So this is it, almost at least – I can’t believe we’ve made it through another year! Between the blog, listening to music and going to concerts, 2018 feels it has been my busiest year on the music front to date.
I’ll admit that apart from giving me lots of joy, music provides a welcome distraction from the challenges life can throw at you. I’ve no doubt it can have that magic effect on other folks as well. And that’s a good thing!
Unlike Christmas, it appears there’s a much smaller selection of decent rock and pop songs celebrating the new year. The first that came to my mind in this context are New Year’s Day by U2 and 1999 by Prince. While I like the U2 tune, it doesn’t have much of a celebratory feel to it. According to Songfacts, the lyrics are about Solidarity, a Polish trade union co-founded in 1983 by labor activist and future president of Poland Lech Wałęsa. I also dig the groovy Prince tune, but the lyrics two thousand zero zero party over, oops, out of time aren’t particularly uplifting either!
And while there’s certainly a lot of shit going on in this country and elsewhere in the world one could think about, I felt like posting a happy party song. Then good ole George Thorogood & The Destroyers came to the rescue with New Year’s Eve Party. Now, that’s what I’m talking about! I dig the soul vibe of the tune, which was written by Thorogood and apparently included on a Christmas classic rock compilation from 1983. Again, Christmas, but who cares, the song is definitely about the new year!
Last but not least, I’d like to take another moment to thank all readers of the blog. I always enjoy spotting visitors and reading comments, so please keep doing that.
Cheers and hope you all have a Healthy, Happy and Safe New Year!
The other day, I came across an article on Ultimate Classic Rock (UCR), which I thought provides a nice wrap-up of rock’s biggest headlines in 2018 and is worth highlighting. Following I’m going to address some of the stories included in the piece.
Bohemian Rhapsody, the biopic of Queen, which premiered on October 24 in the U.K. and on November 2 in the U.S., became a massive success at the box office. With more than $702 million in ticket sales, it was the eighth highest grossing picture in 2018 and the most successful film biopic to date. The movie has received various nominations, including a Golden Globe Award for Best Motion Picture – Drama. All this attention has also triggered renewed interest in Queen’s music. The Billboard 200 for the week of December 29 include the movie soundtrack (no. 8); The Platinum Collection: Greatest Hits I, II & III, November 2000 (no. 33) and Greatest Hits, October 1981 (no. 122). Obviously, it’s not a coincidence that Queen in early December announced a North American Rhapsody tour with Adam Lambert in July and August 2019. Here’s the official trailer of the biopic.
About three and a half years after Fleetwood Mac had restored their most commercially successful line-up with the return of Christine McVie, Lindsey Buckingham was dismissed in April 2018, reportedly over disagreements about the band’s next tour. And before people knew it, Mike Campbell (formerly of Tom Petty’s band The Heartbreakers) and Neil Finn (former frontman of Crowded House) were hired to replace Buckingham. In early October, Fleetwood Mac embarked on their current world tour, which is scheduled to stretch all the way until June 2019. A lawsuit brought by Buckingham in October was settled earlier this month. Since I’ve seen the Mac a few years ago (with Buckingham but sans McVie), I currently don’t have any plans to see them again. That being said, based on clips I’ve seen, Campbell and Finn are doing a pretty decent job. Here’s a clip of Go Your Own Way, which apparently was captured in St. Louis in October.
Neil Young managed to pull off getting married to American actress and environmental activist Daryl Hannah in August and keeping the festivities a secret to the public – quite a feat in the age of social media! Young and Hannah certainly need to thank their 100 guests who kept quiet about the wedding, which Young officially confirmed in October. I suppose Neil Young doesn’t require any further introduction. Hannah, who started her acting career in 1978, has had roles in more than 70 films of different genres, including Blade Runner (1982), Wall Street (1987), Grumpy Old Men (1993) and Kill Bill Volume 1 & 2 (2003 and 2004, respectively). Young and Hannah had been in a relationship since 2014.
In September, Paul McCartney released his 25th studio album and 17th solo record Egypt Station, which I previously reviewed here. While as a longtime fan of The Beatles, who generally also likes each member’s work thereafter, I may not be entirely objective here, I think Egypt Station may be Macca’s best album since Flowers In The Dirt from 1989. Remarkably, it became his first to debut at no. 1 on the Billboard 200. At 76 years, his voice sounds worn, but I actually feel it goes quite well with the songs. Here’s one of my favorites, I Don’t Know.
Gibson Brands, maker of legendary Gibson guitars like the Les Paul or the SG, re-emerged from bankruptcy in October. As part of the re-organization, a new management team was installed, and private equity firm Kohlberg Kravis Roberts & Co. (KKR) assumed majority ownership control. KKR also brought in a guitarist and Gibson collector as chairman of the board: Nat Zilkha, former lead guitarist of Red Rooster, a New York-based band that describes itself as a folk collective with music rooted in Americana with an urban-infused sound. “I feel like I have a personal relationship with the product,” Zilkha toldBloomberg in an interview. “This is a great American brand that sort of lost its way. It’s almost like a responsibility to try to bring it back to what it’s supposed to be.” In May, the 124-year-old music company had filed for Chapter 11 protection with up to $500 million in debt, according to NPR.
