What I’ve Been Listening To: Jimmie Vaughan/Baby, Please Come Home

Lately, I’ve been listening to blues music quite a lot. In part, it’s thanks to fellow music blogger Music Enthusiast and his recent New Music Review that featured two excellent artists, Christone “Kingfish” Ingram and Big Daddy Wilson. The other part is my own curiosity, which led me back to the Billboard Blues Albums chart where the other day I had spotted a surprising entry: a collection of Fats Domino and Chuck Berry covers by George Benson. This time, I came across Baby, Please Come Home, another great covers album by an old hand of Texas blues: Jimmie Vaughan.

Other than the fact that Jimmie is the older brother of electric blues dynamo Stevie Ray Vaughan, one of my long-time favorite blues guitarists, admittedly, I knew next to nothing about Jimmie, so had to read up a little. But that happens to be one of the aspects I particularly enjoy about music blogging – learning about new artists and their music. Yes, this can be time-consuming, but I’m not in a hurry. Most importantly, it would be far less fun if I would only write about stuff I knew!

Jimmy Vaughan

Jimmie Vaughan was born on March 20, 1951 in the Dallas area, about three and a half years prior to his brother Stephen Ray. He started playing the guitar as a child and in fact inspired his younger brother to pick up the instrument as well. At the age of 19, Jimmie moved to Austin and played in different blues bar bands for some time. In 1972, he formed his own group, The Storm, which backed many touring blues artists. Two years later, he co-founded The Fabulous Thunderbirds with harmonica player Kim Wilson. While the T-Birds gained a strong fan base in Texas, their first four albums didn’t sell well, and by the end of 1982 their record company Chrysalis had dropped them.

Meanwhile, Stevie Ray Vaughan broke through and became a dominating force in the Texas and national blues scene. It took the T-Birds until 1986 to score a success with their fifth studio album Tough Enuff. The record featured more of a mainstream sound, an approach the band replicated on their next two albums. Unhappy about the commercial direction the T-Birds had taken, Jimmie left in 1990 and recorded an album with his brother, Family Style. It came out one month after Stevie Ray’s untimely death in a helicopter crash under the name The Vaughan Brothers.

Jimmie & Stevie Ray Vaughan
Jimmie Vaughan (left) with his brother Stevie Ray Vaughan

Jimmie’s solo debut Strange Pleasure appeared in 1994. He hasn’t been exactly prolific since then, sometimes leaving many years in-between releasing new studio records and focusing on touring and guest-appearing on albums by other artists. Baby, Please Come Home, which was mostly recorded at Fire Station Studio in San Marcos, Texas, came out on May 17 on the Last Music Co. label. It features deeper cuts from a variety of different artists, such as Lloyd Price, T-Bone Walker, Etta James, Fats Domino and Jimmy Reed. Let’s get to some music.

Here is the opener and title track of the album. The tune was written by Lloyd Price and released as a single in 1955. Often called “Mr. Personality,” after his 1959 million-seller Personality, the R&B singer from Louisiana is also known for Lawdy Miss Clawdy, a song he recorded in 1952, featuring Fats Domino on piano. I just dig the horn section and the cool retro sound on Baby, Please Come Home, which is present throughout this 11-tune collection.

No One To Talk To (But The Blues) is a song by country music singer-songwriter Lefty Frizzell, which he recorded in 1957 as a single with country and rockabilly vocalist  Shirley Caddell, who later became known as Shirley Collie Nelson. From 1963 until 1971, she was married to Willie Nelson.

Another great tune, and frankly I could have selected any other track, is What’s Your Name?  That song was written by blues, R&B and rock & roll singer Chuck Willis and appeared as a single in 1953.

Next up: I’m Still In Love With You by T-Bone Walker, one of Vaughan’s guitar influences. Co-written by Walker and Charles Glenn, the ballad was released by Walker with Marl Young And His Orchestra in 1945. From what I have heard thus far, Jimmie is more of an old-style pre-Jimi Hendrix type blues guitarist whereas his younger brother clearly embraced the virtuosity and sound of Hendrix.

The last track I’d like to highlight is So Glad by Fats Domino, which first appeared on his 1963 album Walking To New Orleans. The song was co-credited to Domino and his musical collaborator Dave Bartholomew.

