I just love this clip of heartland rocker John Hiatt teaming up with Dobro resonator guitar master Jerry Douglas. Mississippi Phone Booth, written by Hiatt, is from Leftover Feelings, an upcoming collaboration album by the two artists scheduled for May 21.
As reported by Paste, while Hiatt and Douglas have known each other for years, the album marks the first time they have recorded music together. Initially, Leftover Feelings was supposed to come out in April of last year. But like in so many other cases, COVID-19 threw a monkey wrench into everything.
On the upside, Hiatt and Douglas ended up having four days at Nashville’s historic RCA Studio B during the shutdown, which otherwise would have been used by the Country Music Hall of Fame and Museum for public tours. One can only imagine what it must have felt like to work in the same space where the likes of Elvis Presley, The Everly Brothers and Waylon Jennings once recorded.
“The whole time you’re there, when you’re not playing, you’re thinking about who has been in that room and played, Douglas told Paste. “All these great music producers and musicians walked in and out through that room, and it was their playhouse.”
“The room’s just got a feel to it,” added Hiatt. “My mind started pedaling back to when I was a little boy hearing ‘Blue Christmas’ every Christmas and ‘Love Me Tender,’ and all of the great songs recorded there just kinda blew my mind.”
As for Mississippi Phone Booth, Hiatt commented, “I maintain that I write fiction, but my stories are based on life experiences, or the experiences of people I know, or things I’ve read about and so on. And this one in particular chronicles my last sort of run with trying to make alcohol and drugs work successfully in my life, I’ll just put it that way!”
“I have a mental picture of exactly where he was standing in that phone booth, calling and just begging somebody, at least for the operator to stay on the line long enough for him to talk to somebody,” added Douglas. “It sounded like a miserable situation. But I try to bring…real life to what was there, to do what I could do to swamp it out a little bit.”
Last but not least, here’s how John Hiatt’s website describes the upcoming album: Leftover Feelings is neither a bluegrass album nor a return to Hiatt’s 1980s days with slide guitar greats Ry Cooder and Sonny Landreth, though Douglas’s opening riff on “Long, Black Electric Cadillac” nods to Landreth’s charged intro to “Tennessee Plates,” Hiatt’s epic tale of heisting Elvis Presley’s Cadillac, a car that was surely purchased with proceeds from some of the 250-plus songs the King recorded at Studio B.
There’s no drummer, yet these grooves are deep and true. And while the up-tempo songs are, as ever, filled with delightful internal rhyme and sly aggression, The Jerry Douglas Band’s empathetic musicianship nudges Hiatt to performances that are startlingly vulnerable. Built when Hiatt was five years old, Studio B was designed for music to be made in real time by musicians listening to each other and reacting in the emotional moment. That’s what happened here: Five players on the studio floor, making decisions on instinct rather than calculation.
Mississippi Phone Booth follows All the Lilacs in Ohio, another Hiatt song from Leftover Feelings, which was released upfront in early March. I certainly look forward to hearing the entire album.
Solo acoustic gig from January 1971 is among the earliest concert footage of Young released to date
Since I first had learned about it a few weeks ago, I had been looking forward to the latest release by Neil Young, which came out Friday, March 26. Not only is Young Shakespeare a brilliant title, but it’s yet another highlight from Young’s archives. The live album and concert film comes only four weeks after Way Down in the Rust Bucket, which captures a terrific November 1990 live performance with Crazy Horse I previously reviewed here, and four months following the massive box set Neil Young Archives Volume II: 1972–1976.
Young Shakespeare documents an acoustic solo concert at the Shakespeare Theater in Stratford, Conn. on January 22, 1971. Neil Young was 25 years old at the time and had just entered what arguably is the best period of his solo career. Only four months earlier, he had released After the Gold Rush. Harvest, On the Beach and Tonight’s the Night were still about one, three and four years into the future, respectively.
Part of Young’s Journey Through the Past solo tour, the Shakespeare gig happened only three days after the famous Massey Hall show in Toronto Canada. The latter concert was captured on Live at Massey Hall 1971, which came out in March 2007 as the second release from Young’s Archives Performance Series. A vast amount of additional albums have since appeared in the series. If I see this correctly, Young Shakespeare is the second release of Volume 03, even though it’s registered as Volume 03.5. Well, I’m not an archivist.
As reported by NME, initially, video footage of the concert was filmed by German television at the time, but it never aired. Only bits and pieces recorded by visitors that night had been floating around among Young fans. Young considers the gig as superior to the Massey Hall show, calling it “a more calm performance, without the celebratory atmosphere of Massey Hall” on his archives website last year. “Young Shakespeare’ is a very special event,” he added. “To my fans, I say this is the best ever. ‘Young Shakespeare’ is the performance of that era. Personal and emotional, for me, it defines that time.”
I think Young may be right. The true magic of Young Shakespeare isn’t the set list. Neil Young fans have heard these songs a million times before. What I find fascinating are his announcements that illustrate what went through his mind at the time. They also convey Young’s great sense of humor. The entire gig comes across as very intimate. It’s almost like you’re in the same room with Young, and he’s chatting and cracking jokes while tuning his guitar for the next song. How about some music?
The first tune I’d like to call out is one of my all-time favorites: The Needle and the Damage Done. Mind you, when Young performed the song that night, it had not been recorded yet. I was included on his fourth studio album Harvest released in February 1972.
Dance Dance Dance is a track from Crazy Horse’s eponymous debut album that came out in February 1971. At the time of the Shakespeare gig, it was another yet-to-be-released tune. Young cheerfully calls it hoedown music.
Here’s a medley of A Man Needs a Maid and Heart of Gold, performed on the piano. Young introduces it by saying he hasn’t played the piano for a long time and usually screws it up. He cheerfully adds, “But you’ve never heard it before anyway, so you probably think that’s the way it is, and it’ll be alright.” Obviously, Young was correct. Both songs would appear on Harvest.
In addition to yet-to-be released songs at the time, Young played some old tunes. After all, his solo tour was titled Journey Through the Past. Here’s one of them, Down by the River, a song from his second album Everybody Knows This Is Nowhere released in May 1969.
The last track I’d like to highlight is the album’s closer Sugar Mountain. Young wrote this song on November 12, 1964, which was his 19th birthday. The tune’s first official release was a live version, which became the b-side of Young’s first solo single The Loner from February 1969. It’s always been on of my favorite Neil tunes. It also cracks me up when Young says, “If you don’t know the words…just, you know, you’re all university students. Just memorize them after the first time!”