Sources: Deriso, Nick (December 20, 2018) 2018’s Biggest Rock Stories. Ultimate Classic Rock. Accessed December 30, 2018; Wikipedia; Billboard Top 200 Albums; Red Rooster website; Bloomberg; NPR; YouTube
There are certain songs that just draw me in, no matter how many times I’ve listened to them. Like A Hurricane is one of them. While I’ve liked the tune for a long time, I wouldn’t call it my favorite Neil Young song. Still, there’s just something very special about it.
To start, I think this tune is perfect for Neil’s shaky voice and his grungy style to play the electric guitar. As a guitarist, I also get a kick out of watching him play his beaten up Gibson Les Paul, a gold top that was painted black. During close-ups you can actually see that the black paint between the pickups has come off, revealing the instrument’s original color. Call me nuts, but I find it beautiful!
I guess the lyrics also speak to me. Frankly, I’m in the mood of blowing away what has been a decidedly mixed year on the personal front. I don’t mean to wine, since despite some setbacks I’m a pretty lucky guy overall, and I’m grateful for what I have. As for the not so stellar moments, screw them! Music has definitely helped me keeping it together, and that’s not going to change, not matter what life is going to throw at me!
As for next year, rock & roll will never die, and 2019 is going to be a blast!
Ultimate party band’s studio debut went largely unnoticed
At first sight it’s somewhat puzzling. When The J. Geils Band released their eponymous studio debut in November 1970, they already had established themselves as a dynamic live act opening shows all around the country for top-notch artists like B.B. King, Johnny Winter and The Allman Brothers Band. Yet this dynamite album went largely unnoticed, barely making the Billboard 200 at no. 195, and not charting at all in other countries.
I was reminded how great this record is when Apple Music served it up to me as a listening suggestion. I also think this observation from their bio of the band is spot on: While their muscular sound and the hyper jive of frontman Peter Wolf packed arenas across America, it only rarely earned them hit singles. Seth Justman, the group’s main songwriter, could turn out catchy R&B-based rockers like “Give It To Me” and “Must Of Got Lost,” but these hits never led to stardom, primarily because the group had trouble capturing the energy of its live sound in the studio.
The J. Geils Band started out as an acoustic blues trio in the mid-’60s, calling themselves Snoopy and the Sopwith Camels (clearly a ’60s name!) and consisting of J. Geils (guitar), Danny Klein (bass) and Richard Salwitz, known as “Magic Dick” (harmonica). In 1968, the band adopted an electric sound, hired Stephen Bladd (drums) and Peter Wolf (vocals), and became The J. Geils Blues Band. They completed their line-up when Seth Justman (keyboards) joined later that year. By the time they signed with Atlantic Records in 1970, the band had dropped “Blues” from their name and become The J. Geils Band.
Time for some music. Here’s the great opener Wait. One of the album’s five original tunes, it was co-written by Justman and Wolf.
Next up: Icebreaker (For The Big “M”), an excellent instrumental composed by Geils. Check out the cool guitar and harmonica harmony playing. This tune is cooking, even without Wolf’s vocals!
Hard Drivin’ Man is another terrific original track. It was co-written by Wolf and Geils.
I’d like to conclude this post with two covers by The J. Geils Band I’ve always liked. The first is called Homework, a tune co-written by Otis Rush, Al Perkins and Dave Clark. I believe the song was first recorded and released as a single in 1965 by Perkins and soul singer Betty Bibbs.
Last but not least, here’s First I Look At The Purse. Initially recorded by Motown act The Contours in 1965, the tune was co-written by Smokey Robinson and Bobby Rogers. It’s perhaps the example on the album, which best illustrates the above observation from the Apple Music bio. While it’s a great take, it feels a bit timid compared to the live version that can be found on the excellent Live Full House album from September 1972.
The J. Geils Band would go and record 10 additional studio albums and three live records, and release various compilations. Only one of their ’70s studio records, Bloodshot, charted in the top 10 on the Billboard 200 at no. 10. Ironically, shortly after the band finally hit commercial success with Freeze-Frame from October 1981, fueled by the singles Centerfold and the title track, The J. Geils Band started to fall apart.
Peter Wolf left in 1983. The band released one more album in October 1984, You’re Gettin’ Even While I’m Gettin’ Odd, and called it quits the following year. The J. Geils Band has since reunited for various tours. In 2012, J. Geils who after the 1985 breakup had gotten into auto racing and restoration, sewed the other band members, charging they had planned a tour without him. He quit permanently thereafter and sadly passed away in April 2017 at the age of 71.
