Clips & Pix: Mick Jagger & Dave Grohl/Eazy Sleazy

On Tuesday, Mick Jagger and Dave Grohl dropped this surprise collaboration rocker about life during Covid-19 and coming out of the pandemic. Jagger handled vocals and rhythm guitar, while Grohl played lead guitar, bass and drums – all socially distanced, of course. The tune was produced by Matt Clifford, a longtime collaborator who had the same role for Jagger’s previous double A-sided single Gotta Get a Grip/England Lost from July 2017.

“Wanted to share this song that I wrote about eventually coming out of lockdown, with some much needed optimism,” Jagger wrote in a short statement on his website. “- thank you to Dave Grohl from Foofighters for jumping on drums, bass and guitar, it was a lot of fun working with you on this – hope you all enjoy Eazy Sleazy !”

The song’s lyrics mix frustration (We took it on the chin/The numbers were so grim…), poking fun at crazy conspiracy theories (Shooting the vaccine/Bill Gates is in my bloodstream/It’s mind control…) and some sarcasm (That’s a pretty mask/ But never take a chance TikTok stupid dance…) with a dose of optimism (Now we’re out of these prison walls/You gotta pay Peter if you’re robbing Paul/But it’s easy easy/Everything’s gonna be really freaky…).

“It’s hard to put into words what recording this song with Sir Mick means to me,” Grohl told Rolling Stone. “It’s beyond a dream come true. Just when I thought life couldn’t get any crazier……and it’s the song of the summer, without a doubt!!” While that’s perhaps a bit of a bold statement, it’s a fun tune!

Rolling Stone also recalled this isn’t the first Jagger-Grohl collaboration. In 2012, Foo Fighters were one of Jagger’s backing bands when he hosted and performed on Saturday Night Live. And in 2013, Grohl joined The Rolling Stones during a gig in Anaheim, Calif. to play guitar and sing on Bitch.

Here are the full lyrics:

We took it on the chin
The numbers were so grim
Bossed around by pricks
Stiffen upper lips
Pacing in the yard
You’re trying to take the mick
You must think I’m really thick

Looking at the graphs with a magnifying glass
Cancel all the tours, football’s fake applause
No more travel brochures
Virtual premieres, I’ve got nothing left to wear

Looking out from these prison walls
You got to rob Peter if you’re paying Paul
But it’s easy easy
Everything’s gonna get really freaky
Alright on the night
Soon it’ll be be a memory you’re trying to remember to forget

That’s a pretty mask
But never take a chance TikTok stupid dance
Took a samba class yeah I landed on my ass
Trying to write a tune you better hook me up to Zoom
See my poncey books teach myself to cook
Way too much TV, its lobotomizing me, yeah
Think I’ve put on weight
I’ll have another drink then I’ll clean the kitchen sink

We escaped from the prison walls
Open the windows and open the doors
But it’s easy easy
Everything’s gonna get really freaky
Alright on the night
It’s gonna be a garden of earthly delights
Yeah it’s easy sleazy
Everything’s smooth and greasy
Yeah easy, believe me
It’ll only be a memory you’re trying to remember to forget

Shooting the vaccine
Bill Gates is in my bloodstream
It’s mind control
The earth is flat and cold
It’s never warming up
The Arctic’s turned to slush
The second coming’s late
And there’s aliens in the deep state

Now we’re out of these prison walls
You gotta pay Peter if you’re robbing Paul
But it’s easy easy
Everything’s gonna be really freaky
Alright on the night
We’re all headed back to paradise
Yeah easy. believe me
It’ll be a memory you’re trying to remember to forget

Easy cheesy
Everybody sing please please me
Yeah
It’ll be a memory you’re trying to remember to forget

Sources: Wikipedia; Rolling Stone; Mick Jagger website; YouTube

John Hiatt with The Jerry Douglas Band/Mississippi Phone Booth

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.

John Hiatt and Jerry Douglas

“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.

Sources: Paste; John Hiatt website; YouTube

Clips & Pix: Neil Young/Tell Me Why

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.

Neil Young Announces 'Young Shakespeare' Live LP and Concert Film

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.

Sources: Wikipedia; Ultimate Classic Rock; YouTube

Clips & Pix: S.T.S./Da Kummt Die Sunn

For this one, I have to give a shoutout to my fellow German blogger sori1982, who currently resides in Austria and recently brought to my attention this amazing cover of Here Comes the Sun, performed in German Austrian style.

