Today, Neil Young released Milky Way, the lead single from his upcoming album Colorado, the first with his long-time backing band Crazy Horse in seven years. The shaky voice, the ragged guitar sound and the overall style very much sound like classic Neil to me!
Based on Apple Music/iTunes, the album is slated for October 25 via Reprise Records and includes 10 tracks. In late April, a post on the Neil Young Archives website noted, “We believe we have a great Crazy Horse album, one to stand alongside ‘Everybody Know’s this is nowhere’, ‘Rust Never Sleeps’, Sleeps With Angels’, ‘Psychedelic Pill’ and all the others” (quote includes typos! 🙂 )
The current line-up of Crazy Horse features Neil Young (guitars, vocals, piano, vibes, harmonica), Nils Lofgren (guitars, vocals, pump organ), Ralph Molina (drums, vocals) and Billy Talbot (bass, vocals). Talbot and Molina are original members of the band. Lofgren replaced Frank “Poncho” Sampedro who joined Crazy Horse in 1975 and retired last year.
Sources: Neil Young Archives, Apple Music, Pitchfork, YouTube
Threads features collaborations with Bonnie Raitt, Eric Clapton, Stevie Nicks and others from her music bucket list
“Well, I have loved the tradition of making records. I grew up holding the actual physical record and poring over the album notes and just dreaming about doing what I’m doing now. And with technology, it’s a little bit like putting the toothpaste back into the tube. We can’t go back and expect — particularly young people — to listen to albums from top to bottom. It’s almost a dying art form in that people cherry-pick songs and put them on playlists. So, I don’t know that the listening audience really ever gets the sense of the full artistic statement.” (Sheryl Crow)
So this it it for Sheryl Crow? After nine Grammys and more than 50 million albums sold and at less than 60 years of age? Yes and no. The singer-songwriter, who originally hails from Kennett, Mo., is not planning to release any additional full-fledged studio albums. But it should be a consolation to fans that Crow isn’t retiring from recording and touring. What the above Crow toldNPR means is the realization that the music business has changed dramatically since she burst on the scene in August 1993 with Tuesday Night Music Club. Back then, selling records still was a rewarding proposition. Today in the age of music streaming not so much.
“We had a great experience last year with Wouldn’t Want To Be Like You,” Crow further explained in that NPR interview, referring to one of the tunes from Threads, which were released ahead of the album that appeared today. “We put out a song that meant something at that moment in the immediacy and didn’t wait for a full length record. And it was kind of liberating to be able to do that. So I think that’s what I’ll aim for. Then, if people want to put together an album, they can do that; they can put together a compilation or their own playlist. But I like the idea of being able to write in the immediate and putting it out when it really matters.”
Sounds like a valid point to me, though I feel the last sentence of Crow’s statement in the first paragraph of the post represents the essence of her decision. In a modern social media-driven, instant gratification culture, most listeners no longer have the attention span to enjoy entire albums. As much as it pains me to admit this, I’m not entirely immune to this mentality either. There’s also the reality that most albums are not like Sgt. Pepper’s Lonely Hearts Club Band, Tapestry and Aja, to name three of my all-time favorite records, where pretty much every song is a gem you really want. Of course, that has always been the case. In the pre-streaming era, you’d still buy the vinyl record or CD, if it had at least two our three great songs. Today, with iTunes, Spotify, etc. it’s very easy to pick and choose only the tracks you like without ever buying an album.
Okay, let’s get to Threads. Saying Crow’s eleventh studio album features an impressive array of guests would be an understatement. Stevie Nicks, Bonnie Raitt, Eric Clapton, Keith Richards, Joe Walsh, Emmylou Harris and James Taylor, to name some, are all friends who as NPR put it were “her bucket list collaborators.” With some like Richards, Nicks, Harris and Clapton, Crow had worked before over her 18-year recording career. The catchy opener Prove You Wrong, which was co-written by Crow, Al Andersen and Leslie Satcher and features Stevie Nicks and Maren Morris, is an anthem to strong women. Apple Music in their “liner notes” quotes Crow: “Stevie was one of my first calls. Not only has she been a great friend and collaborator over the years, but she was one of the original inspirations for doing what I do…Inviting Maren in just made sense. She’s sort of like a godchild to Stevie and I – super fierce, loves that connection with her audience, and truly has her own perspective on life.”