The other day, Soulfire Live! popped up in my music streaming service as a listening suggestion. The excellent live album by Little Steven And The Disciples Of Soul, which came out in April this year and captures their 2017 tour, is right up my alley. One of my favorite tunes on this record is Blues Is My Business.
Co-written by Kevin Bowe and Kevin Cerney, the tune was first recorded by Etta James for her 2003 album Let’s Roll. The man with the bandana is a cool dude and The Disciples Of Soul are one freaking hell of a backing band. Watching the above footage, which apparently was captured only 10 days ago, makes me want to see them again.
Usually, I’m not much into traditional Christmas music, but this rendition of Silent Night by The Temptations is one of the most beautiful holiday tunes I know. It truly touches me every time I listen to it.
Silent Night (original German title: Stille Nacht, Heilige Nacht) is a Christmas carol from 1818, written by Austrian church organist and composer Franz Xaver Gruber, with lyrics by Joseph Mohr, an Austrian Roman Catholic priest and writer. The Temptations recorded it for their second Christmas album Give Love At Christmas released in August 1980.
I feel The Temptations are in a category by themselves. There’s simply no other vocal group I’m aware of, who can sing in perfect four or five-part vocal harmony like the legendary Motown quintet.
Sam & Dave were Stax top act along with Otis Redding
With the country teetering from one crisis to the other, the news isn’t great these days, but not all is bleak. When I spotted this recent story from the Memphis Commercial Appeal, it put a smile on my face. Sam & Dave will receive a Lifetime Achievement Award at the 61st Annual Grammy Awards in Los Angeles on February 10, 2019. While I don’t ever need a reason to cover great music, this well-deserved honor provides a great angle to celebrate “The Dynamic Duo” that became Stax Records’ top performers in the ’60s, together with Otis Redding.
Sam Moore, born on October 12, 1935 in Miami, and Dave Prater, born on May 9, 1937 in Sycamore, Ga., met at the King of Hearts Club in Miami in 1961 while working on the gospel music circuit. At the time, they had already individually established themselves in the gospel groups The Melionaires and the Sensational Hummingbirds, respectively. They decided to team up but success didn’t come right away.
Shortly after meeting at the above Miami club, Moore and Prater got a contract with Roulette Records. They released a series of six singles that went unnoticed. In late 1964, Billboard journalist turned record company partner Jerry Wexler signed them to Atlantic Records. Moore and Prater were excited about the prospect to record at the label’s headquarters in New York or perhaps at FAME Studios in Muscle Shoals, Ala. But, as the above Commercial Appeal story notes, “instead they were given two bus tickets to Memphis, home of Stax Records.”
To further quote from the article, “When Moore and Prater got off the bus, they were shocked at what they found: an integrated collection of musicians working out of a funky old studio on the city’s south side.” And I might add all of that during a time and in a place where racial segregation was still very much a reality despite the enactment of the Civil Rights Act on June 2, 1964.
Initially, Sam & Dave worked with Stax producer and engineer Jim Stewart and songwriter Steve Cropper, guitarist of Stax dynamite house band Booker T. & The M.G.s. Then they moved to Isaac Hayes and David Porter, who at the time were still relative newcomers to writing and producing music. Sam & Dave’s first two singles didn’t make the charts. But success came with the third release You Don’t Know Like I Know, a no. 7 on the R&B chart.
In April 1966, Sam & Dave released their debut album Hold On, I’m Comin’. And comin’ they did. Both the record and the title track became hugely successful. Over the next three years, Sam & Dave scored eight additional consecutive top 20 R&B chart hits. Then their luck ran out. After a series of unsuccessful singles in 1969 and early 1970, they broke up in June that year.
Each went on to record some solo singles that didn’t make an impact, and in August 1971, Sam & Dave decided to reunite, just before their contract with Atlantic expired. While they didn’t have a label, they continued to be a sought after live act. In 1975, they released a new studio album, Back At ‘Cha via United Artists. Produced by Steve Cropper and featuring the M.G.s and The Memphis Horns, the record yielded a top 100 single appropriately titled A Little Bit Of Good(Cures A Whole Lot Of Bad).
The emergence of The Blues Brothers in the late ’70s and their cover of Soul Man brought Sam & Dave back into the limelight. A series of concert appearances and two compilation albums (Soul Study Vol. 1 and Soul Study Vol. 2) followed, before The Dynamic Duo gave their last concert as a pair on new year’s eve in 1981.
Following the second and final break-up, Prater hired singer Sam Daniels to perform the Sam part and started touring under the “Sam & Dave” name or as “The New Sam & Dave Revue.” This didn’t go over well with Moore, who tried to block Prater from using the name. On April 9, 1988, Prater was killed in a car accident in Sycamore, Ga.
Since 1981, Moore has continued to tour with other famous soul artists, such as Wilson Pickett, Booker T. & The M.G.s and Carla Thomas. He has also done some recording, for example, You Must Not Be Drinkin’ Enough, together with Don Henley for his 1984 album Building The Perfect Beast. In 1986, he also re-recorded Soul Man with Lou Reed for a motion picture with the same name. In October, Moore turned 83 and still appears to be active. Let’s get to some music!