In addition to playing guitar, Vaughan is also handling all lead vocals, something I understand he hasn’t always done. While I think it’s fair to say he’s a better guitar player than a singer, his vocals go well with the music. Vaughan is backed by outstanding musicians, with some of whom he has worked for a long time: George Rains (drums), Ronnie James (bass), Billy Pittman (rhythm guitar), Mike Flanigan (Hammond B3), T. Jarrod Bonta (piano), Greg Piccolo (tenor saxophone), Doug James (baritone saxophone), Randy Zimmerman (trombone) and Jimmy Shortell (trumpet), as well as the Texas horns: Kaz Kazanoff (tenor saxophone), John Mills (baritone saxophone) and Al Gomez (trumpet). The record also features guest vocalists Georgia Bramhall and Emily Gimble.

Commenting on the eclectic mix of tracks, Vaughan told Guitar World, “When I was young, I didn’t really pay much attention to categories of music. I just heard what I liked and decided to explore that. And that’s really what I’m still doing.” The result is a great-sounding. old style blues record I find very enjoyable. I also agree with one review I read that it was not Vaughan’s goal to make a hit record but simply play music he loves. That being said, the album is currently at no. 2 on the Billboard Blues Albums chart. No. 1, by the way, is Christone “Kingfish” Ingram with his eponymous debut – that 20-year-old blues guitarist and singer from Clarksdale, Miss is just dynamite!

Vaughan is going on the road starting June 19 in Atlanta, and playing what mostly look like smaller venues. Now, that could be fun – I know I’ve been saying I need to restrain myself investing in concerts, but seeing Vaughan up and close in some intimate venue probably would be a great experience! Some of the other dates include Cleveland (Jun 26); Austin, Texas (Jul 6); Boston (Jul 16); Washington, D.C. (Jul 20); Los Angeles (Aug 7); and San Francisco (Sep 11). The last current gig is in Dallas on Sep 21. The full schedule is here.

Sources: Wikipedia, Apple Music, Jimmie Vaughan website, Guitar World, YouTube

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What I’ve Been Listening To: George Benson/Walking To New Orleans

The other day, I found myself looking at the Billboard Blues Chart, something I rarely do. That’s when I spotted Walking To New Orleans, the latest album by George Benson. While I had known the jazz guitarist had crossed over to other genres like pop, funk and R&B, I had not associated him with the blues. Intrigued by my “discovery,” I looked up the album in my music streaming service and started listening – boy, what a fun and groovy record, which celebrates the music of Fats Domino and Chuck Berry!

Before getting to the album, I’d like to give a bit of background on Benson, who was born in Pittsburgh on March 22, 1943. He started out playing the ukulele as a seven-year-old before he picked up the guitar a year later. At the age of 10, Benson recorded his first single She Makes Me Mad, which appeared on RCA-Victor under the name of Little Georgie. His debut album The New Boss Guitar of George Benson, recorded together with The Brother Jack McDuff Quartet, was released in 1964 when he was 21.

George Benson

In the mid-60s, Benson worked with Miles Davis and appeared as a guest on Davis’ July 1968 studio album Miles In The Sky. Until the mid-70s, Benson recorded a series of albums mainly in the jazz domain. The release of Breezin’ in May 1976 marked his breakthrough into pop and biggest success topping the Billboard 200. Another big mainstream success was Give Me The Night, which appeared in August 1980 and peaked at no. 3 on the Billboard 200. I believe this Quincy Jones-produced record was my introduction to Benson. He has since released numerous additional studio, live and compilation albums.

Walking To New Orleans, which came out last month, is Benson’s 45th album and his first new recording since Inspiration: A Tribute To Nat King Cole from June 2013. “I’m a great appreciator of the music made by both of those guys,” Benson explained. “Chuck Berry was a great showman and a great musician, and Fats Domino cut nothing but hit after hit after hit.” With that said, let’s get to some music!

The Chuck Berry tune Nadine (It’s You) makes for a great opener. Berry released it as a single in February 1964. I dig the honky tonk piano and the horns, which like on many other tracks on the album give the song a great groove.

Rockin’ Chair is one of the five Fats Domino songs on the record. Co-written by Domino and Alvin E Young, it appeared as a single in 1951 – another great tune that makes you want to move and snip your fingers.