I’m sure many of Sori’s visitors have heard this already, but at least in my case, I can say the clip she called out at the time didn’t work on my end – likely due to silly YouTube legal restrictions. So for the benefit of North American and perhaps other ex-European audiences, I hope this will do the trick!

S.T.S., which stands for Steinbäcker, Timischl & Schiffkowitz, were an Austrian trio from Graz, the second largest city in Austria. They were founded in 1975 by Gert Steinbäcker, Günter Timischl and Schiffkowitz (Helmut Röhrling). Between 1981 and 2007, S.T.S. released 11 albums. At first, half of their lyrics were written in English before they settled on the Austrian dialect spoken in the southeast region of Styria. In July 2014, the trio officially called it quits, citing health issues for Timischl.

Da kummt die Sunn appeared as a single in 1981. Apart from beautiful harmony singing, I love how S.T.S. ingeniously translated George Harrison’s original lyrics to the Styrian dialect. This gives it a unique charm. Tell me this doesn’t sound amazing!

Sources: Wikipedia; YouTube

Clips & Pix: Neil Young & Crazy Horse/Mansion on the Hill

Here’s a great goodie for all Neil Young fans, but before getting to it, I must give credit where credit is due: Earlier this week, Music Enthusiast pointed me to this Rolling Stone interview with Frank “Poncho” Sampedro, ex-guitarist of Neil’s longtime backing band Crazy Horse, who sadly was forced to retire several years ago due to severe arthritis in his hands and feet – yikes!

The interview was conducted in the wake of Neil’s latest release from his archives: Way Down in the Rust Bucket from last Friday, February 26, which I had completely missed! It captures the band live on November 13, 1990 at The Catalyst in Santa Cruz, Calif. The nightclub holds about 800 people and is located close to Neil’s Broken Arrow ranch.

Mansion on the Hill, written by Neil Young, is from the Ragged Glory album he released with Crazy Horse in September of the same year. The above gig was scheduled as a “warm-up” to the band’s tour in support of the album.

Here’s an excerpt from Neil’s Archives site: Poncho and the boys are all excited to bring you what we feel is the definitive chapter in our story!…We were in the pocket as soon as the lights went down that night at the Catalyst…Now this record and film brings that night to everybody!

Said Poncho to Rolling Stone: “Let me go on record as saying that I think this Way Down in the Rust Bucket is the best Crazy Horse record we ever recorded. I love it! I love this record. Neil plays great, unbelievably great. He’s just electrified…He’s just playing so good and the band played really good.”

Indeed. And based on what I’ve heard thus far, it sounds awesome!

Sources: Wikipedia; Rolling Stone; Neil Young Archives website; YouTube

Clips and Pix: The Faces/Maybe I’m Amazed

Holy cow, until I just came across a YouTube clip, I had not known The Faces covered Maybe I’m Amazed. I really dig their version. Musically, it’s similar to the original, but what stands out to me is Rod Stewart’s voice, which sounds perfect for this tune.

Maybe I’m Amazed was written by Paul McCartney and first appeared on his debut solo album McCartney from April 1970. I know I’ve said this before, the live version that appeared in December 1967 on Wings Over America is much better.

The Faces included their cover, which is also a live recording, on their second studio album Long Player that was released in February. The performance had been captured at Fillmore East in November 1970.

BTW, the guy who starts on lead vocals before Stewart takes over is Ronnie Lane, the band’s bassist. He later comes back to sing harmony. In addition to him and Stewart, The Faces included Ronnie Wood (guitar, vocals), Ian McLagan (keyboards) and Kenny Jones (drums). Man, what a fantastic band – I guess I have to listen to some more!

Sources: Wikipedia; YouTube

Clips & Pix: B.A. Johnston/Snow Shovel Blues

If I have to shovel another centimeter of snow/If I have to shovel another centimeter of snow/They find me face-down at the end of my driveway/Waiting for the small sidewalk plow to come and take me away…

Dang it, I already had thought to have finally found a market gap for a million-dollar seller. But it wasn’t meant to be – turns out there’s already at least one song about the joys of snow shoveling after all.