What better tune to start off this playlist than with Hold On, I’m Comin’, the title track of Sam & Dave’s debut studio album released in April 1966. The song was co-written by Isaac Hayes and David Porter. Initially, I was going to include a clip of the studio recording. Then I came again across this killer live footage. Damn’, if this doesn’t make you get up and dance or at least groove along by snipping your fingers, you’ve probably had too much eggnog or too many Christmas cookies!
In addition to Hayes and Porter, other Stax musicians were involved in writing music for Sam & Dave. One such example is If You Got The Loving, another tune from the debut album, for which Steve Cropper received a co-writing credit, along with Hayes and Porter.
Here’s Soul Man from Sam & Dave’s third studio album Soul Men, which appeared in October 1967. Another Hayes-Porter composition, Soul Man became a no. 1 single on what was then the Billboard Hot Rhythm & Blues Singles chart, nowadays known as the Hot R&B/Hip-Hop Songs. It also peaked at no. 2 on the Billboard Hot 100. Like for many other Stax recordings at the time, the label’s killer house band Booker T. & The M.G.s provided the instrumentation. It’s acknowledged in the second chorus with the line, I‘m a soul man, play it Steve, a reference to guitarist Steve Cropper.
Next up: Broke Down Piece Of Man, another great tune from the Soul Men album. This song was written by Cropper and Joe Shamwell, a frequent co-writer of Stax music.
In 1968, Sam & Dave released I Thank You, their fourth and final studio album prior their first official breakup. Here’s the title track
I Thank You was the title track from Sam & Dave’s fourth studio album from 1968, the final record prior to their first official breakup. Another great Hayes-Porter co-write, the tune became Sam & Dave’s last top 10 single.
Here’s another hot tune from the record: Wrap It Up, yet another co-write by Hayes and Porter. If the song sounds familiar, yet you haven’t heard this version, you may know it from The Fabulous Thunderbirds, who included a great cover on their January 1986 studio album Tuff Enuff.
I’d like to close this post with two tunes from Sam & Dave’s final studio album released in May 1974. First is the above mentioned A Little Bit Of Good (Cures A Whole Lot Of Bad). The song was co-written by Gary Dalton and Kent Dubarri, who also performed as Dalton & Dubarri and released four records in the ’70s.
Last but not least, here’s Shoo Rah, Shoo Rah, a nice cover of a tune written by Allen Toussaint and first recorded by American soul and R&B singer Betty Wright.
In addition to the upcoming Grammy Lifetime Achievement Award, Sam & Dave have received various other accolades. In 1992, they were induced into the Rock and Roll Hall of Fame. According to Wikipedia, they are also members of the Grammy Hall of Fame,Vocal Group Hall of Fame and the Memphis Music Hall of Fame – gee, frankly, I didn’t know there were so many different halls of fame. Apart from Soul Man, their songs have been covered by many other top music artists, such as Aretha Franklin, The Temptations, Bonnie Raitt and Eric Clapton & B.B. King.
Part 1 of this 2-part series looked back on the concerts I was fortunate to catch this year. Another significant aspect of my 2018 journey was listening to music, both familiar and new. While most of the music that’s coming out these days isn’t my cup of tea, I still ended up reviewing 24 new releases this year. About half (13) are studio albums, while the remainder is a mix of reissues, vault type releases and live records. Even if you only consider the new studio releases, 13 albums over the course of one year, or an average of approximately one per month, isn’t so bad for somebody who almost entirely lives in the past when it comes to music.
From the above studio albums, I’d like to call out the following: John Mellencamp, Other People’s Stuff, Dec 7 (review); Greta Van Fleet, Anthem Of The Peaceful Army, Oct 19 (review); Paul McCartney, Egypt Station, Sep 7 (review); Buddy Guy, The Blues Is Alive And Well, Jun 15 (review); Roger Daltrey, As Long As I Have You, June 1 (review); and Sting & Shaggy, 44/876, Apr 20 (review). Following are some clips.
Teardrops Will Fall, a ’60s tune co-written by Gerry Granaham and Marion Smith, was first recorded by John Mellencamp for his June 2003 album Trouble No More. But it actually sounds he could have taken the tune from his 1987 gem The Lonesome Jubilee, Mellencamp’s first record where he moved away from straight rock toward a more roots-oriented sound.
While Greta Van Fleet will probably need to find a more original style to ensure their longevity, selfishly, I can’t deny getting a kick out of their Led Zeppelin-style rock. The Cold Wind from their new album is a great example. I don’t know of any other band that sounds like the mighty early Zep. One thing is for sure: Robert Plant can no longer deliver vocals with this degree of intensity.