Next up: Chuck Berry classic You Can’t Catch Me. Written by Berry, the tune appeared as a single in 1956. It was also included on Rock! Rock! Rock!, a soundtrack album for a motion picture of the same name.

The last track I like to highlight is the album’s great title song, another Fats Domino tune. Written by Bobby Charles, Domino released it in June 1960 as a single. Featuring Domino’s signature rock & roll piano style, the song also appeared on his album …A Lot Of Dominos! that came out the same year.

The album was recorded in Nashville and produced by Kevin Shirley, a.k.a. “The Caveman.” Shirley has worked with many artists, such as Aerosmith, The Black Crowes, Rush and Led Zeppelin. Backing up Benson is a quartet of excellent Nashville musicians, including Greg Morrow (drums, music director), Rob McNelley (guitar), Kevin McKendree (piano) and Alison Prestwood (bass).

“We did have us a ball making this record,” Benson summed up. It’s exactly that sentiment that is evident throughout the album and makes it such a fun listening experience. I think it may also encourage me to pay closer attention to the Billboard Blues Chart going forward.

 

Sources: Wikipedia, George Benson website, YouTube

What I’ve Been Listening To: SUSTO/Ever Since I Lost My Mind

Until earlier today when I coincidentally came across a CBS This Morning clip on FacebookI had never heard of SUSTO. And, no, while Mr. Zuckerberg apparently is trying hard to stop spreading misinformation, I’m happy to report this ain’t fake news! If you’re like me and basically have given up on most contemporary music because you feel it sucks, I suspect this may be your first time to hear about SUSTO and the latest studio album Ever Since I Lost My Mind, which came out on February 22nd on Rounder Records.

Okay, who or what exactly is SUSTO? While technically being a five-piece alternative rock-oriented band, SUSTO really is a music project by singer-songwriter Justin Osborne. The above mentioned clip captured a performance of the album’s opener Homeboy. There was something about this tune that grabbed me immediately – the catchy melody, Osborne’s voice, the fact that it involved real musicians, meaning folks who actually know how to play an instrument instead of programming a computer. I don’t know exactly. I’m fairly confident it wasn’t because I lost my mind! 🙂

Justin Osborne.jpg
Justin Osborne

Osborne, who if I correctly interpret his Facebook page is 32 years old, hails from Charleston, S.C. According to the bio on SUSTO’s website, he wrote his first songs at age 14 on his grandpa’s parlor guitar he wasn’t supposed to touch. “So I’d go steal it out of my dad’s closet whenever they were out of the house,” Osborne recalls. “It only had like three strings on it. I remember figuring out how to do barre chords, and I wrote a three-chord song about a girl I liked.” Apparently, his family’s concern was about ensuring he and his young brothers wouldn’t break the inherited instrument from their grandfather, not Justin’s early attraction to music.

Osborne played in bands throughout high school, military school and college. SUSTO was established in January 2013 – just in time. After years of booking and playing gigs and a feeling of going nowhere, Osborne was about to call it quits. Prior to leaving for a foreign semester in Havana, Cuba as part of this anthropology studies, he set up a website for SUSTO, “a holding tank for demos he couldn’t quite bear to toss.” While Osborne was in Havana, he became friends with Cuban musicians and artists, who apparently convinced him to stick with music.

SUSTO

Six months later, Osborne returned to the States and recorded SUSTO’s eponymous debut album that appeared in April 2014. According to Apple Music, following the release of sophomore & I’m Fine Today in January 2017, SUSTO had their TV debut, which was also on CBS This Morning. This was followed by a tour with The Lumineers. Ever Since I Lost My Mind is SUSTO’s third studio release. Osborne catalog to date also includes a live record, two EPs and a couple of singles.

BTW, in case you’re wondering about the meaning of the name, according to SUSTO’s website, the word describes an intense fear understood as a condition of the soul––an ongoing, spiritual panic attack. All of the letters of susto also appear in Osborne’s full name. “SUSTO was this combination of phonetics and meaning––it felt like me, like a name for myself,” he [Osborne] says. “I chose the name SUSTO for the project because the meaning behind the word––that deep fright––was something I was experiencing, and songwriting felt like it was helping me cure it by helping me to process what was happening. Personally, it was a time of so many powerful transitions: abandoning my religion, losing touch with my family, and just having a general sense of being lost, without direction.” With that explanation being out of the way, it’s time to get to some music!

