Pigliacampi (backing vocals). Here’s a highlights reel from their website.

Yes, I’ve seen many tribute bands, and the king is ready to see more! One event I particularly look forward to in this context is Rock The Farm in Seaside Heights, N.J. at the end of September. This annual one-day music festival features an impressive amount of tribute bands. In addition to Decade and TUSK, the 2018 lineup includes tributes to AC/DC, Tom Petty & The Heartbreakers, Aerosmith and Guns ‘N Roses, among others. Best of all, the CFC Loud N Clear Foundation, which puts on Rock The Farm, leverages the event to raise money for addiction recovery programs and other related services. For more information, visit https://rockthefarmnj.com/

Sources: Who’s Next website, Britain’s Finest Facebook page; The Glimmer Twins website; STARMAN website; TUSK website; Hotel California website; Get The Led Out website; Echoes website; YouTube

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On This Day In Rock & Roll History: July 28

Recently after a longer break, I decided to do a new installment of this recurring feature. Perhaps I got bitten by the rock & roll history bug, so here’s another one.

1957: Rock & roll pioneer and honky-tonk piano wizard Jerry Lee Lewis made his national TV appearance on the Steve Allen Show, a variety program that at the time aired on Sunday nights at 8:00 PM on NBC, directly competing with the mighty Ed Sullivan Show on CBS. Lewis’ performance of Whole Lotta Shakin’ Goin’ On took sales of the tune from 30,000 to six million copies. He returned to the program twice, but I doubt he was able to repeat that kind of sales shake-up.

1964: The Beatles topped the Official Singles Chart with A Hard Day’s Night, scoring their fifth no. 1 single in the U.K. The title track of the band’s third studio album and soundtrack to their first feature film also became a chart topper in many countries elsewhere in Europe, the U.S., Canada and Australia. Credited as usually to John Lennon and Paul Cartney, the song was mostly written by Lennon. It’s one of those magic tunes that’s instantly recognizable by its signature opening chord. According to The Beatles Bible, there have been multiple suggestions how to describe the chord, which was played by George Harrison on his Rickenbacker 360/12. For all the guitarists out there who’ve played this sucker but never knew what the heck it is, Harrison confirmed in February 2001 that it’s called an Fadd9. If anything, I thought it was some G chord – I suppose it depends on how high you tune your guitar!

1966: Chris Farlowe hit no. 1 on the U.K. Official Singles Chart with Out Of Time. Not only was the track a cover of a Rolling Stones tune, but it was also produced by Mick Jagger. Additionally, the song appeared on Farlowe’s third studio album The Art Of Chris Farlowe. Released in November that year, the record was solely credited to him, even though he was backed by his band The Thunderbirds. The album also featured covers of three other Stones songs: Paint It Black, I’m Free and Ride On, Baby. When the Stones had initially released Out Of Time as a single in April 1966, it hadn’t charted. It would take more than nine years until September 1975 to finally do so, with a two-week run that saw the song peak at no. 45.

1969: According to police reports from Moscow, thousands of public phone booths had been vandalized in the Russian capital when people were taking parts from phones to convert their acoustic to electric guitars. Apparently, a feature in a Russian youth magazine had described how to do it. This must have slipped the censorship by the Russian authorities. One wonders what happened to the editor of this publication, as well as the censors who had missed the article. While I don’t condone vandalism, admittedly, I had to smile when I learned about this story. Rock & roll scored a rare if short victory in a totalitarian state that suppressed it. Of course, censorship continues in Russia to this day and seems to be worse than ever. Meanwhile, the leader of the free world and his supporters have come up with the concepts of alternate facts and fake news if they don’t like media coverage.

Long Live Rock 'N Roll

1973: The Summer Jam at Watkins Glen was held at the Watkins Glen Grand Prix Raceway near Watkins Glen, N.Y. The outdoor music festival drew an estimated 600,000 rock fans to see The Allman Brothers Band, Grateful Dead and The Band – what a line-up! The one-day event ended up in the Guinness Book Of Word Records for “largest audience at a pop festival.” While in some regards Watkins Glen was comparable to Woodstock (upstate New York location, terrible traffic, bad weather), the latter “only” attracted more than 400,000 people. Here’s a clip of Come And Go Blues by the Allman Brothers, which apparently was recorded at the festival.