Egypt Station is Paul McCartney’s 17th solo study album. Here’s I Don’t Know, a classic McCartney piano-driven pop song. Yes, Macca’s voice has noticeably changed since New from October 2013, but I actually think it goes pretty well with his latest songs. Based on YouTube clips I’ve watched, I’m less sure about Beatles tunes. Many are in high keys and as such tough to sing, so Macca may have to make some adjustments.
Moving on to Buddy Guy, who at age 82 shows no signs of slowing down. One of the highlights of his latest record is Cognac, where he trades guitar licks with Jeff Beck and Keith Richards. If you’re a guitarist with basic blues skills, you just feel like grabbing your instrument and joining in!
As Long As I Have You is Roger Daltrey’s first solo album in close to 26 years. Here’s the excellent title track, a cover of a tune that initially was recorded by soul singer Garnet Mimms in 1964. The Who also played it in their early days.
Last but not least in the new studio album category is what at first sight may look like a somewhat odd pairing: Sting & Jamaican pop reggae fusion artist Shaggy. But they actually blend quite well, and here’s some pretty groovy evidence: Just One Lifetime.
This year also saw various great reissues and songs from the vault type albums. The two releases I’d like to highlight here are the reissue of The Beatles’White Album (review) and Songs For Judy, an excellent Neil Young compilation of live solo performances from his November 1976 tour with Crazy Horse (review).
To me the true revelation of the Beatles’ reissue are the so-called Esher Demos, early and unplugged versions of most of the original album tracks, along with a few additional songs that didn’t make the White Album. They were all recorded at George Harrison’s bungalow in Esher located to the southwest of London. Here’s the Esher demo of Revolution.
The song I’d like to call out from Neil Young’s recent vault release is The Needle And The Damage Done. It remains one of my favorite tunes from Harvest, Young’s fourth studio album that came out in February 1972.
I also would like to acknowledge two Jimi Hendrix releases: The reissue of Electric Ladyland, the third and final studio album by The Jimi Hendrix Experience, and Both Sides Of The Sky, the third in a trilogy of posthumous albums after Valleys Of Neptune (2010) and People, Hell and Angels (2013).
The last category of 2018 albums I’d like to touch on are live releases. I already noted Neil Young’s record. Three others that deserve to be called out are Bruce Springsteen’sSpringsteen On Broadway (review), Sheryl Crow’sLive At The Capitol Theatre (review) and Soulfire Live (review) by Little Steven and The Disciples of Soul. Springsteen On Broadway is one of the best new albums I’ve heard this year. While Bruce Springsteen as a great music performer wasn’t any news to me, I had not fully appreciated his compelling verbal story-telling capabilities. There’s a bit of that on the Live/1975-1985 box set where Springsteen talks about how he was drafted for Vietnam and that his dad was happy they didn’t take him. Springsteen on Broadway takes his story-telling to another level. In fact, Springsteen’s monologues that precede his songs are almost more compelling than the music performances. Here’s part 1 of the introduction to My Hometown.
Next up: Sheryl Crow. If It Makes You Happy is one of my favorite Crow tunes from her eponymous second studio album released in September 1996. On the new live album, she starts off with another unidentified song I don’t recognize, before launching into Happy.
On to Little Steven. Soulfire Live captures his 2017 tour with The Disciples of Soul in support of his excellent Soulfire album, one of my favorite new records from that year. Among the live album’s highlights is a terrific cover of the Etta James tune Blues Is My Business. In addition to Steven demonstrating that he can be more than just a side-kick, The Disciples of Soul prove what a terrific backing band they are.
So what’s in store for my music journey next year? On the concert front the only thing I can say for sure is I’m thrilled I got a ticket for The Rolling Stones on June 13 at MetLife Stadium in East Rutherford, N.J. It will only be my second time to see the Stones. Three other artists who are currently on my radar screen are John Mellencamp, John Mayall and Paul McCartney.
Mellencamp has a series of gigs in New Jersey and New York at the end of February. I’d definitely enjoy seeing him again! Mayall has started booking dates in Europe for February and March. I’ve never been to one of his shows and hope he’ll add a U.S. leg to the tour that includes at least one logistically feasible concert. As for McCartney, his current tour schedule shows U.S. gigs between late May and mid-June. Unfortunately, none of them are within reasonable reach, so hopefully there will be additional dates closer to my location.
To frequent visitors of the blog it won’t come as a shock that I have every intention to continue seeing tribute bands. In fact, I already have a ticket for Neil Young tribute Decade for January 11 in Asbury Park, N.J., where they are going to recreate Young’s MTV Unplugged concert from 1993 – should be pretty cool! On February 23, I’m hoping to see Good Stuff, a great new tribute to Steely Dan, Gino Vannelli, Sting and Stevie Wonder. I’m planning to do more about these guys in the near future. Assuming the above British Invasion and Rock The Farm festivals will happen again in 2019, I certainly want to return to both events. Undoubtedly, there will also be plenty of other tribute opportunities.
