Hey, Hey, The Blues is Alright

I got this song/I’m gonna sing/I’m gonna sing it just for you/If you dig the blues/I want you to help me sing it, too/I want everybody to hear me when I say/The blues is back, and it’s here to stay.

The above intro from The Blues is Alright, a tune by Little Milton, nicely captures how I’m feeling as I’m writing this post. Of course, the blues has always never really left, though I guess it’s fair to say it had greater visibility when Milton released that song back in 1984 and Stevie Ray Vaughan was all the rage.

Sadly, Vaughan and Milton are no longer with us, not to mention the likes of B.B. King, Muddy Waters and John Lee Hooker, to name a few artists of the “old guard.” But over the past few months, exciting new blues music has been released. And as somebody who digs the blues, that truly makes me happy. Are you ready for some? Ready or not, here we go!

Robert Cray first appeared on my radar screen in 1988 with Don’t Be Afraid of the Dark, the title track to his sixth studio album, a tune that grabbed me immediately. Fast-forward some 32 years and 18 records later to February 28 this year when Cray released That’s What I Heard. Produced by longtime collaborator Steve Jordan, who also plays drums and percussion, the great collection includes four original tracks and eight covers. The Robert Cray Band also features Richard Cousins (bass), Dover Weinberg (keyboards) and Terence F. Clark (drums). Here’s the opener Anything You Want, an original. Apart from being a decent guitarist, I think Cray also has a great soulful voice.

Ever heard of British blues-rock guitarist Joanne Shaw Taylor? Damn, that lady sounds smoking hot to me! Even though Taylor is only in her mid-30s, she has an impressive record. She was discovered at the age of 16 by Dave Stewart (of Eurythmics), who in 2002 invited her to tour in Europe with his band D.U.P. In 2009, Taylor’s debut album White Sugar appeared. Her latest release is Reckless Blues, an EP that came out two weeks ago on March 6. Here’s a great cover of Slow Dancing in a Burning Room, a tune John Mayer wrote and first recorded for his third studio album Continuum from September 2006.

Let’s move on to Frank Bey. Admittedly, I had never heard of him until earlier today, even though the man is 74 years old and, well, has been around for some time. According to his website, he began his singing career 70 years ago as a gospel singer – yep, we’re talking as a 4-year-old. At age 17, he joined the Otis Redding Revue. In the mid-70s, Bey became entangled in a legal battle with James Brown over one of his songs Brown had recorded without his permission. While the matter was settled out of court, it left Bey embittered, and he got out of the music business for 17 years. Then he returned and since 1998 has released six albums, the most recent of which is All My Dues Are Paid that appeared on January 17 this year. It’s warm and soulful. Here’s the tasty opener Idle Hands, featuring some cool wah-wah guitar and nice horn work, along with Bey’s great vocals and some hot gospel backing vocals. Check it out!

Ready for two more? Here’s Christone “Kingfish” Ingram with his new single Empty Promises, a live recording that came out on February 14. The 21-year-old from Clarksdale, Miss. released his debut album Kingfish last May and got rave reviews. It’s certainly no coincidence he has played with the likes of Buddy Guy, Keb’ Mo’, Eric Gales and Rick Derringer. I think we will hear many more great things from this super talented young artist. Empty Promises was written by blues and soul singer and guitarist  Michael Burks who passed away in May 2012 from a heart attack. He was only 54 years old.

The final tune I’d like to call out is by Tas Cru, another blues artist I had not heard of before either. While he doesn’t have a Wikipedia page, luckily, there’s a website. According to his bio, Cru is truly a blues eclectic who refuses to let his music be bound to just one blues style…with a repertoire of over 60 original songs from multiple albums and dozens of crowd-pleasing classics…Tas Cru is currently is based out of upstate New York and performs in multiple formats ranging from solo acoustic to a 7 piece-backing band. Cru’s most recent album, which was released on February 1, is titled Drive On. According to a review in Elmore Magazine, it’s his ninth and 11th overall, when including two blues-for-kids records he made. Here’s the funky title song featuring great horn and organ work. Don’t get fooled by the tune’s slow start. Keep listening!

Sources: Wikipedia; Robert Cray website; Joanne Shaw Taylor website; Frank Bey website; Tas Cru website; Elmore Magazine; YouTube

James Taylor Releases American Songbook Cover Album

I suppose if you’re a cynic you could point out that when an artist releases a cover album of American standards or Christmas tunes for that matter, it’s a sign they’ve run out of ideas and may consider retirement, or they simply are trying make a quick buck. While in some cases this notion may not be unfounded, I feel differently when it comes to James Taylor. To me, his just-released new album American Standard is a legitimate undertaking by an artist who wants to highlight songs that have played an important role in his musical journey.