Let’s start with the album’s above noted opener Homeboy. The ups and downs in the song create a nice dynamic. I think it’s a cool tune, even though it gets bit grungy at times, and grunge is generally not so much my cup of tea. Then again, I’m a huge fan of Neil Young, who obviously has written many songs that couldn’t be more grungy. Oh, well, I suppose there are always exceptions to rules! 🙂

Here’s the record’s second track If I Was, a quieter tune setting a nice contrast to the opener. It’s got a soothing feel to it, which I like. This somewhat contrasts the lyrics. Here’s an excerpt: …But I am just a singer/With electric guitar in my hands,/ Trying to work through my own set of problems,/Trying to do the best that I can,/The best I can./ And I’m your man…

Livin’ In America is another rocker.

Next up: The album’s title track, another mellow sounding tune. The music and lyrics are credited to Osborne and Ryan “Wolfgang” Zimmerman, Osborne’s longtime creative sounding board, who also co-produced the song with the album’s lead producer Ian Fitchuk.

Let’s do one more: Cocaine.

Ever Since I Lost My Mind is very personal,” Osborne notes. “This collection of songs came together over the course of a couple of years, and they all represent different moments. It felt cathartic writing all of them, and they were also all fun in different ways.”

According to SUSTO’s website, while it began as a band and still benefits from collaboration with peers, the new record also positions the project finally and firmly as what it’s really always been: Osborne’s vision. “I come from a background of being in bands, so it’s hard for me to be comfortable taking complete control,” he says. “Even being the only person in a promo photo was a hard thing for me to get used to. It’s taken years for me to realize what SUSTO should be––what it really is.”

In addition to Osborne, SUSTO’s current lineup features Dries Vandenberg (guitar),  Steven Walker (keyboards), Jordan Hicks (bass) and Marshall Hudson (drums). The band has a pretty active tour schedule. After a gig this evening in Washington, D.C., they are off to a series of shows in Europe before returning to the States in mid-May.

Sources: Wikipedia, Justin Osborne Facebook page, SUSTO website, Apple Music, YouTube

What I’ve Been Listening To: Joe Jackson/Fool

Boy, this is quite a seductive record, which I stumbled across yesterday. And it actually gets even better after you listen to it for a few times! I had completely missed Joe Jackson’s 20th studio album Fool when it was released on January 18. How foolish of me! It has all the elements I’ve liked about Jackson for many years: His great sense of melody, his versatility as a musician and good lyrics. Moreover, despite having been a heavy smoker for many years, Jackson’s voice still pretty much sounds like on his 1979 debut Look Sharp!

As is typically the case on most of his albums, all songs were written, arranged and produced by Jackson. Here is the opener Big Black Cloud. “It is a dark song but it’s also defiant, ’cause I’m saying, ‘Well I’m not giving in to this. I’m not gonna be scared,'”, Jackson told Entertainment Weekly.

Fabulously Absolute is the album’s lead single. The tune combines rock elements that are reminiscent of Jackson’s early punk-influenced days with a new wave keyboard sound. I feel Jackson is oftentimes at his best when he mixes different styles.

Perhaps the catchiest song on the record is Friend Better. It could come right from Jackson’s 10th studio album Blaze Of Glory from April 1989. I just dig that groove!

The last tune I want to highlight is the title track Fool. In particular, I like the Latin piano solo and the bass part of longtime Jackson friend and musical collaborator Graham Maby, one of my favorite bassists. “I had this idea a while ago to write a song about the importance of humor, and I didn’t really know how to do it,” Jackson pointed out during a recent interview with People. “And then I settled on this idea of the fool, the Shakespearean fool or the jester, being kind of a superhero.I actually find it’s very important because I’m actually amazed at how humorless most people are in this business. I really am.”

Interestingly, Jackson recorded the album in Boise, Idaho, right after the end of his last tour. “I’m not the only artist to have ever said this by a long way, but when you write a bunch of songs and record an album and then go out on tour, you find after a while that it always gets better,” he explained during the above People interview. “The band’s playing better, you know the songs inside out, and everything gets better. I find I’m singing better. You wish that you could record the album now instead of back when you did.”