Here’s the full track list:
1. Tell Me Why 2. Old Man 3. The Needle and the Damage Done 4. Ohio 5. Dance Dance Dance 6. Cowgirl in the Sand 7. A Man Needs a Maid/Heart of Gold 8. Journey Through the Past 9. Don’t Let It Bring You Down 10. Helpless 11. Down by the River 12. Sugar Mountain
NME notes Young Shakespeare is only predated by footage from Young’s gigs at New York’s Café Feenjon in June 1970, and the Crosby, Stills, Nash & Young concert at Fillmore East in March 1970. Obviously, there’s also the aforementioned Live at Massey Hall 1971, so I assume NME referred to video recordings. The new release is available on CD, vinyl and major streaming platforms. The DVD is available exclusively in Young’s own store.
The Sunday Six has become my favorite recurring feature of the blog. Highlighting six tunes from any genre and any time gives me plenty of flexibility. I think this has led to pretty diverse sets of tracks, which I like. There’s really only one self-imposed condition: I have to truly dig the music I include in these posts. With that being said, let’s get to this week’s picks.
Lonnie Smith/Lonnie’s Blues
Let’s get in the mood with some sweet Hammond B-3 organ-driven jazz by Lonnie Smith. If you’re a jazz expert, I imagine you’re aware of the man who at some point decided to add a Dr. title to his name and start wearing a traditional Sikh turban. Until Friday when I spotted the new album by now 78-year-old Dr. Lonnie Smith, I hadn’t heard of him. If you missed it and are curious, I included a tune featuring Iggy Pop in yesterday’s Best of What’s Newinstallment. Smith initially gained popularity in the mid-60s as a member of the George Benson Quartet. In 1967, he released Finger Lickin’ Good Soul Organ, the first album under his name, which then still was Lonnie Smith. Altogether, he has appeared on more than 70 records as a leader or a sideman, and played with numerous other prominent jazz artists who in addition to Benson included the likes of Lou Donaldson, Lee Morgan, King Curtis, Terry Bradds, Joey DeFrancesco and Norah Jones. Here’s Lonnie’s Blues, an original from his above mentioned solo debut. Among the musicians on the album were guitarist George Benson and baritone sax player Ronnie Cuber, both members of the Benson quartet. The record was produced by heavyweight John Hammond, who has worked with Bob Dylan, Bruce Springsteen, Billie Holiday, Aretha Franklin, Leonard Cohen, Mike Bloomfield and Stevie Ray Vaughan, to name some.
John Hiatt/Have a Little Faith in Me
Singer-songwriter John Hiatt’s songs are perhaps best known for having been covered by numerous other artists like B.B. King, Bob Dylan, Bonnie Raitt, Emmylou Harris, Eric Clapton, Joe Cocker, Linda Ronstadt, Ry Cooder and Nick Lowe. While his albums received positive reviews from critics, it took eight records and more than 10 years until Hiatt finally had an album that made the Billboard 200: Bring the Family, from May 1987, which reached no. 107. The successor Slow Turning was his first to crack the top 100, peaking at no 98. If I see this correctly, his highest scoring album on the U.S. mainstream chart to date is Mystic Pinball from 2012, which climbed to no. 39. Hiatt did much better on Billboard’s Independent Chart where most of his albums charted since 2000, primarily in the top 10. Fans can look forward to Leftover Feelings, a new album Hiatt recorded during the pandemic with the Jerry Douglas Band, scheduled for May 21. Meanwhile, here’s Have a Little Faith in Me, a true gem from the above noted Bring the Family, which I first knew because of Joe Cocker’s 1994 cover. Hiatt recorded the album together with Ry Cooder (guitar), Nick Lowe (bass) and Jim Keltner (drums), who four years later formed the short-lived Little Village and released an eponymous album in 1992.
Robbie Robertson/Go Back to Your Woods
Canadian artist Robbie Robertson is of course best known as lead guitarist and songwriter of The Band. Between their July 1968 debut Music from Big Pink and The Last Waltz from April 1978, Robertson recorded seven studio and two live albums with the group. Since 1970, he had also done session and production work outside of The Band, something he continued after The Last Waltz. Between 1980 and 1986, he collaborated on various film scores with Martin Scorsese who had directed The Last Waltz. In October 1987, Robertson’s eponymous debut appeared. He has since released four additional studio albums, one film score and various compilations. Go Back to Your Woods, co-written by Robertson and Bruce Hornsby, is a track from Robertson’s second solo album Storyville from September 1991. I like the tune’s cool soul vibe.
Joni Mitchell/Refuge of the Roads
Joni Mitchell possibly is the greatest songwriter of our time I’ve yet to truly explore. Some of her songs have very high vocals that have always sounded a bit pitchy to my ears. But I realize that’s mostly the case on her early recordings, so it’s not a great excuse. Plus, there are tunes like Big Yellow Taxi, Chinese Café/Unchained Melody and Both Sides Now I’ve dug for a long time. I think Graham from Aphoristic Album Reviews probably hit the nail on the head when recently told me, “One day you’ll finally love Joni Mitchell.” In part, his comment led me to include the Canadian singer-songwriter in this post. Since her debut Song to a Seagull from March 1968, Mitchell has released 18 additional studio records, three studio albums and multiple compilations. Since I’m mostly familiar with Wild Things Run Fast from 1982, this meansbthere’s lots of other music to explore! Refuge of the Roads is from Mitchell’s eighth studio album Hejira that came out in November 1976. By that time, she had left her folkie period behind and started to embrace a more jazz oriented sound. The amazing bass work is by fretless bass guru Jaco Pastorius. Sadly, he died from a brain hemorrhage in September 1987 at the age of 35, a consequence from severe head injuries inflicted during a bar fight he had provoked.