I’ve admired James Taylor for many years for his warm and soothing vocals and his impressive acoustic guitar chops. I wish I could play like that! His cover of Carole King’s You’ve Got a Friend is one of my all-time favorite tunes. And, yes, Taylor has also written beautiful songs like Carolina in My Mind, Sweet Baby James and of course the amazing Fire and Rain. I realize this may make me a bit biased when it comes to his latest release.

So why come out with a cover album of American standards? Do we really need another version of Moon River and God Bless the Child? Here’s what the album’s liner notes say, as reported by American Songwriter: “These are songs I have always known. Most of them were part of my family’s record collection, the first music I heard as a kid growing up in North Carolina…Before I started writing my own stuff, I learned to play these tunes, working out chord changes for my favorite melodies. And those guitar arrangements became the basis for this album.”

James Taylor in this studio
James Taylor in his barn studio in Western Mass.

“My collaborator, John Pizzarelli, is a living encyclopedia of the best popular music that the West has ever produced. Like his father, Bucky, he is a master guitarist and a casual, matter-of-fact genius. I asked John to come out to Western Massachusetts, where I live and do my recording in a big barn in the middle of the forest, to help me put down some tracks. I’d show him what changes I had found for a handful of songs and we’d work up the arrangements.”

Call me naive, but to me Taylor doesn’t sound like some artist who is just out there to cash in on his big name late in his recording career. I won’t pretend I’m an expert on the American songbook. I’m not. It’s simply not the kind of music I typically listen to. I also doubt this will change all for a sudden. What I do know is that I love how Taylor and Pizzarelli arranged these tunes. I think it’s time to let the music do some of the talking or writing.

Teach Me Tonight was written in 1953 by pianist Gene De Paul with lyrics by Sammy Cahn. This jazz standard has been covered by Dinah Washington, Count Basie, Sammy Davis Jr., Aretha Franklin, Al Jarreau and Stevie Wonder, among other countless artists. I dig the beautiful arrangement, including the trumpet solo and percussion played by Walt Fowler and Luis Conte, respectively. Here’s the official video.

Another beautiful tune is Almost Like Being in Love. The music and the lyrics were written by Frederick Loewe and Alan Jay Lerner, respectively, for the score of their 1947 musical Brigadoon. The song was first performed on Broadway by David Brooks. Gene Kelly sang the 1954 film version. The tune was also recorded by Nat King Cole, Frank Sinatra and Shirley Bassey. As a fan of old James Bond movies, she entered my radar screen with Goldfinger, perhaps the best 007 tune.

My Heart Stood Still was composed by Richard Rodgers in 1927, with lyrics by Lorenz Hart. It was written for a British musical revue by Charles Cochran, which opened in London in May 1927. It was also featured later that same year in the American Broadway musical A Connecticut Yankee. Like with most other tracks on the album, it’s a tune that was recorded by many artists over the decades, including Chet Baker, Ella Fitzgerald, Frank Sinatra and Bing Crosby. The lovely violin part is played by Stuart Duncan.

The last tune I’d like to call out is It’s Only a Paper Moon, which I previously only knew from the 1973 motion picture Paper Moon. But the song’s origin dates all the way back to 1932, when it was titled If You Believed in Me and first performed by Claire Carleton during a Broadway play called The Great Magoo. The music was composed by Harold Arlen, with lyrics by Yip Harburg and Billy Rose. According to Wikipedia, the song’s lasting fame stems from its revival by popular artists during the last years of World War II, with hit recordings being made by Nat King ColeElla Fitzgerald, and Benny Goodman.

American Standard, which was released yesterday (Feb 28), is Taylor’s 20th studio album. It was co-produced by Dave O’Donnell, Taylor and Pizzarelli. O’Donnell has worked in different capacities (engineering, mixing, producing) with an impressive array of artists, who in addition to Taylor include Sheryl Crow, Keith Richards, Eric Clapton and John Mayer, among others. Pizzarelli, a jazz guitarist and vocalist, isn’t exactly obscure either. According to Wikipedia, apart from recording more than 20 solo albums, he has appeared on more than 40 albums, including Paul McCartney, Rickie Lee Jones and Natalie Cole.