Sources: Wikipedia, This Day In Rock, This Day In Music.com, U.K. Official Singles Chart, The Beatles Bible, YouTube

Happy Birthday, Mick Jagger

At age 75, Jagger still can’t get no satisfaction

No matter whether you like him or not, I think there’s no question that Mick Jagger has to be one of the coolest rock artists on the planet. To me he’s the embodiment of rock & roll in all of its crazy shapes. Unlike the other members of The Rolling Stones, Jagger doesn’t show many signs of aging. He still has the energy and swagger he did when the Stones started out in the early ’60s.

I also don’t believe I know of any other rock artist who studied at the London School of Economics, though evidently Jagger figured out pretty quickly that Adam Smith and John Maynard Keynes weren’t as sexy as rock & roll. And, dare I say it, there are many economists but there’s only one Mick Jagger!

Jagger’s biography has been told a 100 million times, so I’m not going to write yet another iteration. Instead, I’d like to celebrate Sir Michael Philip Jagger’s 75th birthday, which is today, with what he’s all about: rock & roll.

Let’s kick it off with the first officially recorded song Jagger co-wrote with his longtime partner in crime Keith Richards: Tell Me (You’re Coming Back), the only original track on the Stones’ eponymous U.K. album released in April 1964. While he tune’s early ’60s pop vibe doesn’t sound much like The Rolling Stones, I still find it charming.

Yes, it’s probably the most over-played song The Rolling Stones have ever released, but since it’s such a signature tune, how could I not include (I Can’t Get No) Satisfaction in this post? Plus, the song from the Stones’ third British studio album Out Of Our Heads really seems to be a perfect fit for Jagger.

She’s A Rainbow from 1967’s Their Satanic Majesties Request may be an uncharacteristic tune by The Glimmer Twins, but I’ve always loved it.

I know many Stones fans consider Exile On Main Street or Some Girls as the band’s best studio album. If I would have to select one, I think it would be Sticky Fingers. Here’s Dead Flowers.

The song’s title sums it up perfectly: It’s Only Rock ‘N Roll (But I Like It). It was the lead single to the Stones’ 1974 studio album It’s Only Rock ‘N Roll, their 12th and 14th in the U.K. and U.S., respectively.

Here’s When The Whip Comes Down. According to Wikipedia, Jagger wrote the lyrics to the song, which first appeared on the Some Girls album from 1978, though it is credited to Jagger/Richards.

Tattoo You is considered by many folks to be the last decent album the Stones released in August 1981. The lead single was Start Me Up, which remains one of the band’s most recognizable tunes and a staple during their live concerts where they often play it as the opener. It’s a great tune and with its simple riff yet another example that less is oftentimes more in rock & roll.

I’ve always liked Steel Wheels, which the Stones released in August 1989. By that time Jagger and Richards had patched up their fragile relationship and wrote a great set of songs that are reminiscent of the Stones’ classic sound. Here’s Mixed Emotions.

To date, A Bigger Bang from September 2005 is the Stones’ most recent full studio album featuring original music. Here’s the opener Rough Justice.

I’d like to conclude this celebratory playlist with an amazing live clip: Can’t You Hear Me Knocking, from the Stones’ Sticky Fingers show on May 20, 2015 at the Fonda Theatre in Los Angeles. It was captured in a great live album released last September as part of the band’s From The Vault series. To me, the Stones rarely sounded as fresh as they did that night!

Do Mick and the boys have enough gas for another album? In April, NME reported that Jagger was working on new material ahead of the Stones’ U.K. tour. He’s quoted as saying, “I’m just writing. It is mostly for the Stones at the moment.” Well, I guess we’ll have to wait and see. Meanwhile, happy birthday!

Sources: Wikipedia, NME, YouTube

Clarence Carter, Groovy Southern Soul And R&B Man

Despite several hits in the late 60s and early 70s, Carter didn’t achieve the popularity of other FAME recording artists

I just love when this happens. Yesterday morning, I checked Apple Music and under “new releases” spotted Snatching It Back by Clarence Carter, a name I wasn’t familiar with. The cover showing Carter holding his electric guitar somehow reminded me of Stax, so I decided to give the album a listen. Right from the get-go I was intrigued by what I heard – great southern style soul and R&B that makes you groove and snip your fingers – my kind of music to start the day!