“So I always wanted to do a tour and then go straight in the studio, like the day after the last show. And we finally did it…We did a tour that was long enough that we got to play all the new songs a lot, but not so long that we’d be exhausted at the end of it. We toured for a month, and wherever we ended up, we were gonna go in the studio the next day. It turned out to be Boise, Idaho, which I think is great because everyone I tell says, “What? Where?!” I just think that’s great. Everyone records in L.A. and New York and so on.”

I feel that last statement is signature Joe Jackson, who has always wanted to avoid appearing to be trendy. Undoubtedly, his approach has served him very well over the past 40 years.

Joe Jackson & Graham Maby
Joe Jackson & Graham Maby

In addition to Maby, Jackson’s current band includes Teddy Kumpel (guitar) and Doug Yowell (drums). “One of my inspirations for this album was the band I’ve been touring with on and off for the last 3 years,” Jackson notes on this website. I’ve had many different line-ups but this one is special. I met Graham Maby when I was 18, and he’s still one of the best bassists around. Doug Yowell is a vortex of energy on drums and Teddy Kumpel is the guitarist I always wanted to work with but could never find. Like my first album, this was a band effort, recorded and mixed (brilliantly, by Pat Dillett) in about a month.”

Fool appears on earMUSIC, a division of independent German record label Edel. The album’s release coincides with Jackson’s 40th year as a recording artist, which he is currently celebrating with the Four Decade Tour. Says Jackson on his website: “Looking for some way to organize a show out of 40 years’ worth of material, I decided to draw on five albums, each representing a decade: Look Sharp (1979) Night And Day (1982)  Laughter And Lust (1991) Rain (2008) and Fool (2019). We’ll also throw in a couple of songs from other albums and some new covers.”

The tour kicked off in the U.S. on February 5 in Knoxville, Tenn. The first U.S. leg wrapped up on March 9 in Phoenix. Currently, Jackson and his band are touring Europe. In May, they are coming back to the U.S. and Canada before returning to Europe again toward the end of June. The current schedule is here. After four decades, Joe Jackson still looks like he’s the man.

Sources: Wikipedia, Joe Jackson website, Entertainment Weekly, People, YouTube

What I’ve Been Listening To: Booker T. Jones/Sound The Alarm

I dig the distinct sound of the Hammond B3 – just can’t get of enough it! Whether it’s used in blues, jazz, rock or even hard rock a la Deep Purple, to me it’s one of the greatest sounding music instruments I know. If you’re a more frequent visitor of the blog, this won’t be exactly a new revelation. If you happen to be here for the first time and would like to read more about the B3, I invite you to check out this previous post from June 2017.

Undoubtedly, one of the music artists most closely associated with the legendary tone wheel organ is Booker T. Jones. I feel magic is happening when the man works those keys and drawbars. As I’m writing this, I can literally hear Greens Onions.  Jones wrote the tune’s distinct organ line when he was just 17. His band mates from the M.G.s helped put it all together, and it became their signature tune. Booker T. & the M.G.s, of course, were primarily known as the house band of Memphis soul label Stax. While I know and dig the music Jones helped create in the ’60s, until recently, I had not explored any of his work post Stax and the M.G.’s.

Booker T. & the M.G.s
Booker T. & The M.G.’s (from left): Al Jackson Jr., Booker T. Jones, Steve Cropper and Donald “Duck” Dunn

Booker T.’s solo debut Evergreen appeared in 1974, four years after he had severed ties with Stax and moved to Los Angeles. Sound The Alarm from June 2013 is his most recent solo work. It also marked Jones’ return to Stax since Melting Pot, the M.G.’s final album with the label in January 1971.

Sound The Alarm was co-produced by Jones and brothers Bobby Ross Avila and Issiah “IZ” Avila, who have worked with the likes of Usher, Janet Jackson, Mary J. Blige and Missy Elliot. The album also features various collaborations with younger R&B artists. The result is an intriguing blend of Booker T.’s Hammond B3 and contemporary sounds.

Booker T. Jones

Here’s the groovy opener and title track. It’s one of eight tunes co-written by The Avila Brothers. The song features American multi-talented artist Andrew Mayer Cohen, known as Mayer Hawthorne, on vocals. To be clear, I had never heard of the 40-year-old from Los Angeles before, who in addition to being a singer is a producer, songwriter, arranger, audio engineer, DJ and multi-instrumentalist, according to Wikipedia.