Since I already previously coveredLive Wire, a nice bluesy track for which Crow teamed up with Bonnie Raitt and Mavis Staples, I’m going to skip it in this post and move on to Beware Of Darkness. The cover of the George Harrison tune is one of the gems on the album. And, yes, I may be a bit biased here! 🙂 It first appeared on his 1970 solo masterpiece All Things Must Pass. Quite appropriately, one of the guests on Crow’s recording is Harrison’s friend Eric Clapton. The two other artists are Sting and Brandi Carlile. According to the Apple Music liner notes, “…I wanted to record this as a tribute to George, but also as a message to my children: To let them know while they’re living through what we’re going through, they must witness people either moving towards light or towards darkness. I think that explains a lot about why we are where we are…”
Next up: Cross Creek Road, an original tune Crow co-wrote with long-time collaborator Jeff Trott. The called out guests on this recording include Lukas Nelson and Neil Young. Nelson is sharing vocals, while Young contributes acoustic and electric guitars. A closer look also reveals Don Henley as one of the backing vocalists – interesting why he wasn’t called out. In any case, the track is a nice mid-tempo roots-oriented rocker.
Now we come to The Worst. Blame Mick Jagger and Keith Richards for the cheerful title of this tune, which The Rolling Stones recorded for their 1994 studio album Voodoo Lounge. Richards also is a guest in the current version of the country-oriented tune, providing acoustic, electric and nylon-string guitars, bass and piano, as well as some backing vocals. Frankly, I had no idea Richards plays bass and piano! Here’s another enlightening Crow quote from Apple Music: “Not a lot of people know this, but in the late ’80s, I was a school teacher in St. Louis and went to see the taping of [the music documentary] Hail! Hail! Rock ‘n’ Roll with Chuck Berry and Keith Richards…Cut to 20 years later, I’m recording with Keith Richards, with Steve Jordan producing, so you never now what can happen to a small town girl – a town with three stoplights. It’s amazing what can happen in your life.” Apparently, Crow misspoke, it’s actually 30 years down the road from the above movie.
The next song I’d like to highlight is Still The Good Old Days, which Crow co-wrote with Joe Walsh. He also provides electric slide guitar Walsh kickass style, acoustic guitar and shares vocals. This is a great tune. Here’s the official video, which is also fun to watch.
I’d like to end this review on a quieter note with a beautiful track titled Nobody’s Perfect. Co-written by Crow and Trott, the recording features Emmylou Harris. Gee, the more I hear from this lady, the more I realize I should check her out more closely. “It’s such a joy to sing with her, and she, for me, is my great hope with my career,” Crow told NPR. “I look at what she’s done and who she has constantly been and who she’s become — how she’s still curious, still growing, still rocking, still out there fighting for the things she believes in and still looks like herself and is just beautiful. For me to get to sing with her and to have our voices blend is, I mean, that’s my kind of high.” Harris is 72, while Crow turned 57 this February.
Reflecting on her last studio album overall, Crow in a statement on her website said, “I became inspired to record an album of musical experiences with the legacy artists who inspired me to want to be a great songwriter, musician, and producer. It is a celebration with them, and a tribute to them. Just as importantly, I wanted to work with younger artists on this record, who I believe will pick up the torch and continue to light the way for humanity with their stories and their songs for many years to come. Their music inspires me every day.” I would say, if you officially declare an album is your final full-length record, Threads is a great way to go out with a big bang.
Sources: Wikipedia, NPR, Apple Music, Sheryl Crow website, YouTube
In July 2017, I introduced The Venues, a category featuring famous concert halls, such as The Apollo Theatre and well known TV music programs like The Ed Sullivan Show. For some reason, the category fell off the bandwagon after the third post in November that year – not quite sure why. In any case, I felt the time was right for another installment. One of the venues that came to my mind immediately is the Beacon Theatre in New York City, in part because the beautiful historic theater on Manhattan’s Upper West Side is associated with two of my favorite bands: The Allman Brothers Band and Steely Dan, which both had frequent annual residencies there. The Dan still does! But first things first – a bit of history.