Los Lobos/I Got to Let You Know
Los Lobos, a unique band blending rock & roll, Tex-Mex, country, zydeco, folk, R&B, blues and soul with traditional Spanish music like cumbia, bolero and norteño, have been around for 48 years. They were founded in East Los Angeles in 1973 by vocalist and guitarist David Hildago and drummer Louis Pérez who met in high school and liked the same artists, such as Fairport Convention, Randy Newman and Ry Cooder. Later they asked their fellow students Frank Gonzalez (vocals, mandolin, arpa jarocha), Cesar Rosas (vocals, guitar, bajo sexto) and Conrad Lozano (bass, guitarron, vocals) to join them, completing band’s first line-up. Amazingly, Hidalgo, Pérez, Rosas and Lozano continue to be members of the current formation, which also includes Steve Berlin (keyboards, woodwinds) who joined in 1984. Their Spanish debut album Los Lobos del Este de Los Angeles was self-released in early 1978 when the band was still known as Los Lobos del Este de Los Angeles. By the time of sophomore album How Will the Wolf Survive?, their first major label release from October 1984, the band had shortened their name to Los Lobos and started to write songs in English. In 1987, Los Lobos recorded some covers of Ritchie Valens tunes for the soundtrack of the motion picture La Bamba, including the title track, which topped the Billboard Hot 100 for three weeks in the summer of the same year. To date, Los Lobos have released more than 20 albums, including three compilations and four live records. I Got to Let You Know, written by Rosas, is from the band’s aforementioned second album How Will the Wolf Survive? This rocks!
Booker T. & the M.G.’s/Green Onions
Let’s finish where this post started, with the seductive sound of a Hammond B-3. Once I decided on that approach, picking Booker T. & the M.G.’s wasn’t much of a leap. Neither was Green Onions, though I explored other tunes, given it’s the “obvious track.” In the end, I couldn’t resist featuring what is one of the coolest instrumentals I know. Initially, Booker T. & the M.G.’s were formed in 1962 in Memphis, Tenn. as the house band of Stax Records. The original members included Booker T. Jones (organ, piano), Steve Cropper (guitar), Lewie Steinberg (bass) and Al Jackson Jr. (drums). They played on hundreds of recordings by Stax artists during the ’60s, such as Wilson Pickett, Otis Redding, Bill Withers, Sam & Dave, Carla Thomas, Rufus Thomas and Albert King. In 1962 during downtime for recording sessions with Billy Lee Riley, the band started improvising around a bluesy organ riff 17-year-old Booker T. Jones had come up with. It became Green Onions and was initially released as a B-side in May 1962 on Stax subsidiary Volt. In August of the same year, the tune was reissued as an A-side. It also became the title track of Booker T. & the M.G.’s debut album that appeared in October of the same year. In 1970, Jones left Stax, frustrated about the label’s treatment of the M.G.’s as employees rather than as musicians. The final Stax album by Booker T. & the M.G.s was Melting Pot from January 1971. Two additional albums appeared under the band’s name: Universal Language (1977) and That’s the Way It Should Be (1994). Al Jackson Jr. and Lewie Steinberg passed away in October 1975 and July 2016, respectively. Booker T. Jones and Steve Cropper remain active to this day. Cropper has a new album, Fire It Up, scheduled for April 23. Two tunes are already out and sound amazing!
A selection of newly released music that caught my attention
Another week has flown by, which means it’s time again to take a look at newly released music. After some digging, I think I’ve found a decent and diverse set of tunes. This installment of Best of What’s New features a great Hammond B-3 jazzy rendition of a popular Donovan song, melodic indie rock, pop folk-oriented alternative country and soulful Americana. All tunes appear on albums that came out yesterday (March 26). Sounds intriguing? Let’s get to it!
Dr. Lonnie Smith/Sunshine Superman (feat. Iggy Pop)
An artist calling himself Dr. Lonnie Smith who teams up with the godfather of punk Iggy Pop to cover a great Donovan tune was sure to get my attention. Born in Buffalo, N.Y. in July 1942, Smith is a jazz Hammond B3 organist who first came to prominence in the mid-60s when he joined the quartet of jazz guitarist George Benson. After recording two albums with Benson, Smith released his solo debut Finger Lickin’ Good Soul Organ in 1967. Twenty-six additional records have since appeared under his name. According to his website, Smith has recorded everything from covers of the Beatles, the Stylistics and the Eurythmics, to tribute albums of Jimi Hendrix, John Coltrane and Beck-all by employing ensembles ranging from a trio to a fifteen-piece big band. He also appeared on close to 80 albums by other artists, such as Lou Donaldson, Marvin Gaye, Jimmy Ponder, Ron Holloway, Eric Gale and Nora Jones. His artist profile on Apple Music notes Smith at some point became Dr. Lonnie Smith (for “no particular reason,” the same reason he gives for why he always wears a traditional Sikh turban). His rendition of Sunshine Superman, the title track of Donovan’s third studio album from August 1966, is the closer of the doctor’s new album Breathe. Iggy Pop provides vocals on this tune, as well as album opener Why Can’t We Live Together. This is just cool stuff!
Real Estate/Half a Human
Real Estate are an indie rock band from Ridgewood, N.J. According to their artist profile on Apple Music, Real Estate’s core members were childhood friends, but the band didn’t take shape until 2008, after they’d all completed college and returned to their hometown of Ridgewood, New Jersey. Arriving in 2009, the group’s self-titled debut album earned a Best New Music tag from Pitchfork—a distinction that was also given to their next two LPs. Days, their 2011 sophomore LP, hit No. 11 on Billboard’s Alternative Albums chart, and 2014’s Atlas did even better, reaching No. 7. Following the departure of guitarist Matthew Mondanile in 2016, lo-fi pop specialist Julian Lynch—another childhood friend from New Jersey—took his place in the band. In addition to Lynch, Real Estate’s current lineup includes co-founders Martin Courtney (vocals, guitar) and Alex Bleeker (bass, vocals), along with Matt Kallman (keyboards) and Sammi Niss (drums). Half a Human, co-written by Bleeker, Lynch, Courtney, Kallman and the band’s former drummer Jackson Pollis, is the title track of their sixth and new album. The melodic and laid back sound of this tune drew me in right away.
Esther Rose/Songs Remain
Esther Rose is a country artist from New Orleans, La. She began her career by collaborating with her then-husband and guitarist Luke Winslow-King. In 2017, Rose released her solo debut album This Time Last Night. Songs Remain is a track from her third and latest album How Many Times. On this record, Rose expands her alt-country sound into a blossoming world of folk pop and tender harmonies, notes her website. A collection of complete takes recorded live to tape with rich instrumentation, soul-tugging hooks, and resonating vocal melodies, How Many Times carries you into the room in which it was made. There to help realize this was co-producer Ross Farbe of synthpop band Video Age, who Rose also credits for bringing a stereo pop glow to these new songs. I like what I’m hearing here!