Before finally wrapping up this post, I also would like to take the opportunity to reflect on the current status of the blog. I’m generally pretty happy where things stand at this time. Sticking with it wasn’t necessarily a given when I started out in late June 2016. While I’ve always emphasized I’m doing this because of my passion about the subject of music, not to become “famous,” I cannot deny that getting recognition in the form of comments, likes and followers is encouraging. I’m happy traffic has multiplied from 2017 and to date includes visitors from more than 70 countries.
I’d like to thank all readers, especially those who keep returning and leave comments. Apart from learning new stuff about music, feedback can also help me gain new perspectives. Whether you’re a fist-time visitor or one of the regulars, I’d like to wish you a great and peaceful Holiday season. And if you’re a fellow music blogger, to borrow creatively from Neil Young, keep on rockin’ in the blogosphere!
Sources: Wikipedia, Christian’s Music Musings, YouTube
This two-part series isn’t a traditional year-end music review. If that’s what you’re looking for, you could check out this New York Timesarticle about the 28 best albums of 2018 or this Rolling Stone piece titled 50 Best Songs of 2018. Frankly, I don’t even know the names of the majority of artists and songs mentioned in these two articles. And without meaning to sound arrogant or judgmental, I simply don’t care! The reality is the vast majority of music that’s popular nowadays and in the charts doesn’t speak to me.
I’ve also finally accepted that classic rock won’t return to the mainstream – like the blues, it was never meant to be there in the first place, as a recent article reminded me. But, as the same article also correctly stated, just because rock no longer is in the limelight doesn’t mean it’s dead. Consider this: My most viewed blog post this year was a review of a concert by excellent Led Zeppelin tribute band Get The Led Out. My most popular Facebook post was a video clip I took of Guns ‘N Roses tribute Guns 4 Roses performing Paradise City, which got 125 shares and some 24,000 views. Trust me, I’m not particularly popular on Facebook, but rock music apparently is!
I think the above examples are anecdotal evidence of rock’s ongoing appeal outside the charts. More importantly, rock isn’t going away in my music world. To start with, I never get bored listening repeatedly to The Beatles, The Rolling Stones, Cream, Neil Young and The Allman Brothers Band, to name a few of my favorite artists. I also feel there’s a massive amount of 60s and 70s music I’ve yet to explore. Altogether, this adds up to more stuff I will ever be able to handle, even if I would retire from work immediately and live until age 100! And then there’s icing on the cake when occasionally I come across young bands I dig like Detroit classic rockers Greta Van Fleet, all-female New York blues rock band Jane Lee Hooker or Memphis blues, soul and R&B outfit Southern Avenue.
Music, apart from being something I deeply enjoy, has always been a welcome distraction from challenges life can throw at you. This year, I certainly had my share, so it’s probably not a coincidence that between the blog, listening to music and going to concerts, 2018 felt like my most active year in music to date. It’s also worth remembering that shit happens to everybody. I’m alive and have a job, and my family has a roof over our heads, so ultimately I should be grateful. With that being said, let’s get to part 1 of this review, which focuses on concerts I’ve visited this year, and there have been many.
Between original artists and tribute acts, I must have set a new record for myself! I’ve seen more than a dozen original artists, who in reverse order include Toto (Nov); Steely Dan twice (Oct & Jul); Southern Avenue (Aug); Ann Wilson, Jeff Beck and Paul Rodgers (Aug); The Doobie Brothers (Jul, together with Steely Dan); Gov’t Mule (Jul, Dark Side of the MulePink Floyd show); Neil Young (Jul); Lynyrd Skynyrd (Jun); ZZ Top & John Fogerty (May); Jackson Browne (May); Buddy Guy (Apr 20) and Steve Winwood (Mar 9). I also had a ticket for Aretha Franklin for March 25, one of her very last shows that got canceled due to her illness. The concert would have coincided with her 76h birthday.
While all of the above gigs delivered, the three highlights were Steely Dan at The Beacon Theatre, New York City, Oct (review); Neil Young at Wang Theatre, Boston, Jul (review); and John Fogerty at PNC Bank Arts Center, Holmel, N.J., May (review). Following is one clip from each show.
Here’s the mighty Dan with Deacon Blues. This song is a great example of a tune I can listen to over and over again, and it just doesn’t get boring. Truly masterful music never does!
Next up: Neil Young and After The Gold Rush – the combination of Neil with his shaky, almost vulnerable voice and the pipe organ’s church-like sound still give me goosebumps when I think about it!
And here’s John Fogerty with Billy Gibbons performing Holy Grail, a tune they wrote together prior to their Blues & Bayous Tour. Yes, essentially, it’s a remake of La Grange, and it certainly wasn’t the best song of the show. But it’s the only clip I took myself that night, plus watching these two rock legends together on one stage was a treat in and of itself.