The Beacon Theatre opened as the Warner’s Beacon Theatre on December 24, 1929. It was designed by Chicago architect Walter W. Ahlschlager as a venue for silent films. But when the original owners financially collapsed, Warner Theatres acquired the theater to be a first-run showcase for Warner Bros. films on the Upper West Side. By that time, the movie genre of silent films had already become obsolete. The Beacon, which subsequently was operated by Brandt Theaters, remained a movie theater over next few decades. It would take until 1974, when Steven Singer became the first owner who turned the Beacon into a venue for live music.
Fortunately, an effort in 1987 to convert the theater into a night club was blocked in court, given its historic and protected architecture. In 1982, it had been added to the National Register of Historic Places. Through the ’80s and ’90s, the Beacon Theatre continued to fill a spot in the midsize category venue in New York between the larger Radio City Music Hall and various smaller clubs and ballrooms. In 2006, sports and entertainment holding company The Madison Square Garden Company started operating the Beacon. In November that same year, the theater began a 20-year lease by Cablevision, which also leases Radio City Music Hall and owns Madison Square Garden.
Between the second half of 2008 and early 2009, the theater underwent a complete renovation. As reported by The New York Times, the work involved about 1,000 workers, lasted seven months and cost $16 million. The result can be seen in the above photo and is certainly stunning. I was fortunate to experience the mighty venue myself when I saw Steely Dan there in October 2018.
In addition to pop and rock concerts, the Beacon Theatre has hosted political debates, gospel choirs, comedians and many dramatic productions. The 2008 Martin Scorsese picture Shine a Light, which captured The Rolling Stones live in concert, was filmed there. In January 2016, Joan Baez celebrated her 75th birthday with a show at the Beacon. She also played the venue in May this year as part of her now completed 2018/2019 Fare Thee Well Tour. Time for some music that was performed at the Beacon.
Let’s kick things off with the Grateful Dead, who performed two shows at the theater on June 14 and 15, 1976. Apparently, the following footage of Not Fade Away was captured during a soundcheck there, not one of the actual concerts but, hey, close enough! Plus, it’s a fun clip to watch. Not Fade Away was written by Charles Hardin, a.k.a. Buddy Holly. His producer Norman Petty received a co-credit. The tune was first released as a single in October 1957. It was also included on Holly’s debut album The “Chirping” Crickets, released in November of the same year.
Next up: The Black Crowes and Remedy. Co-written by lead vocalist Chris Robinson and his brother and rhythm guitarist Rich Robinson, the tune appeared on the band’s sophomore album The Southern Harmony and Musical Companion from May 1992. The footage is from late August 1992 when TheBlack Crowes played a series of four shows at the Beacon.
James Taylor is one of my favorite singer-songwriters. One tune I dig in particular is Fire And Rain. He recorded it for his second studio album Sweet Baby James, which was released in February 1970. The song also came out separately as a single and became Taylor’s first hit, peaking at no. 3 on the Billboard Hot 100. This clip was captured during a show on May 30, 1998.
Here are The Rolling Stones with Jumpin’ Jack Flash from the aforementioned Martin Scorsese concert film. Credited to Mick Jagger and Keith Richards, the tune was released as a single in May 1968. The film includes footage from two shows the Stones played at the Beacon. This performance is from their second night there on November 1, 2006.
Starting from 1998, The Allman Brothers Band played spring residencies at the Beacon for 19 years in a row except for 2010 when the theater wasn’t available. This performance of Dreams is from their March 2013 series of gigs. The Gregg Allman song first appeared on the band’s eponymous debut album from November 1969.
On April 1 and 2, 2016, Bonnie Raitt played the Beacon Theatre as part of her extended Dig In Deep Tour, named after her most recent studio album from February 2016. I caught her during that tour in August 2016, which thus far was the first only time. Her gig at New Jersey Performing Arts Center in Newark remains one of the best shows I’ve seen. Co-written by Gordon Kennedy and Wayne Kirkpatrick, Gypsy In Me is one of the tracks from Dig In Deep. Not only is Raitt a superb guitarist and great vocalist, but she also is as genuine as it can get. There is no BS with this lady. What you get is what you see!
From The Allman Brothers Band it wasn’t a big leap to former member Derek Trucks, his wife Susan Tedeschi and the group they formed in 2010: Tedeschi Trucks Band. My knowledge of their music is fairly limited, and I definitely want to explore them more closely. Here’s their take of Ain’t Wastin’ Time No More, another great tune written by Gregg Allman. It first appeared on the Allmans’ third studio album Eat A Peach from February 1972, long before Trucks joined them in 1999. The song was also released separately as a single in April that year. This clip was captured on October 11, 2017 during what looks like a six-date residency the band did at the Beacon that year.