Broken Heart features another contemporary artist, Jay James, who has a great soulful voice that blends beautifully with Jones’ warm Hammond sound. The tune was co-written by Jones, The Avila Brothers and Terry Lewis. Together with his song-writing and production partner James Samuel (Jimmy Jam), Lewis also co-produced the track

Next up: Austin City Blues. Of course I couldn’t skip a good ole blues! Penned by Jones, the instrumental features Gary Clark, Jr. on guitar. The Hammond and Clark’s electric guitar live in perfect harmony, to creatively borrow from a Paul McCartney ballad he recorded with Stevie Wonder in the early ’80s. “Gary and I have a real thing going on mentally, kind of like what I had with Steve Cropper in the MGs, really understanding each other,” Jones noted on his website.  “He really is in my corner.”

66 Impala is a cool, largely instrumental Latin jazz tune with an infectious Santana vibe, even though there’s no guitar. But you can easily imagine Carlos playing electric guitar lines in his signature style and tone on the track, which is another co-write by Jones and The Avila Brothers. Instead of Santana, it features two other big names: Poncho Sanchez and Sheila E on percussion and drums, respectively.

The last track I’d like to call out is the album’s closer Father Son Blues. The title of this Jones-written tune couldn’t be more appropriate. On guitar, the instrumental duo features Booker T.’s son Ted, who was 22 years old at the time of the recording. Apparently, Booker T. coincidentally had heard his son play at their house one day and at first mistakenly had assumed it was Joe Bonamassa. “I thought, ‘This is amazing,'” Jones noted. “‘you can have something right in front of your own nose and you don’t see it!’”

Commenting on the collaboration with The Avila Brothers, Jones said, “Bobby and I had previously done a little impromptu gig with El Debarge – that was the turning point when I decided to work with him. They have a different perspective about the musical palette. Their attitude is quite unique and quite innovative. That’s something I’ve looked for since I was maybe 13 or 14 years old and had figured out a little bit about music. It can be very predictable or it can be exploratory. I’m always looking for something new to do.”

Sources: Wikipedia, Booker T. Jones website, YouTube

 

What I’ve Been Listening To: Bonnie Raitt/Slipstream

I think Slipstream is one of the gems in Bonnie Raitt’s close to 40-year recording career. I hadn’t heard the album in a while until this morning. Afterwards, I spontaneously decided to cover it.

Raitt is one of my favorite music artists, and I’ve written about her before. If you’re curious about her background, you can read more here. In this post, I’d like to focus on the music from Slipstream, Raitt’s 16th studio album released in April 2012. It came seven years after the predecessor Souls Alike, the last album for her longtime record company Capitol Records. The album is the first issued on her independent label Redwing Records, which she launched in 2011.

Slipstream kicks off strongly with the groovy Used To Rule A World. The tune also became one of two tracks that appeared separately as a single. It was written by singer-songwriter and session multi-instrumentalist Randall Bramblett. In addition to Raitt, he has played with the likes of Gregg Allman, Robbie Robertson and Steve Winwood. Apart from Raitt’s funky guitar, I particularly dig the Hammond B3 part performed by Mike Finnegan. He’s another session musician with an impressive resume, including Jimi Hendrix, Joe Cocker, Buddy Guy, Etta James and Crosby, Stills and Nash, to name some.

Right Down The Line, the second single off the album, is a nice cover of a tune by Gerry Rafferty. The Scottish singer-songwriter included it on his sophomore album City To City from January 1978. That record is best known for the mega hit Baker Street, which makes me want to listen to the song and other music from Rafferty. I haven’t done that in a long time either – could become a separate blog topic in the future!

Down To You is another tune for which Bramblett got a credit. The other co-writers are George Marinelli, who also plays guitar, as well as Raitt who wrote the lyrics – her only credit on the album. But if you interpret songs, sing and play slide guitar like Raitt, I think it becomes a minor detail whether or not you actually write the songs. Marinelli, a founding member of Bruce Hornsby and The Range, has been part of Raitt’s band since 1993.

Raitt slows things down on Not Cause I Wanted To, a ballad about the breakup of a relationship. I wonder whether the tune, which was co-written by Al Anderson and Bonnie Bishop, has some autobiographic connection. According to Wikipedia, Raitt’s marriage to actor Michael O’Keefe ended in divorce in late 1999, apparently because their careers caused them to spend much time apart.