Things in 2018 were also pretty intense on the tribute concert front but, hey, I suppose my good blogger pal Music Enthusiast doesn’t call me the “King of Tribute Bands” for nothing! By now I can probably claim that I’ve seen tribute acts of bands ranging from A to Z. The highlight in this context once again was Rock The Farm in Seaside Heights, N.J. at the end of September (review). Among others, the annual festival featured great tributes to Neil Young (Decade), Guns ‘N Roses (Guns 4 Roses), Fleetwood Mac (TUSK), Tom Petty (Free Fallin’) and AC/DC (LIVE/WIRE). Another great tribute event was the British Invasion Festival at the Golden Nugget Hotel & Casino in Atlantic City, N.J. in June (review). Like the previous year, the line-up included tributes to The Beatles (Britain’s Finest), The Rolling Stones (The Glimmer Twins) and The Who (Who’s Next).
Outside these two festivals, I’ve seen numerous other tribute bands throughout the year. In this context, I’d like to call out the above noted Led Zeppelin tribute Get The Led Out (review), as well as Echoes, “The American Pink Floyd” (review), and Jimi Hendrix tribute Kiss The Sky, which I saw together with Cream tribute Heavy Cream (review). Following are a few clips. First up: Get The Led Out playing the big enchilada Stairway To Heaven.
Next is a flavor of Echoes performing Time and The Great Gig In The Sky from The Dark Side Of The Moon album. I still frequently listen to that record to this day, oftentimes at night and with earbuds. I really should get a decent set of headphones, especially for Pink Floyd music.
Last but not least is Kiss The Sky setting the stage on fire with Voodoo Child (Slight Return). If you’re into Hendrix, it’s really a fun show to watch.
Part 2 is going to focus on new 2018 albums that excited me. As stated at the outset, don’t expect seeing any chart toppers here! Part 2 will also take a brief look at music activities that are on my radar for 2019.
Sources: New York Times, Rolling Stone, Christian’s Music Musings, YouTube
Some of my favorite singer-songwriters from the 1960s through the 2000s
The singer-songwriter category is very broad, depending on how you define it, spanning different music genres, including folk, rock, country and pop. According to Wikipedia, singer-songwriters are artists who write, compose and perform their own music, oftentimes solo with just a guitar or piano. All Music adds that although early rock & roll artists like Chuck Berry and Buddy Holly wrote and sang their own songs, the term singer-songwriter “refers to the legions of performers that followed Bob Dylan in the late 60s and early 70s.” You could make the same observation about blues pioneers like Lead Belly, Blind Lemon Jefferson, T-Bone Walker and Lightnin’ Hopkins.
Based on the above definition, artists who write and perform songs as part of a band are not singer-songwriters. Paul McCartney and Mick Jagger would be popular examples in this context. While I’ve seen Elton John being mentioned as a singer-songwriter, to me he’s not, at least not in the strict sense. While he has written the music to his songs and performed them, he has relied on Bernie Taupin for the lyrics. By comparison, the other big pop piano man of our time, Billy Joel, has written the music and lyrics for pretty much all of his songs, so he fits the category.
With the singer-songwriter definition being out of the way, let’s get to some of my favorite artists in that category. I’d like to tackle this chronologically, starting with the 60s and Bob Dylan. The Times They Are A-Changin’ is the title track from his third studio album, which appeared in January 1964. According to Songfacts, the tune “became an anthem for frustrated youth,” expressing anti-establishment sentiments and reflecting the Civil Rights Movement in the U.S. Songfacts also quotes Dylan from the liner notes of his Biograph box set compilation album from November 1985: “I wanted to write a big song, some kind of theme song, with short, concise verses that piled up on each other in a hypnotic way. This is definitely a song with a purpose. I knew exactly what I wanted to say and who I wanted to say it to.” Sadly, the song has taken on new relevance in present-day America, especially over the past couple of years.
Next up: Donovan and Sunshine Superman, one of my longtime favorite ’60s tunes. The song is the title track of Donovan’s third album released in August 1966 in the U.S. It did not come out in the U.K. due a contractual dispute between British label Pye Records and U.S. label Epic Records. This also impacted the release of Donovan’s fourth album Mellow Yellow, which like Sunshine Superman appeared in the U.S. only. After the labels had worked out their issue, Pye Records released a compilation from both records in the U.K. in June 1967 under the title of Sunshine Superman.
Jumping to the ’70s, here’s Fire And Rain by James Taylor. Apart from his cover of the Carole King tune You’ve Got A Friend, the opener of his second album Sweet Baby James from February 1970 is my favorite Taylor song. It became his first big hit in the U.S., peaking at no. 3 on the Billboard Hot 100. Songfacts quotes Taylor from a 1972 interview with Rolling Stone, during which he explained how the song came about: “The first verse is about my reactions to the death of a friend [Susie Schnerr, “Suzanne”]. The second verse is about my arrival in this country [the U.S.] with a monkey on my back, and there Jesus is an expression of my desperation in trying to get through the time when my body was aching and the time was at hand when I had to do it. And the third verse of that song refers to my recuperation in Austin Riggs [from drug addiction] which lasted about five months.” Wow, certainly a lot of stuff packed in one song!