The last and most recent clip I’d like to feature is footage of Steely Dan from their 2018 U.S. tour, which ended with a seven-date residency at the Beacon. Of course, I couldn’t leave out the Dan! This performance of Pretzel Logic was from their final gig on October 30. Co-written by Walter Becker and Donald Fagen, Pretzel Logic is the title track of Steely Dan’s third studio album that appeared in February 1974.
Until last year when I saw them twice, which included the Beacon for an October 20 show dedicated to my favorite album Aja, I had never seen Steely Dan. Both concerts were fantastic. Fagen and co are currently touring again, which will bring them back to the Beacon in October. While the thought of returning to this beautiful venue is tempting, I can’t justify it to myself, given I saw them twice last year and other shows I’ve been to or still consider for this year.
Sources: Wikipedia, The New York Times, setlist.fm, YouTube
1964:The Beatles performed the first of two gigs at Forest Hills Tennis Stadium in Queens, New York during the U.S. leg of their world tour that year. They played their standard 12-song set of original tunes largely drawing from the A Hard Day’s Night album, as well as rock & roll covers. The tunes included Twist And Shout, You Can’t Do That, All My Loving, She Loves You, Things We Said Today, Roll Over Beethoven, Can’t Buy Me Love, If I Fell, I Want To Hold Your Hand, Boys, A Hard Day’s Night and Long Tall Sally. After the show, The Fab Four met Bob Dylan who visited them in their suite at the Delmonico Hotel in New York City. Beatles biographer Jonathan Gould noted the musical and cultural significance of the meeting, saying within six months, “Lennon would be making records on which he openly imitated Dylan’s nasal drone, brittle strum, and introspective vocal persona”; and six months after that, Dylan began performing with a backing band and electric instrumentation, and “dressed in the height of Mod fashion.” While the fact that great music artists influence each other isn’t exactly surprising, based on The Beatles Bible’s account of that night, it seems to me John, Paul, George and Ringo primarily got stoned with Dylan who brought along some grass to smoke. Not really sure how much their condition allowed them to have meaningful conversations about music. Here’s some footage from the Forest Hills show, a great illustration of Beatlemania, which makes me wonder why The Beatles didn’t stop touring earlier.
1965: Exactly one year after The Beatles, Bob Dylan took the stage at Forest Hills Tennis Stadium, marking the first night of a 40-date North American tour. Following a solo section, Dylan played an electric set. This all happened only about a month after he had rattled the “folkies” at the Newport Folk Festival. On that night in Forest Hills, Dylan’s electric backing band featured guitarist Robbie Robertson and drummer Levon Helm, who were then associated with a band called The Hawks, a predecessor to The Band. Harvey Brooks (bass) and Al Kooper (organ) rounded out the line-up. After the first two shows of the tour, Robertson and Helm insisted that their mates from The Hawks join Dylan’s backing band: Rick Danko (bass), Garth Hudson (keyboards) and Richard Manuel (drums). Dylan agreed, and until May 1966, they would be billed as Bob Dylan and the Band. Here’s a clip of Like A Rolling Stone, which supposedly was captured from the Forest Hills gig. The sound quality is horrible, but, hey, it’s mighty Dylan and it’s historical!
1968: Simon and Garfunkel’s fourth and second-to-last studio album Bookends hit no. 1 on the UK Official Albums Chart Top 100, starting a five-week run in the top spot there. Apart from the title track, the record featured gems like America and the no. 1 U.S. single Mrs. Robinson. Written by Paul Simon, the tune had become famous the previous year when it had been included in the American motion picture The Graduate. I’ve always loved the bluesy touch of that song.