Miko Marks & The Resurrectors/Ancestors
Let’s wrap up things with African American country singer Miko Marks who was born in Flint, Mich. In 2005, she released her debut single Freeway Bound, which also was the title track of her first studio album that appeared in September that year. The sophomore It Feels Good followed in August 2007. In 2006, Marks was named Best New Country Artist by U.S. trade magazine New Music Weekly. She also won various awards at the Independent Music Awards in 2006, 2007 and 2008. After a pretty successful looking early career, it appears things slowed down for Marks. Ancestors is the opener of Our Country, her first album since It Feels Good. She’s backed by The Resurrectors, the impressive sounding house band of Redtone Records. Well, it may have been more than 13 years since Marks’ last release, but it surely looks like the wait was worth it. I just love the soulful southern rock sound of Ancestors, which first appeared as a single in December 2020.
Sources: Wikipedia; Dr. Lonnie Smith website; Apple Music; YouTube
Celebrating female artists in blues, country, jazz, rock & roll, soul and pop
Here’s the second part of my two-part post that celebrates some of the amazing female music artists I admire. Part I, which you can read here, covered Sister Rosetta Tharpe, Nina Simone, Aretha Franklin, as well as 2021 Rock & Roll Hall of Fame nominees Carole King and Tina Turner. I wouldn’t argue with you, if you’d tell me the aforementioned artists are obvious choices. Undoubtedly, three of the female music artists in this second installment fall in the same category. If you’re curious about my two remaining selections, I encourage you to read on. I also have a fun encore.
Since my often mentioned dear longtime German music friend introduced me to Bonnie Raitt more than 30 years ago, I’ve dug her both as a terrific slide guitarist and a genuine no BS type of artist. Not surprisingly, this isn’t the first time I’m covering Raitt. I also got to see her live in New Jersey in August 2016, which was really cool, and wrote about here. Raitt who grew up in a musical family started playing the guitar as an eight-year-old, teaching herself by listening to blues records. After three years in college studying Social Relations and African Studies, she decided to drop out and follow her real calling: music. Since her eponymous debut from November 1971, 16 additional studio albums have appeared to date. Her most recent release is Dig In Deep from February 2016. My aforementioned concert was part of the supporting tour for that album. Here’s one of my all-time Bonnie Raitt favorites: Angel From Montgomery, a great tune written and first recorded by John Prine for his 1971 eponymous debut. Raitt covered the song on her fourth studio album Streetlights from September 1974.
Linda Ronstadt may “only” have been a cover artist (the same is pretty much true for Bonnie Raitt), but what an amazing and versatile vocalist! There’s a reason why she’s so widely admired. And why she’s the only female artist with five platinum-certified U.S. albums in a row in the ’70s. Between 1969 and 2004, Ronstadt released 24 studio albums in genres that varied from country and rock to traditional Mexican music, jazz and even Broadway/operetta. This woman could sing anything! In 2000, she started noticing something was wrong with her voice. During an April 2011 interview with the Arizona Daily Star Ronstadt officially stated she had retired from music. Two years later, she disclosed her diagnosis with Parkinson’s disease. If you’d like to learn more about this incredible artist, I’d encourage you to watch the 2019 documentary Linda Ronstadt: The Sound of My Voice. Or you can read this previous post. Here’s her pretty rendition of Neil Young tune Love Is a Rose, the opener of her sixth solo album Prisoner in Disguise from September 1975. That release was second of the above noted five platinum records in a row.
If I recall it correctly, the first Sheryl Crow tune I heard was All I Wanna Do from her great 1993 debut Tuesday Night Music Club. I liked her style of catchy pop rock from the get-go and have pretty much listened to her ever since. To date, Crow has released 10 additional studio albums. When putting out her most recent one, Threads, in August 2019, which I reviewed here, Crow said it would probably be her final full-length album. She cited changed listening habits of most music consumers who compile their own playlists with songs from different artists rather than listening to entire albums from one artist. In the age of music streaming, that’s certainly easier than never before. While I still believe in albums, I have to admit most of the time, I listen to playlists as well! One of my favorite Cheryl Crow tunes is from her eponymous sophomore album that came out in September 1996. Co-written by Crow and her longtime collaborator Jeff Trott, it’s appropriately titled If It Makes You Happy. Indeed, it does!
Chances are this is the first time you hear of Tierinii Jackson, the lead vocalist of Southern Avenue. If you’re a more frequent visitor of the blog, the latter name could ring a bell. This band from Memphis, Tenn. blends traditional blues and soul with modern R&B, and is one of most exciting contemporary acts I know. Ever since I saw a post from fellow blogger Music Enthusiast several years ago, I’ve followed the group and have since seen them twice. They are a fantastic live act. To date, Southern Avenue have released two albums: an eponymous debut (February 2017) and Keep On from May 2019. Recently, guitarist Ori Naftaly said on their Facebook fan page the group’s third album is mostly in the can. It’s scheduled for later this year. BTW, I’ve had a chance to exchange a few words with Jackson who is a humble and down to earth person. When I asked her where she learned to sing like this, she casually replied in church. Time for a little demo! Here’s the powerful picker-upper Don’t Give Up, a tune from Southern Avenue’s first album, as captured live by yours truly during a gig in Asbury Park, N.J. in July 2019, the most recent time I saw them. While it was recorded with an aging iPhone, I think it gives you some idea what happens when Tierinii Jackson gets going. Multiply this by at least three and you probably have what being in the venue that evening felt like.
The last artist I’d like to highlight is Molly Tuttle, who I feel is super-talented and has a great future ahead of her: The 28-year-old grew up in the San Francisco Bay area and has lived in Nashville since 2015. She comes from a musical family. Tuttle started playing guitar at the age of eight and three years later already performed on stage with her father, Jack Tuttle, a bluegrass multi-instrumentalist and teacher. She recorded her first album with him as a 13-year-old. In 2015, Tuttle joined the family band The Tuttles with AJ Lee, featuring her father and siblings, along with mandolist AJ Lee. Tuttle’s solo debut happened in October 2012 with the EP Rise. That same year, her impressive guitar skills were recognized by the International Bluegrass Association by awarding her Guitar Player of the Year, something she repeated in 2018. Among other accolades, Tuttle also won Instrumentalist of the Year at the 2018 Americana Music Awards. Here’s her terrific rendition of The Rolling Stones’She’s a Rainbow from her most recent album …but I’d rather be with you from August 2020. Co-written by Mick Jagger and Keith Richards, the tune originally appeared on the Stones’ 1967 studio album Their Satanic Majesties Request. Check out Tuttle’s incredibly fluid guitar-playing. This is just awesome! In case you’re wondering about Tuttle’s, she’s living with a condition called alopecia universalis, which results in total body hair loss. Usually, she wears wigs.
