The Blackout is from U2’s upcoming 14th studio album Songs Of Experience, which after multiple delays is now set to appear next Friday, December 1. According to NME, the band also released a limited edition 12-inch vinyl single of the tune in the U.S. today to coincide with Record Store Day Black Friday.
Initially released in August as the first track from the forthcoming album, The Blackout “started off its life about a more personal apocalypse, some events in my life that more than reminded me of my mortality, but then segued into the political dystopia that we’re heading towards now,” BonotoldRolling Stone in September. The first part of the statement refers to a bad bicycle accident the U2 singer had in November 2014, while the second part alludes to political changes in Europe and the US in late 2016. The latter were one of several reasons why U2 decided to delay the release of their new album.
The above clip, which shows The Beatles at the Hollywood Bowl in LA in August 1964, is taken from The Beatles: Eight Days A Week – The Touring Years. The documentary by Ron Howard was first released in select movie theaters on Sep 15 and 16, 2016 in the U.K. and U.S., respectively. According to Variety, it will premiere on U.S. television this Saturday on PBS at 8:00 pm E.T.
The film illustrates both the excitement The Beatles generated during their live shows and the sheer insanity of “Beatlemania.” The conditions at the gigs became increasingly chaotic. Oftentimes, John, Paul, George and Ringo couldn’t hear themselves while playing on stage, which took a toll on their performances. Eventually, they grew tired of the madness and decided to stop touring after four years of almost constantly being on the road. On August 29, 1966, The Beatles gave their last commercial show at Candlestick Park in San Francisco.
The Ron Howard film will be followed by another Beatles documentary at 10:30 pm E.T., Sgt. Pepper’s Musical Revolution. Directed by Francis Hanly, the film was first shown on PBS in early June to celebrate the 50th anniversary of the corresponding Beatles studio album. Looking forward to an exciting night of Beatles binge watching!
Michigan rockers deliver more hard-edged ’70s style rock
When I told a colleague yesterday I was going to see Led Zeppelin tribute band Get The Led Out last night (see previous post), he asked me whether I had ever heard of Greta Van Fleet. The name somehow sounded familiar, and just a little while ago, I finally remembered – I had first read about these Michigan rockers in a previous post from fellow blogger Music Enthusiast. On November 10, the band released their second studio album From The Fires – close enough to put it into the “new music” category.
The record actually is a double EP, combining the four tracks from Greta Van Fleet’s debut EP Black Smoke Rising with four newly recorded tunes. I have to say I really dig their music, which almost sounds like a reincarnation of early Zep. Exactly because of that, I could see some people might dismiss them.
I also recall previously reading that Lenny Kravitz in his early years was accused of sounding too retro, too ’60s, too much like Jimi Hendrix; or that blues rock guitarist Kenny Wayne Shepherd essentially was a Stevie Ray Vaughan knockoff. The reality is great musicians listen to other great musicians, and in certain genres this inevitably leads to some repetition. Plus, last time I checked, Hendrix, Vaughan and Zeppelin recorded some of the best rock in music history, so I don’t mind if others embrace their sound. With that being out of the way, let’s take a look at From The Fires.
The record’s opener Safari Song is one of the four tracks from the first EP. Credited to all four members of the band – brothers Joshua Kiszka (lead vocals), Samuel Kiszka (bass guitar, keyboards) and Jacob Kiszka (guitar) and drummer Daniel Wagner – this rocker sounds like a tune that could have been included on Led Zeppelin IV. Here’s a cool clip of a live performance, which was captured in June at a music venue in Chicago. While at first sight these guys may look like a high school band, they certainly don’t sound like one!
Next up: Edge Of Darkness, one of the newly recorded tunes.
The album includes two covers: Meet On The Ledge, the second single from Fairport Convention, released in December 1968 and written by Richard Thompson; and the great Sam Cooke tune A Change Is Gonna Come, from his 1964 studio album Ain’t That Good News. I find this rock version intriguing, so here’s a clip.
The last track I’d like to call out is Talk On The Street, another new song.
According to their Facebook page, Greta Van Fleet was formed in 2012 in Frakenmuth, Michigan, just outside of Detroit, where 20 year-old twin brothers Josh and Jake Kiszka began playing shows with their 17 year-old younger brother, Sam, and 17 year-old family friend Danny Wagner. Their name is derived from a local resident called Gretna Van Fleet and used with her permission. Apparently, one of band’s members had heard it mentioned by a relative.