1972: Alice Cooper topped the British singles chart with School’s Out, scoring his only no. 1 hit anywhere in the world. Credited to Cooper (lead vocals) and the members of his band at the time, Michael Bruce (rhythm guitar, keyboards, backing vocals), Glen Buxton (lead guitar), Dennis Dunaway (bass, backing vocals) and Neal Smith (drums, backing vocals), the tune was the title track of the band’s fifth studio album released in June 1972. School’s Out also became Cooper’s biggest chart success in the U.S., peaking at no. 7 on the Billboard Hot 100. According to Songfacts, Cooper during a 2008 interview with Esquire said, “When we did ‘School’s Out,’ I knew we had just done the national anthem. I’ve become the Francis Scott Key of the last day of school.” It’s also safe to assume, Cooper shocked some school principals and parents.
1981: British DJ, producer and band manager Guy Stevens passed away at the age of 38 years from an overdose of prescription drugs he was taking to reduce his alcohol dependency – yikes! Among others, Stevens gave Procol Harum and Mott the Hoople their distinct names. He also co-produced The Clash’s fifth studio album London Calling from December 1979, together with Mick Jones, the band’s co-founder, lead guitarist and co-lead vocalist. Stevens also brought Chuck Berry to the U.K. for his first tour there in 1963. He also was the president of the Chuck Berry Appreciation Society. According to Wikipedia, Stevens introduced lyricist Keith Reid to keyboarder Gary Brooker and told Reid at a party that a friend had turned “a whiter shade of pale”. Supposedly, these words inspired the song with the same title that was subsequently recorded by Brooker’s newly formed band Procol Harum and became a major international hit in 1967.
Sources: Wikipedia, This Day In Music, The Beatles Bible, Songfacts, YouTube
Last night, I saw a tribute to Bruce Springsteen, so perhaps it’s not surprising The Boss is on my mind. One of my all-time favorite tunes from him and The E Street Band is Tenth Avenue Freeze-Out. The above extended version not only illustrates it’s a great song but also shows the compelling power Springsteen and his band deliver live. I think he truly plays in a league of his own!
The Springsteen song is from his breakthrough album Born To Run. The soulful tune is one of the reasons this is my favorite Springsteen record. The footage, by the way, is from a film that captures the two final dates in New York City from the band’s 1999-2000 reunion tour, which had been their first in eleven years. What a triumphant performance!
The mighty E Street Band that night featured Roy Bittan (piano, backing vocals), Steven Van Zandt (guitar, backing vocals), Garry Tallent (bass, backing vocals), Max Weinberg (drums), Nils Lofgren (guitar, backing vocals), Danny Federici (organ, accordion), Patti Scialfa (acoustic guitar, backing vocals) and, of course, the big man Clarence Clemons (saxophones). Except for Federici and Clemons, who passed away in 2008 and 2011, respectively, all of these amazing musicians remain members of the band to this day. Boy, this footage wants me to see them again so badly!
My introduction to Paul Simon happened many moons ago with Simon & Garfunkel and their second compilation Greatest Hits from 1972, which my sister owned on vinyl. I loved that record from the very beginning and still do to this day. Not long after I had heard it for the first time, I started taking guitar lessons and eventually got a songbook for that collection. I practiced hard to learn the tunes and soon found out what a formidable acoustic guitarist Paul Simon is. Eventually, I managed to figure out the finger-picking for The Boxer – haven’t tried playing that tune in 20-plus years. Anyway…
While there’s an obvious connection to Simon & Garfunkel, this post is about Paul Simon’s fourth studio album Still Crazy After All These Years, which appeared in October 1975. I would say I know a good deal of Simon’s tunes he recorded as a solo artist, but other than the fantastic Graceland from August 1986, I cannot really make the same claim for his albums. As oftentimes happens, the idea for this post was triggered when my streaming music provider served up the record as a listening suggestion. It didn’t take me long to realize this is a great album with a smooth jazz, blues and soul-influenced sound – my kind of music!
Let’s kick things off with the excellent opener and title track. Like all songs on the record, it was written by Simon, one of my favorite American singer-songwriters. It nicely sets the mood for the album. BTW, the recording features the Muscle Shoals Rhythm Section: Barry Beckett (Fender Rhodes piano), David Hood (bass) and Roger Hawkins (drums). Also, check out that beautiful saxophone solo by Michael Brecker, which starts at around 2:12 minutes.
My Little Town reunited Simon with Art Garfunkel. The tune, which also appeared on Garfunkel’s second solo album Breakaway that was released about 10 days prior to Still Crazy, became the first single credited to the duo since America, a single off their above Greatest Hits compilation. Simon and Garfunkel may have had a complicated relationship, but they surely recorded some great music together and their voices blended perfectly with each other. While perhaps a little bit lush in the second part (hey, it’s the ’70s!), the song has a nice build.