I’d like to wrap up things with where I started this two-part post: Sister Rosetta Tharpe. I just couldn’t resist to present the following compilation clip of her guitar solos as an encore. Tharpe was a true gospel rock star who among others played a white badass Gibson SG! In case you weren’t aware, now you know where Chuck Berry learned a trick or two. The one caveat is the footage wasn’t published under Tharpe’s name or by a record company, so it’s hard to tell how long this clip will stay on YouTube. Let’s enjoy while it lasts!
Sources: Wikipedia; Southern Avenue Facebook fan page; YouTube
Celebrating female artists in blues, country, jazz, rock & roll, soul and pop
The idea behind this two-part post was inspired by fellow blogger Lisa, aka msjadeli, a talented poet who also likes great music. Throughout this month, she’s doing “Women Music March,” a series I’ve been enjoying. If you haven’t done so, I encourage you to check it out. While female artists aren’t a novelty in my blog, the closest I previously came to celebrate their music in a dedicated fashion were two posts on ladies singing the blues. You can find them here and here. Female talent certainly isn’t limited to the blues. This two-part post includes ten of the many female music artists I admire.
It’s also good timing to recognize female music artists in a dedicated way. March happens to be Women’s History Month, a celebration of contributions women have made and are making to society. Obviously, music is an important part of this, and some of the artists I feature were true trailblazers. Initially, I had planned to include all of my 10 selections in one post but quickly realized it made more sense to break things up. Here’s the first of two installments.
Sister Rosetta Tharpe
Sister Rosetta Tharpe who started playing the guitar as a four-year-old and began her recording career at age 23 in 1938 was a prominent gospel singer and an early pioneer of rock & roll. Playing the electric guitar, she was one of the first popular recording artists to use distortion. Her technique had a major influence on British guitarists like Eric Clapton, Jeff Beck and Keith Richards. She also influenced many artists in the U.S., including Chuck Berry, Elvis Presley, Little Richard and Jerry Lee Lewis, to name a few. After Elvis had seen her being backed by vocal quartet The Jordanaires, he decided to work with them as well. Tharpe has been called “the original soul sister” and “the godmother of rock & roll.” Unfortunately, her health declined prematurely and she passed away from a stroke in 1973 at the untimely age of 58. In May 2018, Tharpe was inducted into the Rock & Roll Hall of Fame as an Early Influence. Here’s Strange Things Happening Everyday, a traditional African American spiritual that became a hit for Tharpe in 1945. This recording is historic, as it’s considered to be one of the very first rock & roll songs. Tharpe’s remarkable guitar-playing, including her solos, distorted sound and bending of strings, is more pronounced on later tunes, but you can already hear some it here. This lady was a true early rock star and trailblazer!
Born Eunice Kathleen Waymon in Tyron, N.C. in February 1933, Nina Simone was the sixth of eight children growing up in a poor family. She began playing the piano at the age of three or four. After finishing high school, she wanted to become a professional pianist, so she applied to Curtis Institute of Music in Philadelphia. When they rejected her, she decided to take private lessons. In order to pay for them she started performing at a night club in Atlantic City, N.J. The club owner insisted that she also sing, which ended up launching her career as a jazz vocalist. In February 1959, Simone’s debut album Little Blue Girl appeared. It was the start of an active recording career that lasted for more than 30 years until 1993. Afterwards she lived in Southern France and died there in April 2003 at the age of 70. Here’s Ain’t Got No, I Got Life, a medley of the songs Ain’t Got No and I Got Life from the musical Hair, with lyrics by James Rado and Gerome Ragni, and music by Galt MacDermot. It appeared on Simone’s 1968 album ‘Nuff Said and became one of her biggest hits in Europe.
“Queen of Soul” Aretha Franklin, who was born in Memphis, Tenn. in March 1942, began singing as a child at a Baptist church in Detroit, Mich. where her father C.L. Franklin was a minister. The Reverend began managing his daughter when she was 12 years old. He also helped her obtain her first recording deal with J.V.B Records in 1956, which resulted in two gospel singles. After Franklin had turned 18, she told her father she wanted to pursue a secular music career and moved to New York. In 1960, she signed with Columbia Records, which in February 1961 released her debut studio album Aretha: With The Ray Bryant Combo. Thirty-seven additional studio recordings followed until October 2014. In 2017, she came out of semi-retirement for a planned short tour. I had a ticket to see her in Newark on March 25, 2018, her 76th birthday. Unfortunately, it wasn’t meant to be. A few months prior to the gig, it was announced Franklin’s doctor had put her on bed rest and that all remaining shows of the tour were canceled. In August 2018, Aretha Franklin died from pancreatic cancer at the age of 76. Here’s (Sweet Sweet Baby) Since You’ve Been Gone, a great soul tune co-written by Franklin and Ted White, her first husband and manager from 1961 until 1968. It was included on her 12th studio album Lady Soul released in January 1968.
More frequent visitors of the blog know how much I admire Carole King. With the recent 50th anniversary of Tapestry, I’ve written extensively about her. Before releasing one of the greatest albums in pop history in 1971 at age 29, for more than 10 years, King wrote an impressive array of hits for many other artists, together with her lyricist and husband Gerry Goffin: Will You Still Love Me (The Shirelles), Take Good Care of My Baby (Bobby Vee), The Loco-Motion (Little Eva), One Fine Day (The Chiffons), I’m Into Somethin’ Good (Herman’s Hermits), Don’t Bring Me Down (The Animals), Pleasant Valley Sunday (The Monkees) – the list of Goffin-King hits goes on and on. This songwriting duo helped shape ’60s music history. They were rightfully inducted into the Songwriter’s Hall of Fame in 1987. King is also currently nominated for the Rock & Roll Hall of Fame. While given her general modesty I imagine she doesn’t even care much about it, it’s just mind-boggling to me why this extraordinary artist wasn’t inducted decades ago! If you share my sentiments and like to do something about it, you can go to rockhall.com and participate in the fan vote. You can do so every day between now and April 30. King is currently trailing in sixth place. Only the first five will be included in the fan vote tally, so she definitely could need some support! To celebrate another true trailblazer in music, let’s get the ground shaking with I Feel the Earth Move from Tapestry!