Carter was born blind in Montgomery, Ala. on January 14, 1936. According to his profile on Apple Music, he taught himself how to play the guitar at a young age by listening to blues artists like John Lee Hooker, Lightnin’ Hopkins and Jimmy Reed. Any guy who can pull that off has my full respect! Following graduation from Alabama State College with a B.S. in music in August 1960, another remarkable accomplishment, given the time and place, he formed the duo Clarence & Calvin with his friend Calvin Scott. They signed with the Fairlane label and started releasing a series of singles, none of which got any traction. After Scott was badly injured in a car accident, Carter went on as a solo artist.

Clarence Carter Live 2012
Clarence Carter (center) live in 2012

It took until 1967 that Carter’s music received first recognition with Tell Daddy, recorded at the legendary FAME Studios in Muscle Shoals, Ala. The tune, which he co-wrote, peaked at no. 35 on the Billboard R&B Chart. Carter gained additional visibility when Etta James covered the song as Tell Mama, scoring a no. 10 on the R&B Chart and peaking at no. 23 on the Billboard Hot 100, her highest-charting song there. At the end of 1967, he joined Atlantic Records and put out a series of records and singles. Some were pretty awesome and did well on the charts, but Carter never achieved the popularity of a Wilson PickettOtis Redding or Solomon Burke.

At the end of 1971, after a string of less successful releases, Carter left Atlantic and went to FAME Records, which like FAME Studios was owned by Rick Hall. In 1975, he signed with ABC Records, but the advent of disco negatively impacted his career. In 1985, Carter switched to Ichiban Records and released six albums before establishing his own Cee Cee Entertainment label in 1996. Since then, he has released at least 14 additional records, including the above mentioned Snatching It Back, a compilation that appeared last Friday. Time for some music. I’m mostly focusing on Carter’s early career.

I’d like to kick things off with the above mentioned Tell Daddy, Carter’s first hit single. According to Wikipedia, he co-wrote the song with Marcus Daniel and Wilbur Terrell, though for some reason these guys didn’t receive any credits. BTW, Etta James initially resisted to record her version of the tune Tell Mama, but apparently Rick Hall insisted and eventually she gave in – a decision I imagine she didn’t regret!

Slip Away, released in 1968, was Carter’s first big hit, peaking at no. 2 on the Billboard R&B Chart. Co-written by Marcus Daniel, Wilbur Terrell and William Armstrong, it was included on his Atlantic debut studio album This Is Clarence Carter.

Also in 1968, Carter released a single called Back Door Santa, which hip hop group Run-D.M.C. sampled for their 1987 hit Christmas In Hollis. The tune was also included on his second Atlantic release Testifyin’ from 1969. The song is credited to Carter, Rick Hall, David Newman and Marcus Daniel. While the tune was also featured on a Christmas album, the sexually suggestive lyrics make it clear it doesn’t have much to do with the holiday. Steamy lyrics, BTW, became Carter’s trademark.

Snatching It Back, also from Testfyin’, was another successful single for Carter released in 1969. The song was co-written by Carter, Jimmie Haskell, Rick Hall, Harrison Calloway and George Jackson. I just love the horns on this tune and its Stax vibe.

Another beautiful Carter song and yet another track from Testifyin’ that came out in 1969 is The Feeling Is Right. It was composed by Jimmie Haskell, Rick Hall, Harrison Calloway, Mickey Buckins and George Jackson.

Patches, the title track of Carter’s 1970 studio album, became his biggest hit, climbing to no. 2 on the Billboard R&B Chart and reaching no. 4 Billboard Hot 100. Written by General Johnson and Ron Dunbar, the tune also earned Carter the 1971 Grammy Award for Best Rhythm & Blues Song.

Another nice track from the Patches album is You’re Love Lifted Me, co-written by Jimmie Haskell, Harrison Calloway and Obie McClinton. And yes, while the title looks grammatically wrong, it actually seems to be written that way – don’t know why.

I’m The Midnight Special is the opener to Carter’s 1973 album Sixty Minutes With Clarence Carter, the first record after he had signed on with FAME. It is credited to Muscle Shoals Horns, Raymond Moore, George Jackson, Allyn Mitchell and Larry Chambers.

In 1975, Carter issued a single called I Got Caught. Co-written by him and R. Hatcher, the soul ballad is classic Carter, lyrically speaking. Apparently, it was one of his last singles that charted.