The big hit from the album of course is 50 Ways To Leave Your Lover. Yes, I realize it’s perhaps an obvious choice everybody knows, but I just dig that tune way too much to skip it. I love that cool drum part played by Steve Gadd, as well as the song’s bluesy feel and clever lyrics. It became the record’s third single and Simon’s only solo song to top the Billboard Hot 100.
Next up: Gone At Last, another gem on the album with a great soul and gospel vibe. Phoebe Snow and The Jessy Dixon Singers provided dynamite guest vocals. The track also became the album’s lead single in August 1975. According to Wikipedia, Phoebe received a credit on the single. The song charted in the top 25 on the Billboard Hot 100.
The last track I’d like to highlight is Have A Good Time, which nicely sums up what I feel when listening to this record. This is another great song with a nice bluesy feel. Musically, it’s the slide guitar, as well the alto saxophone played by Phil Woods, which speak to me in particular. Check it out!
Still Crazy After All These Years was co-produced by Simon and South African born recording engineer and producer Philip Ramone. The record won Grammy Awards for Album Of The Year and Best Male Pop Vocal Performance in 1976. It hit no. 1 on the Billboard 200 and received Gold certification from the Recording Industry Association of America, making it one of Simon’s most successful solo albums.
This is the final part of a 4-part mini series of clips to complement my previous post about Woodstock. The above incredible footage of the Paul Butterfield Blues Band is from Monday, August 19, 1969, the final day of the festival. According to Wikipedia, they performed from 6:00 to 6:45 am ET that day and were the third to last act.
Everything’s Gonna Be Alright was written by WalterJacobs, known as Little Walter, and first appeared on his 1969 album Hate To See You Go. The band’s powerful performance of the tune closed out their set.
In addition to Butterfield on lead vocals and harmonica, the band included Buzzy Feiten (guitar), Rod Hicks – (bass, backing vocals), Philip Wilson (drums), Ted Harris (keyboards), Keith Johnson (trumpet), Steve Madaio (trumpet, backing vocals), Gene Dinwiddie (soprano & tenor saxophones, backing vocals) and Trevor Lawrence (bariton saxophone, backing vocals).
As more frequent visitors of the blog know, I generally dig tribute bands and wrote a feature about some of them about a year ago. While then I did not plan a part 2, the reality is I’ve seen many more tribute acts than I could ever feature in one post. So, who knows, this may turn into a series of occasional posts with additional parts in the future. For now, I’d like to focus on part 2. Since I couldn’t figure out in which order to lists the acts, I decided to do so alphabetically.
As their name suggests, this band is a tribute to Queen. While I could not find public information on the backgrounds of the musicians, these guys from New York surely impressed me when I saw them last September at The Stone Pony in Asbury Park, N.J. Almost Queen are Joseph Russo as Freddie Mercury, Steve Leonard as Brian May, Randy Gregg as John Deacon and John Cappadona as Roger Taylor. Their delivery of four-part harmonies and Queen’s music, combined with their looks, make for a fun live experience. More information on the band and their impressive touring schedule that extends beyond the tri-state area of New York, New Jersey and Connecticut, can be found on their website and Facebook page. Here’s a sample: We Will Rock You and We Are The Champions.
This tribute to Chicago is one of the most compelling tribute bands I’ve seen, and without meaning to brag, I’ve seen many! Another group from New York, Beginnings is a national act, performing over 100 shows each year – great news for Chicago fans. Founded in the fall of 2002, the band consists of Mason Swearingen (bass, vocals), Johnny Roggio (guitar, vocals), Dan Hendrix (trombone, percussion, vocals), Adam Seely (saxophone, percussion), Doug Woolverton (trumpet, percussion), Scott Chasolen (keyboards, vocals) and Chris Milillo (drums, vocals). Beginnings’ impressive member credits include recording and performing with artists like Peter Frampton, Don Henley, Aretha Franklin, The Temptations and Blood Sweat & Tears, and awards like the Billboard Songwriter’s Award and ASCAP Songwriter’s Award – frankly, way too many credits I can list here! Check out their website and Facebookpage for more information. Here’s a great rendition of Just You ‘N’ Me I saw during a recent summer concert. BTW, the band mostly focuses on Chicago’s early and in my opinion best work.