What can I say about Tina Turner? Where do I even begin? The Queen of Rock & Roll wasn’t only one of the most compelling live performers, as I had the privilege to witness myself on two occasions. She’s also one of the ultimate survivors. Her initial role as front woman of Ike & Tina Turner brought her great popularity but came at a terrible price. Physically and emotionally abusing your woman wasn’t cool, Ike, and will forever tarnish you. And look what happened after Tina walked out on you on July 1, 1976 with 36 cents and a Mobil credit card in her pocket. She launched a successful solo career, while you struggled. At the time Tina was inducted into the Rock & Roll Hall of Fame in 1991 as part of Ike & Tina Turner, you were in prison – ’nuff said! BTW, Turner is also among the 2021 nominees – this time as a solo artist. Currently in second place in the fan vote, she would certainly deserve a second induction. Here’s The Bitch Is Back from Turner’s first solo album Rough, released in September 1978 after her divorce from pathetic wife beater Ike Turner. It almost sounds like she was giving him the middle finger! Co-written by Bernie Taupin (lyrics) and Elton John (music), the tune first appeared on John’s eighth studio album Caribou from June 1974.
Spring has officially arrived – Yay, finally, as it’s been a long and lonely winter! I’m also happy to report that with today’s installment, The Sunday Six has hit its first mini-milestone: This is the 10th post in the weekly recurring series that celebrates the beauty of music from different periods and genres, six random tunes at a time. I think I found a nice set of tracks I hope you will like.
Sonny Rollins Quartet/My Reverie
Let’s kick things off with some amazing saxophone action by American tenor sax player Sonny Rollins. I have to give a shoutout to fellow blogger Cincinnati Babyhead, who recently posted about Tenor Madness, a studio album Rollins released in 1956 as the Sonny Rollins Quartet. In addition to him, it also featured Red Garland (piano), Paul Chambers (double bass) and Philly Joe Jones (drums) – what a cool name, Philly Joe Jones – I love the flow! Oh, and there was this other fellow called John Coltrane, who joined the band on tenor sax for the album’s opener and title track. The track I’m featuring is called My Reverie. Apparently, the first jazz recording was by Larry Clinton and His Orchestra in 1938, featuring Bea Wain on vocals, with lyrics by Clinton. The music is based on Rêverie, a piano piece by French classical composer Claude Debussy, dating back to 1890. This really goes to show there’s such a thing as truly timeless and beautiful music!
The Horace Silver Quartet/Song for My Father
Let’s shake up things a bit on The Sunday Six with another another instrumental and another jazz track back to back. And, nope, Donald Fagen or Walter Becker are not Horace Silver’s father or otherwise related to the American jazz pianist, composer and arranger. But Becker and Fagen both loved listening to jazz. Undoubtedly, they also got inspired by the intro of Song for My Father. Somehow, it became the introductory riff of Steely Dan’s 1974 single Rikki Don’t Lose That Number, their most successful U.S. single, peaking at no. 4 on the Billboard Hot 100. Whether consciously or unconsciously, to me, this looks a bit like yet another case where a credit should have been given to the original composer. Perhaps Messrs. Becker and Fagen lost his number! Silver who began taking classical piano lessons as a child was active between 1946 and 2004. Initially, he started as a sideman before leading mainly smaller jazz groups. In the early ’50s, he became a co-founder of The Jazz Messengers, which at first he ran together with drummer Art Blakey. After leaving the band in 1956, Silver formed his own five-piece combo, which he led into the 1980s. He continued to release albums until 1998. In 2007, it became known that he had been diagnosed with Alzheimer’s. He passed away in June 2014 at the age of 85. Song for My Father, composed by Silver, is the title track of an album he released with his band in late 1965. Great tune!
Jackson Browne/Shaky Town
I trust Jackson Browne needs no introduction. The American singer-songwriter who has been active since 1966 is one of my all-time favorite music artists. I dig both his vocals and his songwriting. I also have something in common with him: We were both born in the lovely town of Heidelberg, Germany. He went on to become a rock star. I ended up playing bass in two bands in my late teens and early ’20s with short-lived ambitions to become a professional musician. It’s probably a good thing it didn’t happen (though never say never! 🙂 ), and I’m a daddy though not rocking in the U.S.A. Instead, I get to enjoy listening to great music by fantastic artists and giving my two cents as a hobby blogger – not such a terrible thing, after all! The one Jackson Browne album I keep coming back to is Running on Empty, his fifth studio release that appeared in December 1977. When I had that aforementioned dream to become a professional musician, I actually envisaged sounding like Browne on Running on Empty, notably, not like The Beatles – true story. I was tempted to go with the title track. Instead, perhaps somewhat ironically, I decided to pick a tune that’s not by Browne: Shaky Town. The song was written by guitarist Danny Kortchmar, who has worked with the likes of Linda Ronstadt, James Taylor, Neil Young, Carly Simon and not to forget Carole King. Kortchmar also provided harmony vocals. And check out that sweet lap steel guitar by the amazing David Lindley.
The Church/Under the Milky Way
The Church are an alternative rock band from down under, formed in Sydney in 1980. Their debut album Of Skins and Heart appeared in April 1981. Since then, the band that remains active to this day, has released 16 additional studio albums. Their most recent one, Man Woman Life Death Infinity, came out in October 2017. I covered it here at the time. But it was their fifth international breakthrough album Starfish from February 1988, which brought the Aussie band on my radar screen. I just love the sound, and it remains one of my favorite ’80s records. Here’s the fantastic lead single Under the Milky Way. It was co-written by the band’s bassist and vocalist Steve Kilbey and his then-girlfriend and guitarist Karin Jansson, founder of alternative Australian rock band Curious (Yellow). The atmospheric sound and Kilbey’s distinct vocals still give me good chills.