Taylor will be touring Canada and the U.S., starting in mid-April and featuring special guests. In Canada, it is going to be Bonnie Raitt, while for most U.S. gigs Jackson Browne will be his special guest. This surely does sound tempting to me. If Raitt would be the special guest in the U.S., I’d probably get a ticket right away. Don’t get me wrong, I dig Jackson Browne as well but saw him relatively recently in May 2018. My previous and so far only Bonnie Raitt show, on the other hand, dates back to August 2016. And, yes, I admit it, I do have a weak spot for her – she’s just an amazing lady!

Sources: Wikipedia; American Songwriter; James Taylor website; Dave O’Donnell website; YouTube

Huey Lewis and The News Release New and Likely Final Album

“We’ve had a little bit of weather these last couple of years, so it seemed appropriate,” commented Huey Lewis during a recent TV interview on NBC’s Today show when asked about the title of his new album with The News. “Besides,” he jokingly added, “‘Business’ didn’t ring right” – unlike Sports, the band’s best-selling third studio album from September 1983, which catapulted them to international stardom and brought them on my radar screen at the time. While undoubtedly radio-friendly pop, I think many of their songs are well-crafted, and I like them to this day.

Weather, which was released last Friday, marks the first new Huey Lewis and The News album with original material in 19 years since Plan B from July 2001. In October 2010, the band released a well-executed record of Stax soul covers. Usually, a new record with original material would be a reason to celebrate, and during the above Today interview, Lewis said they are proud of it. But the news has been a mixed bag for him over the past couple of years.

In April 2018, Lewis revealed he essentially had lost his hearing due to an inner ear condition called Ménière’s disease, which forced him to cancel all upcoming shows. While he was diagnosed with the disorder 33 years ago after he had lost 80 percent of hearing in his right ear, he continued his career, relying on his left ear. That worked well until two years ago when he lost hearing in that ear as well.

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Lewis’s condition fluctuates, and with the help of a hearing aid, he has some hearing most of the time. But it hasn’t allowed him to perform since he can’t find pitch. If you’re Peter Frampton and lose your ability to play guitar due to a neurological disorder impacting the feeling in your fingers, that’s pretty bleak; but at least you can still hear. Though Frampton is a guitarist first and foremost, so perhaps it was not surprising he decided to bow out with a still-ongoing farewell tour while still being on top of his game. But losing your hearing? I can’t possibly think of a more cruel fate for a musician.

Lewis and his band had worked on Weather for quite some time. They managed to record seven tracks until he lost hearing in his left ear. All of this translates into about 26 minutes. Let’s get to some music.

Here’s the Her Love Is Killing Me, a feelgood tune you could well imagine on one of the band’s ’80s albums like Fore. In fact, it does remind me a bit of Hip to be Square. That’s not a coincidence. According to an AP story, the tune “is nearly that old, having been written back when guitarist Chris Hayes was still in the band.”

Next up: Hurry Back Baby, co-written by Lewis and News co-founding member Bill Gibson (drums, percussion, backing vocals), who remains with the band to this day. The tune’s combination of rock guitar, horns and organ make for another classic Huey Lewis and The News sound.

Remind Me Why I Love You Again is another fun tune with a good groove. The horns give it a nice soul feeling. The track is credited to Lewis, Gibson and two other News co-founding members: Johnny Colla (rhythm guitar, saxophone, backing vocals) and Hays (lead guitar, backing vocals). Like Gibson, Colla is still part of The News. Hayes left in 2000, an indication this song at least in part must have been written more than 20 years ago.

The last tune I’d like to highlight is the album’s closer One of the Boys. The track stands out for two reasons. Essentially, it’s a country song, the first I recall hearing from the band. As reported by Billboard, Lewis had been commissioned to write it for Willie Nelson. But what is really striking to me are the lyrics, especially in light of Lewis’ current condition.

Well, I remember way back when
I must’ve been 9 or 10
When I saw my very first band
Playing a little Dixieland
Yeah, I knew immediately
That’s where I wanted to be
With them boys up on the stand
Playin’ in a honky-tonk band

One of the boys
Making beautiful noise
Playing with my friends
Until the music ends
One of the boys

Well, it’s plain to see, I got my wish
And I’ve been lucky ever since then
And one day, I’m meeting my maker
I don’t know where or when
But I still love the gypsy life
Yeah, I’m still havin’ fun
And though I ain’t gettin’ any younger, I’m a
Long way from done…

In spite of everything, Lewis seems to have come to grips with his situation. “First of all, you can kind of get used to almost anything,” he told NPR. “And number two, I remind myself that there’s lots of people that are worse off than I am … I’m still, overall, a lucky guy.” The same segment and other reports I’ve seen noted Lewis did not always have such a positive attitude. Initially, he was pretty devastated over his hearing loss and considered taking his own life.