The last tune I’d like to highlight is a Carter composition called Strokin’, the closer of his 1986 studio album Dr. C.C.  Since due to its lyrics the song was considered too raunchy for release as a single or radio play, the record company placed it in jukeboxes where it apparently became popular. Use in an Eddie Murphy picture gave it further exposure.

Today at the mighty age of 82, Carter is still active. While it appears he currently has no official website with a tour schedule, I found a reference on the web, according to which he’s scheduled to perform at Union Bank & Trust Pavillion in Portsmouth, Va. on September 8, 2018.

Sources: Wikipedia, Apple Music, Discogs, YouTube

On This Day In Rock & Roll History: July 24

While one can argue it’s a bit arbitrary to look back at what happened on a specific date in rock history, oftentimes, I find it interesting what comes up. Plus, I haven’t written about July 24. As in previous installments, this post isn’t meant to be a catch-all. Instead, it’s a selection of events involving artists I like. Here we go:

1964: The Rolling Stones were playing the Empress Ballroom in Blackpool, England. At some point, a group of folks in the crowed started spitting at the band. After Keith Richards had spotted one of the perpetrators in front of the stage and that guy had ignored his warning to cut it out, he lost it and kicked him in the mouth. Things got out of hand quickly, and angry fans trashed the place. The Blackpool city council didn’t like the riot and banned the Stones from playing at the venue. The ban lasted a remarkable 44 years. Then, in March 2008, as reported by The Independent, Blackpool’s council leader at the time Peter Callow declared, “It’s time to bury the hatchet and extend the hand of friendship. I want to say: ‘Come back, Mick. All is forgiven.'”

Rolling Stones Blackpool Riot 1964.jpg

1965: The Byrds topped the UK Official Singles Chart with Mr. Tambourine Man, their first and only no. 1 single in the UK. Written by Bob Dylan, the tune was the title track of their studio debut that appeared in June that year. Three months earlier, Dylan had initially released the song as part of his fifth studio album Bringing It All Back Home. The Byrd’s cover is a beautiful example of Roger McGuinn’s signature jingle-jangle Rickenbacker, a guitar sound I never get tired of.

1967: British national daily The Times ran a full-page advertisement declaring “the law against marijuana is immoral in principle and unworkable in practice.” According to The Beatles Bible, it was “signed by 64 of the most prominent members of British society, which called for the legalisation of marijuana.” The signatories included all four members of The Beatles and their manager Brian Epstein.

Times Marijuana Advertisement July 1967

1972: Get It On by T. Rex is at no. 1 on the UK Official Singles Chart, the first of four successive weeks. The British glam rockers recorded the tune for their second studio album Electric Warrior that came out in September 1971. Like all tracks on the album, Get It On was written by guitarist and lead vocalist Marc Bolan. It became the second no. 1 for T. Rex in the UK after Hot Love, a standalone single from February 1971. Retitled Bang A Gong (Get It On) in the U.S., the song peaked at no. 10 on the Billboard Hot 100, marking the band’s most successful chart performance here.

Sources: Wikipedia, This Day In Music, This Day In Rock, The Independent, UK Official Singles Charts, YouTube

What I’ve Been Listening To: Poco/Pickin’ Up The Pieces

Buffalo Springfield, who definitely deserve an own post, may well have been called “Buffalo Springboard.” After the Canadian-American folk rock band broke up in May 1968, Stephen Stills got together with David Crosby and Graham Nash to form Crosby, Stills & NashNeil Young launched his solo career and later joined CSN; and Richie Furay (vocals, rhythm guitar) co-founded Poco, together with Jim Messina (lead guitar, vocals), Rusty Young (pedal steel guitar, banjo, dobro, guitar, mandolin, vocals), George Grantham (drums, vocals) and Randy Meisner (bass, vocals). Messina also served as the band’s producer. They called their debut album Pickin’ Up The Pieces, a reference to Springfield’s break-up, and boy did they live up to the title!

I rarely find myself agreeing with the editors of Apple Music, but in this case, I think they got it right. They boldly call the record “an album that’s every bit as good as anything the Springfield did.” Poco is considered to be one of the pioneers of country rock, years before the Eagles popularized the genre. And yet, compared to records from CSN and Young that came out around the same time Poco released their debut in May 1969, the latter only accomplished moderate chart visibility. It would take the band almost a decade before scoring a commercial success with the excellent Legend, the band’s 11th studio release from November 1978. Back to Pickin’ Up The Pieces.