George Harrison/Blow Away
What’s better than enjoying some sweet slide guitar? You guessed it – more sweet slide guitar action! One of the artists I’ve always admired in this context for his unique tone is George Harrison. I don’t know of any guitarist who got that same sweet slide sound. Blow Away was first released in February 1979 as the lead single from Harrison’s eighth, eponymous studio album that came out a few days later. Written by him, it became one of eight top 20 mainstream hits Harrison had in the U.S., peaking at no. 16 on the Billboard Hot 100. It did even better in Canada, hitting no. 7, one of his nine top 10 hits there. The recording features former Sly and the Family Stone member and session drummer Andy Newmark. Nuff said – let’s get blown away!
Elton John/Your Sister Can’t Twist (But She Can Rock ‘n’ Roll)
Time to wrap things up. How about kicking ass with some good ole rock & roll Elton John style? Ask and you shall receive! I guess Your Sister Can’t Twist (But She Can Rock ‘n’ Roll) is more of a deep track. As usual, the lyrics were written by Bernie Taupin, while Sir Elton composed the music. According to Songfacts, the tune is a “throwback to music of the late ’50s and early ’60s when lots of songs were about dance crazes and teenage girls.” Songfacts also quotes John from a 1973 interview with now-defunct American rock magazine Circus, in which he reportedly characterized the tune as “a cross between surfing music and Freddie Cannon records” that was intended “to end the ‘Crocodile Rock’ thing.” Sounds like John had hoped it would help people forget about that latter tune. While it’s a great song that appeared on his masterpiece Goodbye Yellow Brick Road from October 1973, it’s fair to say Your Sister Can’t Twist (But She Can Rock ‘n’ Roll) was completely overshadowed by other tunes from the album, such as Saturday Night’s Alright for Fighting, Bennie and the Jets, Candle in the Wind and of course the title track. John also didn’t release it as a single.
A selection of newly released music that caught my attention
Usually, I keep my forays into newly released music to four tunes. This installment includes two more tracks. Why? Easy, ‘coz I can! On a more serious note, unlike other weeks where I feel more challenged to find music that sufficiently speaks to me, I discovered these tracks fairly quickly. And since I couldn’t quite decide on four, I ended up taking all six. Except for the final song, all tunes are included on releases that appeared yesterday (March 19).
Mason Lively/Love Ain’t Done a Damn Thing
Mason Lively is a country/Americana artist from Victoria, Texas. According to his website, he grew up in a country music atmosphere. His appreciation for the genre can be traced back to his childhood. Though he enjoyed and was exposed to many types of music, he would listen to artists like Willie Nelson, Merle Haggard, and Ray Price to name a few. Growing up, while also being influenced by Blues and Classic Rock, Mason started to take interest and study the songwriting of artists from his home state’s music scene like Robert Earl Keen, Pat Green, Hayes Carll, and many more. As a result, when he started playing guitar at age 14, Mason claims that song-writing “sort of snuck up on him” not long after that. Lively’s debut album Stronger Ties appeared in April 2018. Love Ain’t Done a Damn Thing is a track from his new eponymous sophomore album.
Jason Singer, performing as Michigander, is a singer-songwriter hailing from Midland, Mich., who has been active since 2014. His artist profile on Apple Music describes Michigander’s music as a rich blend of hook-driven and radio-ready indie rock with electronic flourishes and earnest, big-hearted storytelling that invokes names like Lord Huron and Mumford & Sons. He is a self-taught multi-instrumentalist who spent his formative years building a sonic persona that looked to a wide array of influencers, including Coldplay, Rush, James Taylor, and the White Stripes. After honing his skills playing solo sets, Singer relocated to Kalamazoo in 2014 and began operating under the Michigander moniker. In 2016 he issued the nostalgia-driven single “Nineties,” which garnered over a million online streams. Looking to capitalize on the success of the single, Singer turned his one-man solo project into a fully-fledged rock & roll band and hit the road, sharing bills with contemporaries like Ra Ra Riot, Tokyo Police Club, and Twin Peaks, and released the group’s debut EP, Midland, in 2018. The following year saw the band ink a deal with C3 Records and issue a second EP, Where Do We Go from Here? Well, I suppose the answer is Everything Will Be Ok Eventually, Michigander’s latest EP. Here’s lead single Let Down. I have to say I find this tune quite catchy.
Alice Phoebe Lou/Dusk
South African singer-songwriter Alice Phoebe Lou first entered my radar screen in July 2020, when I covered her then-latest single Touch in a previous Best of What’s Newinstallment. As noted there, Lou grew up on a mountainside in South Africa, attending a local Waldorf school that cultivated her innate love of music and the arts. She made her first visit to Europe at 16, a life-changing journey that first saw her taking her songs to the streets. Lou returned home to finish school but as soon as she was able made her way back to Europe, specifically Berlin. Armed with just her guitar, a small amp, a passel of distinctive original songs, and an utterly intoxicating voice and charm, she soon built a devoted fan following, not just in Berlin but around the world as tourists and passers-by from faraway places were so captivated by her music that they began sharing it amongst friends and social media. Lou self-released her debut EP, Momentum, in 2014, followed two years later by her acclaimed first full-length, Orbit.Dusk, written by Lou, is from her new album Glow. Just like I felt previously, her music falls outside my core wheelhouse but there’s just something about it.
Ringo Starr/Waiting For the Tide to Turn
Just like his ex-Beatles mate Paul McCartney, Ringo Starr kept busy during the pandemic. One of the results is a new EP titled Zoom In. A statement on his website notes it features 5 songs all of which were recorded at Starr’s home studio between April-October 2020...Joining Starr were musicians Nathan East (bass), Steve Lukather (guitar), Bruce Sugar (synth guitar), Benmont Tench (piano), Charlie Bisharat (violin), Jacob Braun (cello), and Jim Cox (string arrangements and synth strings). Dave Grohl, Ben Harper and Jenny Lewis also joined Starr in the home studio, and all contributed to the first single, Here’s To The Nights. I previously covered it here…Ringo co-wrote “Waiting For The Tide to Turn” with his engineer Bruce Sugar, adding Tony Chen and his extensive reggae roots; “This was something my engineer Bruce Sugar started, but it didn’t have a lot of words, so we wrote it together. I did my version of reggae and what was great was we had Tony Chen, who played with Bob Marley and lives here in LA, come over and play on it. He said, ‘hey Mon, that you on drums mon?’ and I said yes, and he said ‘great drums mon, very reggae!’ and my heart swelled! It was so great coming from him.” Ringo and reggae was something I didn’t expect, but I think it came out pretty well!