Nowadays, Lewis projects a hopeful outlook. “I’m hoping to recover my hearing so we can get the band back together and play live, but can’t right now, and I can’t tell you that I’m certain that I ever will again,” he said during the above NPR interview. “In the meantime, I’m staying as creative as I can.” This involves what has become popular among an increasing number of music artists who are in the twilight of their careers: work on a Broadway musical. In the case of Huey Lewis, it’s The Heart of Rock & Roll, with Tony Award-winning producer Hunter Arnold. He told the Today hosts they will bring it to Broadway next season.

Sources: Wikipedia; NBC Today; Associated Press; Billboard; YouTube

Britain’s Ruby Turner Releases Classic Soul Gem

Until this morning, I had never heard of Ruby Turner. Then I came across Don’t Cry Over Yesterday, a tune from her new album Love Was Here released on January 24th. After listening to the first few songs, I was immediately hooked – something that rarely happens. The Jamaican born British soul, gospel and R&B singer’s voice, the cool vibe of the ‘70s style soul tunes and the excellent sound of her backing musicians deliver a powerful package. I love it!

Turner is not a newcomer. In fact, she has been performing since 1983, and this is her 20th solo album. Turner has also worked with other artists like Bryan Ferry, Steve Winwood, Mick Jagger and UB40. And yet, I don’t recall having heard her name in the past. Ever. Have you? I’d be curious to know. Of course, I can’t exclude the possibility it’s plain ignorance on my part.

According to the bio on her website, Ruby Turner was born in Jamaica and grew up in Montego Bay. Her grandfather sang the lead in one of the island’s gospel groups. Moving to England when she was 9, Ruby has lived there ever since. Her career to date has always had many unexpected twists and turns with major tours, theatre and TV appearances…Her major break came in the mid 1980s, when she was asked to join ‘Culture Club’ at the height of their stardom…An offer of a solo record deal closely followed and she soon signed to Jive Records, part of the Zomba Group.

Between 1986 and 1995, eight of Turner’s singles entered the UK Singles Chart. In February 1990, she also scored a no. 1 hit on the Billboard R&B Chart with It’s Gonna Be Alright, a tune she wrote – apparently a rare feat that has been accomplished by less than ten British singles. Additionally, Turner has done acting, appearing on stage and television and in film. And, oh, she was also appointed Member of the Order of the British Empire (MBE) in the 2016 Birthday Honours for services to music. Time to get to Love Was Here!

A good place to start is the opener Got to be Done. With a great groove, catchy chorus and neat sound, the tune sets the tone for the entire album. Like all except one of the 11 tracks, the song was co-written by Turner and the production team of Nick Atkinson and Kat Eaton.

Here’s the aforementioned Don’t Cry Over Yesterday.

Another gem is Under Your Sky.

Next up: The album’s title track.

The last tune I’d like to call is Runaway.

Frankly, I could have selected any of the other songs on the album. Each of these tunes is beautifully crafted and delivered with Turner’s warm and powerful voice and a backing band that just sounds great.

In a review on Something Else!, Turner is quoted as saying the album “is one I’ve always wanted to make. The feel and grooves I’ve heard and loved: Curtis Mayfield, B.B. King, Ry Cooder, the Rev. Al Green to name but a few.” While these are formidable reference artists, I feel Turner’s comments are not overblown.

“The opportunity came through meeting Nick Atkinson and Kat Eaton, a dynamic, confident and confident production team,” she added. “Their writing and approach was irresistible. They ignited my desire to write again, and I loved the creative process.”

This post wouldn’t be complete without acknowledging the great-sounding musicians playing on this album. Based on another review in AmericanBluesScene.com, they include Atkinson (guitar), Joe Glossop (keyboards), Jeremy Meek (bass) and John Blease (drums).

Love Was Here is an album of high quality and soulful delivery you rarely find among new music these days – a true gem!