With my area of Central New Jersey being part of the region that’s currently experiencing what The New York Times reported “was likened to a freight train — powerful and large but maybe not as lumbering” (Jeez!), I just indulged in some snow removal fun. It’s still coming down, but I figured getting a head start before everything freezes may not be a bad idea.

Somewhat ironically, Snow Shovel Blues was written by a Canadian. Canadians appear to be much better prepared for snow than many U.S. East Coast folks who easily get overwhelmed with just a few snowflakes.

Anyway, according to Wikipedia, B.A. Johnston is a comedic musician and performance artist based in Hamilton, Ontario…He began touring around Canada in 2002, performing songs that are often comedic in nature and include pop cultural references to sports teams, junk food, and video games. Accompanying himself on guitar and keyboard, he performed as the character B.A. (Bored Again) Johnston who lives at home with his mother.

Snow Shovel Blues appeared Johnston’s 2010 album Thank You for Being a Friend. Not sure whether he was making fun of lovely American ’80s and early ’90s TV sitcom The Golden Girls. Apparently, it was some kind of a breakthrough for him. He also has an album cleverly titled Stairway to Hamilton. Perhaps CB has heard of him?

Sources: Wikipedia; The New York Times; YouTube

Clips & Pix: John Diva and the Rockets of Love/Voodoo, Sex and Vampires

I just came across this tune. While I don’t know about the combination of voodoo, sex and vampires and the lyrics aren’t exactly Shakespeare, I know one thing: This song rocks!

According to John Diva’s website, Since the likes of Bon Jovi, Whitesnake, Ratt, Cinderella and Mötley Crüe strode the Earth delivering the goods, there has been a slow, steady decline in such dreams, such realities…thankfully, John Diva is here to strut such stuff for rockërs and rollërs worldwide, to spotlight his own hitherto unappreciated talents and to take the blazing  limelight in all it’s pink and purple lazered glory. Clever, huh?

Regardless of how you generally feel about hair or pop metal, a genre I largely ignore except for my occasional indulgence of Scorpions, Voodoo, Sex and Vampires is a great rock tune, at least in my book. Written by Diva, it’s the opener of the band’s new album American Amadeus released January 15. Also known as JDATROL, they have been around since 2009. American Amadeus appears to be their second studio album.

I find Voodoo, Sex and Vampires to be pretty catchy. Also, check out the neat harmony lead guitar action at about 2:15 minutes. They should have kept it going for longer. In addition to Diva, the band features Snake Rocket (guitar), J.J. Love (guitar) Remmie Martin (bass) and Lee Stingray (drums).

Sources: Wikipedia; John Diva website; YouTube

Clips & Pix: Scorpions/Bad Boys Running Wild

I can’t listen to their music all the time, but I’ve always had a thing for Scorpions. When it comes to ’80s pop metal, these guys from Hannover, Germany rule!

Bad Boys Running Wild is from their hugely successful album Love at First Sting that came out in March 1984. The lyrics were co-written by frontman Klaus Meine, who is a hell of a vocalist, and drummer and backing vocalist Herman Rarebell. The music was composed by Rudolf Schenker, the band’s rhythm guitarist who also provides backing vocals.

Love at First Sting is better known for the tunes Rock You Like a Hurricane, Still Loving You and Big City Nights, which all received plenty of radio play in Germany. These songs brought Scorpions on my radar screen and made me get the record on vinyl at the time – and wear it out!

Yes, these boys could be pretty aggressive (and soft!), which why their music doesn’t work for me every day. But when I’m in the mood for kickass metal that’s not just loud but also melodic, Scorpions are always a great choice.

Sources: Wikipedia; YouTube

Clips & Pix: Larkin Poe/If I Fell

I’ve said it before and I’ll say it again: I think watching covers performed by sister act Rebecca Lovell and Megan Lovell, aka Larkin Poe, is always fun. Their energy and enthusiasm draw you in. Plus, they’re really talented musicians. Check out how Megan’s lap steel harmonizes with Rebecca’s vocals – really neat!

It also doesn’t hurt these ladies take on a song by The Beatles, my favorite band of all time. Primarily written by John Lennon and credited to him and Paul McCartney, If I Fell was included on both the US and UK versions of the studio album A Hard Day’s Night released in June and July of 1964, respectively. The tune also appeared as a single in both countries: In the US as the B-side to And I Love Her, in the UK as an A-side backed by Tell Me Why.

Sources: Wikipedia; YouTube