Joyce Wrice is an R&B and soul artist from Los Angeles. There isn’t any background on her website and Facebook page, so I’m relying on a news story by MTV. Chandler is the opener of Wrice’s debut album Overgrown. The release follows a series of EPs and publishing covers on YouTube for 10 years. Some of her influences include Missy Elliott, Aaliyah and Sade. Apparently, she is also influenced by her Japanese heritage and Buddhism. “One of the things that I’ve learned through my Buddhist practice is to create opportunities within the obstacle or the struggle,” Wrice pointed out to MTV News. “It’s actually helped me to dig deeper and not be swayed by the situation and keep pushing through.” This tune has a cool vibe. I can hear some early ’70s Marvin Gaye in here.
Tigers Jaw/New Detroit
American rock band Tigers Shaw were formed in Scranton, Pa. in 2005. The group was started in high school by Ben Walsh, who played drums at the time, and Adam McIlwee (guitar, vocals). A few months later, they were joined by Brianna Collins (keyboards, vocals). The band released their debut album Belongs to the Dead in October 2006. By the time of their eponymous sophomore album from September 2008, Tigers Shaw had grown to a five-piece and Walsh had switched to guitar and vocals. He and Collins remain part of the current formation that also includes Colin Gorman (bass, rhythm guitar) and Theodore Roberts (drums). According to their Apple Musicprofile, the band’s music evolved from pop punk to Emo to indie rock. New Detroit is from their sixth studio album I Won’t Care How You Remember Me, which appeared on March 5. I really like how melodic and catchy this song is!
Sources: Wikipedia; Mason Lively website; Apple Music; Ringo Starr website; MTV News; YouTube
Neil Young has been on a roll releasing material from his archives. The above clip is from an upcoming album and concert film titled Young Shakespeare. Scheduled for March 26, it captures an acoustic gig at the Shakespeare Theater in Stratford, Conn. on January 22, 1971. As reported by Ultimate Classic Rock, this is the earliest known footage of Young in concert.
Recorded three days after the famous show at Toronto’s Massey Hall (released as Live at Massey Hall 1971 in March 2007), the footage was taken for German TV. Apparently, it never aired and wasn’t released otherwise until now.
Tell Me Why, written by Young, is the opener of the album and film. It also is the first track of his third studio album After the Gold Rush, which came out in September 1970, only four months prior to the Shakespeare and Massey Hall shows.
While I like many of Neil Young’s electric tunes with Crazy Horse, I think oftentimes he’s even better solo with just his acoustic guitar and harmonica or piano. Notably, Young Shakespeare features various tunes from Harvest, the follow-on to After the Gold Rush, which had not been released at the time. These songs include classics A Man Needs a Maid, Heart of Gold and The Needle and the Damage Done. Following is the official film trailer.
Here’s the track list:
1. Tell Me Why 2. Old Man 3. The Needle and the Damage Done 4. Ohio 5. Dance Dance Dance 6. Cowgirl in the Sand 7. A Man Needs a Maid/Heart of Gold 8. Journey Through the Past 9. Don’t Let It Bring You Down 10. Helpless 11. Down by the River 12. Sugar Mountain
Young Shakespeare will be available on vinyl, CD, DVD and streaming platforms. It comes on the heels of Way Down in the Rust Bucket, another excellent live album Young released on February 26, which I previously covered here.
“Cult” German TV show featured prominent music acts from Alice Cooper to Zeppelin
A YouTube clip from Beat-Club I coincidentally caught on Sunday reminded me that I hadn’t done a post in my series about popular concert halls and music programs since July 2020. So I felt the popular German TV music show, which aired monthly between September 1965 and December 1972, would be a great topic for another installment.
Beat-Club was created by music producer Gerhard Augustin, who according to Wikipedia was Germany’s first professional disc jockey, and film director and writer Mike Leckebusch. Broadcast on one of Germany’s main national public TV channels ARD, the show was hosted by German architect-turned-singer-turned-TV presenter Uschi Nerke. Until early 1969, she was joined by Augustin and afterwards by Dave Dee, of Dave Dee, Dozy, Beaky, Mick & Tich, before Nerke started hosting alone in 1970.
Beat-Club began as a live program with music guests performing in front of a plain brick wall. In 1967, the program was revamped to adapt a “more professional look,” which among others included large cards in the background that displayed the names of the performers. The new format also allowed for inclusion of artists who could not appear live. In these cases, a troupe of young women called the “Go-Go-Girls” was dancing to the featured songs – ouch! On a cooler note, in its later years, Beat-Club incorporated psychedelic visual effects during many performances. These effects became much more pronounced after the program switched to color in late 1969.
German TV personality Wilhelm Wieben opened Beat-Club’s first episode with the following words: “Hello, dear beat friends. The time has finally come. In just a few seconds starts the first show on German television, which exclusively was made for you. Ladies and gentlemen, I ask you who may not enjoy beat music for your understanding. It’s a live program with young people for young people. And now, let’s go!”
I guess Wieben and the master minds behind the program pretty much foresaw what would happen: While Beat-Club’s target audience embraced the show right way, the older generation in Germany was horrified. This probably ensured young people liked it even more. In fact, the show quickly reached “cult” status.
Over its seven-year run, Beat-Club featured an impressive array of music artists and bands. Badfinger, Chuck Berry, Cream, Deep Purple, Jimi Hendrix, Led Zeppelin, The Rolling Stones and The Who were some among many others. Now on to the real fun part: Clips that capture some of the action. The year in parenthesis after each title marks the timing of the show episode. It’s all based on Beat-Club’sYouTubechannel.
Cream/I Feel Free (1967)
The Jimi Hendrix Experience/Purple Haze (1967)
Canned Heat/On the Road Again (1968)
Joe Cocker/With a Little Help From My Friends (1968)
Chicago Transit Authority/I’m a Man (1969)
The Who/Sally Simpson & I’m Free (1969)
Black Sabbath/Paranoid (1970)
Muddy Waters/Honey Bee (1970)
Fleetwood Mac/Dragonfly (1971)
T. Rex/Jeepster (1971)
Ike & Tina Turner/Get Back (1972)
Manassas/Rock & Roll Crazies
Beat-Club eventually was replaced by another music program called Musikladen (music store). While I was too young to watch Beat-Club, I have some nebulous memories of Musikladen, and I’m afraid they aren’t great! Nerke co-moderated the program with main host Manfred Sexauer until September 1978. Subsequently, she hosted her own radio show Beat-Club until January 2013.