Sources: Wikipedia; SomethingElseToReview.com; AmericanBluesScene.com; YouTube

L.A. Funk Rock Band Cohort Releases Eponymous Studio Album

With Cohort being the second contemporary band I “discovered” in one day, it starts to feel a bit like I’m on a roll with stepping out of my ’60s and ’70s zone. At this time, it’s mostly some music from their new eponymous album I can offer, since there hardly seems to be any public information on this funk-oriented rock band. Cohort don’t even have a Facebook page, which I find somewhat puzzling. The following insights are based on Soundcloud and this YouTube clip.

Weirdly, just like my previous discovery Dustbowl Revival, Cohort hail from Venice, Los Angeles. What’s up with that? This beachfront neighborhood seems to be a hotbed for music! Cohort’s members include Tula Jussen (guitar, vocals), Josh Lipp (guitar), Miles Tobel (keyboards, saxophone), Jack Ross (bass) and Emilio Anamos (drums). They all seem to be quite young. The above YouTube clip, which was posted in July 2017, introduced them as a “teenage rock band.” But here’s the thing. No matter their age, they sound pretty mature on what seems to be their first full-fledged album.

Check out the following clips. Let’s kick things off with the funky opener Et, which features nice bass, guitar and sax work. This doesn’t exactly sound like some high school band!

Here’s another cool groovy tune: Oddball. Certainly nothing odd about this song.

Okay, do I have your attention? How about a softer tune? It still has a funky sound. Here’s Waiting (Return of the Relaxation).

Let’s do one more track. Here’s the nice closer Santa Ana. It’s another tune with a great groove. I also like the sax intro. Overall, I can hear a bit of a Santana vibe in here, especially if you imagine some congas and other percussion.

What else can I tell you about Cohort? In the above video, Jussen said, “We take a lot of influence from everywhere, Janis Joplin, Kurt Cobain and Jimi Hendrix.” That’s perhaps more obvious for the music they play in the clip than the tracks on this album.  I think this talented young band is on a promising path!

Sources: Soundcloud; YouTube

California Roots Collective Dustbowl Revival Just Released Intriguing New Album

This year is still young, and I feel my journey to discover new music is off to a promising start. Is it coincidence or, dare I say it, am I more willing to step out of my all too comfortable ’60s and ’70s bubble? I suppose it’s a little bit of both, but no reason to start sounding like a shrink and go deeper into self-analysis. At the end of the day, all that matters is the music. And the music by Collective Dustbowl on their just-released new album Is It You, Is It Me sounds intriguing to my ears.

Until earlier today, I had never heard of this band that hails from Los Angeles beachfront neighborhood Venice and has been around for close to 12 years. Is It You, Is It Me, which came out yesterday, is their fourth full-fledged studio album. Their catalog also includes a “super EP” and a live album. So who are these guys?

According to their website, Dustbowl Revival has always been about pushing the boundaries of what American roots music can be. In many ways, they could have continued creating joyful, booty-shaking songs and cut-to-heart folk-rock ballads that lift up their transcendent live shows – and mining new energetic material from the place where folk music, funk and soul meet.

But the band’s newest album, Is It You, Is It Me, coming January 31 via their own Medium Expectations label and Nashville’s Thirty Tigers, is something different entirely. Produced by Sam Kassirer [Lake Street Dive, Josh Ritter, David Ramirez] and engineered by Brian Joseph [Bon Iver, Local Natives, Sufjan Stevens], it represents the latest stage in a band that never stops evolving and refuses to stand still.

Dustbowl Revival
Dustbowl Revival (from left): Connor Vance, Matt Rubin, Liz Beebe, Zachary (Zach) Lupetin, Ulf Bjorlin and Josh Heffernan

This is my first exposure to Dustbowl Revival, so I can’t tell how the new album is different from their previous releases. But as a semi-retired hobby musician and a music fan for more than 40 years, I’m confident enough to state I know good music when I hear it. And what I hear are catchy songs, nice harmony vocals and solid musician craftsmanship. Of course, I also realize assessing music is very subjective.

Dustbowl Revival’s core members are founder Zach Lupetin (lead vocals, acoustic guitar), Liz Beebe (lead vocals, ukulele), Josh Heffernan (drums), Connor Vance (violin), Ulf Bjorlin (trombone) and Matt Rubin (trumpet). So, how does a band with this interesting sound like? Let’s get to some music to find out!