Poco 1968
Poco in 1968 (left to right): Jim Messina, Randy Meisner, George Grantham, Richie Furay and Rusty Young

Furay was involved in most of the writing of the album’s music, either as the sole writer or a co-writer. Various of his songs date back to the time with Springfield. In this context, Wikipedia specifically notes What A Day. While Meisner participated in the recording sessions, he was asked to leave the band prior to the record’s release over disagreements with Furay, who for some reason insisted that only he and Messina could participate in the final mixing sessions. As a result, Meisner’s vocals were re-recorded by Grantham. He was also replaced on the cover with a dog. Only this bass parts were kept – egos in rock. Time for some music!

I’d like to kick things off with the above mentioned What A Day. That song grabbed me immediately with it’s powerful opening It’s a good morning and I’m feeling fine. The vocal harmonies are an absolute killer and definitely rival the magic of Crosby, Stills, Nash & Young. I also dig the tune’s groove. Apparently, Poco didn’t release any singles from the record. I wonder how that tune would have fared as a single.

Calico Lady is another standout to me – more terrific harmony singing and nice acoustic and electric guitar work. Also, I’ve never heard a dog play such a groovy bass line! The song is credited to Furay, Messina and Skip Goodwin.

Among the tunes that sound more like straight rock is Short Changed, another track written by Furay. The rugged lead guitar is a bit reminiscent of Neil Young. I would bet this is one of the songs Furay wrote during his Buffalo Springfield days.

The album’s title track is traditional country rock. This was the first song Poco recorded and appears to be another tune Furay wrote during the Buffalo Springfield era. According to Wikipedia, commenting on the song, Furay said, “To me it summarized the attitude we wanted to convey in our music: good, wholesome & positive. There was so much negativity going on in the world in the early 70s and it needed a refreshing sound. The country rock sound we were creating would be it. We were innovators, pioneering the way for a whole new ‘Southern California sound’ that many groups who followed would capitalize on.”

The last track I’d like to call out is Grand Junction. The instrumental, yet another piece written by Furay, has a groove that is similar to The Allman Brothers’ Jessica.

From Pickin’ Up The Pieces Poco went on to record 18 additional studio albums, the most recent of which appeared in March 2013. There are also nine live records and multiple compilations. In 1974, Furay left Poco, discovered Christianity, formed Christian rock band Souther, Hillman, Furay and in 1983 became a senior pastor in Bloomfield, Colo. He continues to perform to the present day. Messina left the band in 1971, following the release of their live album Deliverin’ to focus on producing. He then hooked up with Kenny Loggins to form Loggins & Messina. Following his exit from Poco, Meisner joined the Stone Canyon Band and in September 1971 became a co-founding member of the Eagles.

Poco is still around. Rusty Young remains the only co-founding member. The current line-up also includes Jack Sundrud (guitar, bass, vocals), Rick Lonow (drums, percussion) and Michael Webb (keyboards, guitars, accordion, vocals). While at the end of 2013 Young announced his official retirement, he still tours with the band. He also released his first solo album Waitin’ For The Sun last year.

Poco is currently touring the U.S. If you happen to live in or near Melbourne or Jacksonville, Fla., you can see the guys this Thursday or Friday. There are four additional scheduled gigs for 2018, as well as three dates for February and March 2019. Based on the schedule, it doesn’t look like Poco is planning to call it quits anytime soon.

Sources: Wikipedia, Apple Music, Poco official website, YouTube

Clips & Pix: Mother’s Finest/Baby Love

A New Music Review post by Music Enthusiast, which includes a cool “power funk” band called Turkuaz, provided the inspiration for the above clip: Funk rock group Mother’s Finest performing what must have been one of the biggest hits, Baby Love. That’s one smoking hot number!

Credited to all members of the band, the tune appeared on their third studio album Another Mother Further from 1977.  Mother’s Finest, which were founded in Atlanta in 1972, are still active and currently touring the U.S..

The band includes four of the original members: Joyce “Baby Jean” Kennedy (vocals), Glenn “Doc” Murdock (vocals), Jerry “Wyzard” Seay (bass) and Gary “Moses Mo” Moore (guitar). John “Red Devil” Hayes (guitar) and Dion Derek Murdock (drums) round out the presentt line-up.

Sources: Wikipedia, YouTube