In November 1970, Cat Stevens (nowadays known as Yusuf/Cat Stevens) released Tea For The Tillerman, his fourth studio album. One of my favorite tunes from that record is Father And Son. According to Songfacts, while Stevens made up the story about a son wanting to join the Russian Revolution and his dad pleading with him to stay home to work on the farm, the lyrics were inspired by Stevens’ lonely childhood and differences of opinion between him and his father about his chosen path to become a professional musician.
I already mentioned Carole King, one of my favorite singer-songwriters of all time – in fact, make that one of my all-time favorite music artists! Sometimes one forgets that before becoming a recording artist and performer, King had a close to 10-year career writing songs for other artists, together her then-husband Gerry Goffin. More than two-dozen of these tunes entered the charts, and various became hits. Examples include Chains (The Cookies, later covered by The Beatles on their debut record), The Loco-Motion (Little Eva), One Fine Day (The Chiffons) and Pleasant Valley Sunday (The Monkees). King composed the music for these tunes, while Goffin wrote the lyrics. Then, in February 1971, Carole King released her second solo album Tapestry. Instead of obvious choices like I Feel The Earth Move, It’s Too Late or You’ve Got A Friend, I’d like to highlight Way Over Yonder. Among others, this gem features James Taylor on acoustic guitar and Curtis Amy who plays the amazing tenor saxophone solo. To me, this is as close to perfection as music can get – emotional, beautiful and timeless!
Joni Mitchell is one of those artists I really should know much better than I currently do. In June 1971, her fourth album Blue appeared, which according to Wikipedia is widely regarded by music critics as one of the greatest records of all time. Here’s This Flight Tonight. If you don’t know Mitchell’s original, yet the melody and the lyrics somehow sound familiar, you’ve probably heard the cover by Scottish hard rock band Nazareth. I certainly have, since they scored a no. 1 hit with it in Germany in 1973. The song also charted in the U.K. (no. 11), U.S. (no. 177) and Canada (no. 27).
More frequent visitors of the blog won’t be surprised about my next choice: Neil Young. Wait a moment, some might think, based on what I wrote in my clever introduction, should he be in the list? After all, he has been affiliated with bands like Buffalo Springfield and Crosby, Stills, Nash & Young and he continues to perform frequently with Crazy Horse. Well, in addition to these bands, Young has done plenty of solo work, plus Crazy Horse is his backing band. At the core, there’s no doubt to me that Young nicely fits the singer-songwriter definition. Here’s The Needle And The Damage Done, one of Young’s finest songs first recorded for Harvest, his fourth studio album from February 1972. The tune was inspired by the death of Young’s friend and former Crazy Horse bandmate Danny Whitten from heroin addiction. With the U.S. battling a horrific opioid addiction crisis, eerily, the song’s lyrics remain as relevant today as they were more than 45 years ago.
While with the explosion of the singer-songwriter category in the late ’60s and 70s I could go on featuring artists from that time period, I also would like to least touch on more recent decades. In the ’80s, Suzanne Vega emerged as one of the most popular artists in the category. At the time, I frequently listened to her second album Solitude Standing from April 1987 – yes, it’s the one with Tom’s Diner. While that song represents cinematic-type storytelling at its best and perfectly describes the New York morning rush, I’ve become a bit tired of the tune due to over-exposure. Interestingly though, it wasn’t much of a chart success at the time, unlike Luka, the track I’m featuring here, which became Vega’s biggest hit. The song’s upbeat melody is in marked contrast to the lyrics addressing the horrible subject of child abuse.
When it comes to ’90s singer-songwriters, one name that comes to mind is Alanis Morissette. In June 1995, the Canadian artist released her third studio album Jagged Little Pill, which became her first record that appeared worldwide and catapulted her to international stardom. The album became a chart topper in 13 countries, including Canada, the U.K. and the U.S., and is one of the highest-selling records of all time, exceeding more than 33 million copies worldwide. It won five Grammy Awards including Album of the Year. Here’s the record’s second single Hand In My Pocket, a nice rock tune Morissette co-wrote with Glen Ballard who also produced the album.
The last artist I’d like to highlight in this post is English singer-songwriter Amy Winehouse. During her career, which was tragically cut short in July 2011 when she died from alcohol poisoning at the age of 27, Winehouse only released two albums. Her acclaimed second record Back To Black from October 2007 won Best Pop Vocal Album at the 2007 Grammy Awards. With close to 3.6 million units sold in the U.K. alone, Back To Black became the U.K.’s second best-selling album of the 21st century; worldwide sales exceeded 12 million. Here’s the opener Rehab, which also was released separately as the album’s lead single. The lyrics describe Winehouse’s refusal to attend rehab for alcoholism following her management team’s suggestion. The tune has a nice soul vibe and like many of her other songs has a retro feel.