This amazing tribute to Pink Floyd is the brainchild of musical director Damian Darlington, who also provides vocals and plays guitar and lap steel. Prior to forming the band in Liverpool, England in 2011, he had played for 17 years with long-running Aussie tribute The Australian Pink Floyd Show. The other members of Brit Floyd include Rob Stringer (keyboards, vocals), Ian Cattell (bass, vocals Chapman Stick, trumpet), Edo Scordo (guitar, vocals), Arran Ahmum (drums), Thomas Ashbrook (keyboards, vocals), as well as backing vocalists Ola Bienkowska, Angela Cervantes, Roberta Freeman, Emily Jollands and Jacquie Williams – quite a mighty line-up! For more on this band, read my previous post from March of this year when I saw them in Bethlehem, Pa., and visit their website and Facebookpage. Here’s Brit Floyd with Pink Floyd classic Comfortably Numb.
I have mentioned Decade on previous occasions, but as a huge Neil Young fan, I simply couldn’t resist to include this fantastic tribute from New Jersey in this post. The band revolves around singer-songwriter and Neil Young tribute artist John Hathaway. A life-long fan of Young, Hathaway has faithfully studied this artist in and out, and it shows. While he typically focuses on capturing the music, he can also act like Young, which I have witnessed myself. To bring the Canadian artist’s music to life in its full mighty, Hathaway is usually backed by a varying line-up of other long-time musicians. This clip of Old Man was captured during a gig earlier this year at Tim McLoone’s Super Club in Asbury Park. The backing musicians that night included Gordon Bunker Strout (guitar, backing vocals), Pam McCoy (backing vocals), John Dickson (bass), Bob Giunco (drums), Thomas Stevenson (banjo), Dave O’Brien (pedal steel guitar), Jeff Levine (keyboards) and James Doyle (guitar, banjo). More information about Decade and John Hathaway is available on Facebook here and here.
The Doobie Others
I really dig The Doobie Brothers, so a tribute I came across last month caught my immediate attention. Ingeniously called The Doobie Others, this six-piece band from New York and New Jersey features Pat Montefusco (lead vocals, guitar), Joe Torres (lead vocals, percussion), Eddie Profet Jr. (bass, backing vocals), Allan Korenstein (keyboards, backing vocals), Mike Quadrino (saxophone, keyboards, backing vocals), Ron Lovisa (lead guitar) and Jim Del (lead & backing vocals, drums). While The Doobie Others mostly seem to perform in the New York-New Jersey-Connecticut tri-state area, their current schedule shows they occasionally venture out to other states on the East Coast. For more information, check their website and Facebookpage. Here’s the band in action with Jesus Is Just Alright. Captured during a summer concert last month, the footage doesn’t do their high musical caliber full justice, but I feel you still get a good idea.
This band from Minneapolis is a great tribute to Tom Petty, one of my all-time favorite artists. Founded in September 2007 and named after one of Petty’s songs, Free Fallin are Tom Brademeyer (as Tom Petty, guitar & lead vocals), Mark Larsen (as Stan Lynch, drums), Russ Lund (as Ron Blair, bass), Karl Swartz (as Mike Campbell, guitar & vocals), Dale Peterson (as Benmont Tench, keyboards, percussion & vocals) and Craig Volke (as Scott Thurston, guitar, keyboards, harmonica, percussion & vocals). Free Fallin is a full-time tribute band performing throughout the U.S. and even internationally. Check out their website and Facebookpage, as well as this cover of Refugee from last year’s Rock The Farm Festival in Seaside Heights, N.J., which I previously covered here.
Good Stuff is another outstanding tribute act I covered before here, but similar to Decade, I did not want to leave them out – how could I as a huge Steely Dan fan? Formed about a year ago and named after a Donald Fagen tune, Good Stuff features Mike Caputo (lead vocals), Don Regan (guitar), Axel Belohoubek (keyboards), Jay Dittamo (drums), Scott Hogan (bass), Phil Armeno (saxophones, flute) and vocalists Deanna Carroll and Linda Ferrano. Among them, these professional musicians have very impressive credits, such as tour pre-production for Madonna and David Bowie, and touring musicians for Chuck Berry, Bo Diddley, The Duprees , The Les Paul Trio, Jose Feliciano and Keith Emerson – yep, that Keith of ELP. Similar to Beginnings, there is too much to list. I should also mention that in addition to Steely Dan, the band performs music by Gino Vannelli, Sting and Stevie Wonder. While this may look somewhat arbitrary, combining music from these four artists works pretty well. The key is selecting songs that have a common denominator, which is a jazz influence. Check out more about this unique tribute act on their website and Facebookpage. Oh, and here’s My Old School.