The last tune I’d like to call out is Standing In The Doorway, another track on the quieter side. It was written by Bob Dylan, who included it on this 30th studio album Time Out Of Mind from September 1997. Interestingly, Slipstream also features another Dylan cover from the same record, Million Miles. When covering songs, Raitt oftentimes makes them her own, but in this case, she chose to stay closely to the original – in any case, a beautiful take!

Slipstream entered the Billboard 200 at no. 6, making it Raitt’s highest-charting album in the U.S. in 18 years since 1994’s chart-topper Longing In Their Hearts. She also won Best Americana Album for Slipstream at the 2013 Grammy Awards.

Sources: Wikipedia, Bonnie Raitt website, YouTube

What I’ve Been Listening To: The Church/ Starfish

Australian rock band’s 1988 breakthrough remains great-sounding album to this day

Like I suspect most folks living outside of Australia, I first heard about The Church in the late 1980s when they released Under The Milky Way. The tune’s spacey sound created by combining a 12-string acoustic with an electric guitar and keyboards in the background proofed to be an immediate attraction and made me buy the album Starfish on CD, even though I didn’t know any of the other tracks. Clearly, this was in the pre-streaming age where somebody like me who wasn’t much into singles had to buy entire albums to own certain songs.

Released in February 1988, Starfish was the Australian rock band’s international breakthrough, fueled by Under The Milky Way, the lead single that got plenty of radio play in Germany. While the lyrics of this and the other tracks on Starfish are rather dark and psychedelic, the combination of great sound and lead vocalist Steve Kilbey’s distinct voice make for an album that continues to be seductive to this day. I can’t necessarily say this about many other ’80s records.

the church 1988

The Church in 1988

The Church were formed in Sydney, Australia in March 1980. The founding members included singer, songwriter and bassist Steve Kilbey, guitarist Peter Koppes and drummer Nick Ward. Marty Wilson-Piper joined one month later as the band’s second guitarist. Later that year, The Church signed with EMI-Parlophone and recorded their debut Of Skins And Heart. It was released in Australia in April 1981 and internationally the following January as The Church with a slightly altered track listing.

Starfish was the band’s fifth studio record. By then Richard Ploog had taken over on drums for Nick Ward, who had left in early 1981. The album was recorded in Los Angeles and produced by session musicians and producers Waddy Wachtel and Greg Ladanyi. At the time, Wachtel who more recently played in Keith Richard’s backing band X-Pensive Winos, already had worked with other heavy weights, such as Lindsey Buckingham, Stevie Nicks and Linda Ronstadt. Ladanyi had an impressive credits as well, including production work with the likes of Jackson Browne, Warren Zevon and Don Henley. Let’s get to some music.

Here’s the album’s great opener Destination. The tune, which also came out separately as the record’s third single in July 1988, was credited to all four members of The Church.

Next is the aforementioned Under The Milky Way. How could I possibly skip it? The song was co-written by Steve Kilbey and his then-girlfriend and guitarist Karin Jansson, founder of alternative Australian rock band Curious (Yellow).

According to the record’s description on Apple Music, the lyrics for North, South, East And West reflect Kilbey’s dark impressions about Los Angeles in the ’80s. Here’s an excerpt:  War’s being waged and the world’s just a stage (in this city)/The real estate’s prime, the number plates rhyme (liquidity)/Wear a gun and be proud, but bare breasts aren’t allowed (in this city)/ Dream up a scam and then rake in the clams (liquidity)…The tune was credited to all members of the band.

One of my favorite tracks on the album is Spark. The song was written by guitarist Marty Wilson-Piper who also sang lead.

The last tune I’d like to call out is Reptile. Credited to all four band members, the song also was released separately as the album’s second single in April 1988. Another track featuring great interplay between the two guitars, it sounds a bit like combining a Byrdsy jingle-jangle with a U2/The Edge-like guitar sound.

Since Starfish, The Church have recorded 12 additional studio albums to date, the latest of which, Man Woman Life Death Infinity, appeared in October 2017. I previously reviewed it hereStarfish remains the band’s most successful commercial release to this day. It was certified Gold by the Recording Industry Association of America in December 1992 and has sold 600,000 copies in the U.S. only.

Sources: Wikipedia, YouTube