While their website doesn’t make it clear who is writing their music, I found this document suggesting all tunes are credited to the entire band. But I’m not sure this is 100 percent accurate since all songs co-credit Daniel Mark, who according to the website was their long-time co-writer and mandolin player, who co-wrote “several” of the songs and recently left. Their bassist James Klopfleisch exited as well, but none of these departures appear to have prevented the band from recording a great album. For the recording sessions, he was replaced by Yosmel Montejo.

Take a listen to the opener Dreaming, apparently a tune about stage anxiety. I dig the harmony vocals, which sometimes remind me a bit of Fleetwood Mac (check out the lines, Well, I lost all control/and I don’t know how to get it back) and the horn work on that one in particular.

Enemy has a cool brass groove and features compelling vocals by Beebe. Yes, it’s pretty pop-oriented, but I don’t have a problem with it since it sounds great! Apparently, this track was the album’s lead single.

On Get Rid of You, things get political with school shootings that sadly seem to have become the new normal in America: Well it seems every week there’s another one on the TV/you change the channel, say it’s never happen to me/but just you wait and see ‘cause you can’t stop the kids from hearing that kind of blasting/Echoing down the hallway like a bell ringing out in hell… “The gun control debate and the stubbornness with which our country refuses to adapt and pass meaningful legislation has been one of those things that really rankles me,” Lupetin told Rolling Stone. “But the kids in Florida seemed to refuse to believe that that was OK anymore. That was really inspiring to me…A lot of our popular music now feels very nihilistic, consumer-driven, and empty. I feel like there was a way to write a song where it could have an almost punk-rock fun chorus but also be about kids standing up to their elders.”

The last tune I’d like to highlight is the album’s closer Let It Go, a quiet and reflective tune, featuring more of Lupetin’s and Beebe’s beautiful harmony vocals.

I’ve been trying so hard to be
a better version of me
I found that note I wrote
When I was twenty one years old
I thought I’d figured it out

And I still don’t know my fate
And maybe I’ll never escape
I’m trying to let it go
Let it go
Let it go
Let it go
Let it go
Let it go
Let it go…

“We’ve always tried to explore different sounds within Americana/roots music and never wanted to stay in one place, which maybe confuses some people but also intrigues other people who always want to see what’s happening next,” Lupetin commented on the album to Billboard. “We’re trying to bring our music to a bigger audience. I think at a certain point we never fit into just the folk and acoustic world, and I’ve always been a huge fan of rock ‘n’ roll and of artists that can transcend genre. I wanted to be able to tell a bigger story that could be heard by more people than just the group that supports folk music.”

The music press seems to be pretty upbeat about the album. “Is It You, Is It Me highlights the topical songwriting and eclectic sound of the L.A. collective,” noted Rolling Stone. “…like nothing Dustbowl Revival has ever created during its four-album run. And that’s just the way frontman Zach Lupetin and his bandmates wanted it,” asserts Billboard. Finally Glide Magazine: “Close your eyes – if one were to imagine the kind of music played in heaven, this may well be it…this is a stunning record with lush sonic layers, gorgeous vocal harmonies, and infectious tunes.” Okay, while “music played in heaven” might be a bit over the top, this is a fun album that prooves (note to myself) that not all new music is generic and soulless.

Sources: Dustbowl Revival website and Facebook page; All Eyes Media website; Rolling Stone; Billboard; Glide Magazine; YouTube

Jarod Clemons And The Late Nights Release Debut Single On The Waves

Here’s a great debut single by a young up and coming rock band: Jarod Clemons and The Late Nights. It’s called On The Waves and was released Friday.

The tune’s raw sound reminds me a bit of Lenny Kravitz. I can also hear a bit of Led Zeppelin in here, especially in the opening guitar riff.

According to a bio on the website of The Loft at City Winery Philadelphia, the band was founded in June 2019. Jarod, who provides lead vocals and plays guitar, is the youngest son of the late Clarence Clemons, the amazing saxophone player of Bruce Springsteen’s E Street Band. The band’s other members include Zach Tyler (guitar, backing vocals), Stephen Verdi (keyboards), Alex Fuhring (bass) and John DiNunzio (drums/percussion).

I’ve been to a few of the band’s gigs and talked to Jarod and some of the other guys. I’m also “friends” with Jarod on Facebook and follow the band. That being said, Jarod hasn’t asked me to write about them and has no idea about this post (yet). I don’t do reviews upon request, and the only reason I’m writing about this band is because I dig their music. I’m sure we’ll hear more original songs from these guys.

Sources: The Loft at City Winery Philadelphia website; YouTube