Kiss The Sky
With the 50th anniversary of Woodstock going on, I’d like to close this post with a compelling tribute act to Jimi Hendrix. Again, if you are a frequent reader of the blog, the name Kiss The Sky may sound familiar, since I covered them before here. The band revolves around Jimi Hendrix tribute artist Jimy Bleu, who actually met Hendrix in 1968 as a teenager. The following year, Bleu attended Woodstock and got one of the guitar straps Hendrix used during his performance there. You can read more about his cool background story in the above post. Kiss The Sky covers music from both the Jimi Hendrix Experience and Band of Gypsys. Bleu’s excellent backing musicians for The Experience include bassist A.J. Hager as Noel Redding and drummer Ted Edwards as Mitch Mitchell. The Band of Gypsys tribute features Jay Powerz as Billy Cox (bass) and James Jaxon as Buddy Miles (drums). You can find more information about this tribute act on their Facebookpage. I also encourage you to check out this clip of Voodoo Child I took last October. Filming conditions weren’t ideal, but I think the footage still gives a good impression about this outstanding band.
Pictured in the image on top of the post are (clockwise from upper left corner) Almost Queen, Beginnings, Brit Floyd and Jimy Bleu/Kiss The Sky.
Sources: Almost Queen website and Facebook page; Beginnings website and Facebook page; Brit Floyd website and Facebook page; Decade and John Hathaway Facebook pages; The Doobie Others website and Facebook page; Free Fallin website and Facebook page; Good Stuff website and Facebook page; Kiss The Sky Facebook page; YouTube
Here is part 3 of a 4-part mini series of Woodstock clips to supplement my recent post about the festival. The above footage of Sly And The Family Stone is from Woodstock’s third day, Sunday, August 17, 1969. The band’s gig fell into the early morning hours (3:30 to 4:20 am ET, according to Wikipedia).
I Want To Take You Higher was written by front man Sly Stone. The tune is from their fourth studio album Stand!, which appeared in May 1969. It also became the b-side to the record’s single of the record’s title track released during the same year. The song is a great example of the band’s mixture of social messages with high-energy rock, soul, R&B, soul and psychedelia. It is simply impossible to watch this clip without starting to groove.
Formed in late 1966, the band’s members included singer-songwriter, producer and multi-instrumentalist Sly Stone, Sly’s brother Freddie Stone (guitar, vocals), his sister Rose Stone (keyboards, vocals) and his cousin Larry Graham (bass), as well as Cynthia Robinson (trumpet), Greg Errico (drums) and Jerry Martini (saxophone). The Rock & Roll Hall of Fame, into which Sly And The Family Stone were inducted in 1993, called them rock’s first integrated, multi-gender band and Woodstock their greatest triumph.
Sources: Wikipedia, Rock & Roll Hall of Fame, YouTube
This is part 2 of a 4-part mini series of Woodstock clips, which supplements my recent longer post to celebrate the music of the festival’s 50th anniversary. The footage shows American hard rock band Mountain performing Southbound Train, a nice blues rocker. They were part of the line-up for Saturday evening, August 16, 1969, Woodstock’s second day. According to Wikipedia, they played from 9:00 to 10:00 pm ET.
Co-written by Mountain guitarist and lead vocalist Leslie West and John Ventura, Southbound Train was included on West’s solo debut album Mountain that came out in July 1969. The title ended up becoming the name of the band, which West co-founded shortly thereafter with bassist and album producer Felix Pappalardi.
Previously, Pappalardi had collaborated with Cream and produced their second studio album Disraeli Gears from November 1967. Mountain’s other original members included Norman “N.D.” Smart (drums) and Steve Knight (keyboards). One of West’s influences was Eric Clapton, and one can definitely hear some Cream in the above tune.