Wikipedia notes various remarkable accomplishments of the young band, especially in the past couple of years. In January 2016, their song Highway Tune was featured on an episode of Showtime comedy series Shameless. This April 21, Greta Van Fleet was named Apple’s new music artist of the week, and in October they won Best New Artist at the Loudwire Music Awards. The new album currently tops the Billboard Hard Rock Albums chart. Based on all the band’s success, it doesn’t appear their retro Zeppelinesque sound is hurting them, which is great to see. I certainly look forward to hearing more from these guys.
Sources: Wikipedia, Greta Van Fleet Facebook page, Billboard, YouTube
Get The Led Out Bring A Whole Lotta Love to New Brunswick Debut
What could be a greater way to kick off a long Thanksgiving weekend than with a rock & roll party featuring the music of Led Zeppelin? As a longtime fan of the band, I can’t think of any! Last night, I got exactly that with Get The Led Out bringing the music of the mighty Zep to State Theatre of New Jersey (STNJ) in New Brunswick. My one word to sum it all up? Damn!
I’ve known about this terrific band from Philly for some time. When I saw a few weeks ago they were gonna groove right in my backyard, I instantly decided to see them. Calling themselves The American Led Zeppelin, Get The Led Out or GTLO doesn’t want to look like or impersonate their heroes in any other way on stage. Instead, the band wants “to bring the studio recordings of Led Zeppelin to life in concert,” according to their website. And since Zep like many other bands relied on overdubbing to enrich their recordings with multiple instrumental and vocal tracks layered on top of each other, it takes more than four musicians to replicate this sound on stage: Six in GTLO’s case.
With Zep’s fairly sizable catalog, GTLO has plenty of material to choose from. In fact, they make it a point to never repeat the same set back-to-back to keep things fresh. That way they can also perform more of the band’s songs. So what did they play last night? In case you haven’t noticed yet, the above photo collage includes an image with the line-up of tracks, which I shamelessly grabbed from the band’s Facebook page, along with a cool shot of the audience. The 2.5-hour spectacle included two sets divided by a short intermission and a terrific three-track encore – really can’t complain about that!
After all this introduction, it’s finally time to get to some music. And how better to do this than by featuring some YouTube clips. First up: The mighty Rock And Roll from Zep’s fourth studio album Led Zeppelin IV, released in 1971. The tune is credited to all four members, John Bonham, Jimmy Page, John Paul Jones and Robert Plant, and was a perfect opener to last night’s show.
GTLO did a great job mixing some of Zep’s furious rockers with acoustic gems. Among the latter, I thought the highlight was The Battle Of Evermore, another track from Led Zeppelin IV, written by Page and Plant. For this tune, the band brought out their terrific special guest vocalist Diana DeSantis.
With so many great songs GTLO performed last night and fortunately plenty of clips available on YouTube, it’s hard to decide what to include in this post. After kicking off the second set with a strong rendition of In The Evening, the time had come to feature the band’s kick-ass drummer Adam Ferraioli. Playing the parts of Bonham, who undoubtedly was one of the best drummers in rock history, must be pretty daunting. How did he do? Check out this clip of Moby Dick, the furious instrumental credited to Bonham, Page and Jones, which appeared on Led Zeppelin II in 1969.
Another highlight from the second set was Kashmir, the bombastic 8.5-minute tune from Physical Graffiti, Zeppelin’s sixth studio album from 1975. I will openly admit this track was an acquired taste for me, as was Zeppelin overall – somewhat hard to believe from today’s perspective! Initially, I felt Kashmir was way over the top and completely overproduced. But over the years I’ve come to dig this song, which was written by Bonham, Page and Plant. So here’s GTLO’s rendition. It was the final tune of their second set, which of course begged for more!
The three-track encore started with Over The Hills And Far Away. Written by Page and Plant, the tune appeared on Houses Of The Holy, Zep’s fifth studio album from 1973.
At that point, the show was well beyond the two-hour mark, and the time had come for GTLO to play the big enchilada I’m sure many fans had been waiting for: Stairway To Heaven, yet another tune from Zeppelin IV, credited to Page and Plant.
And since it is so much fun listening to these guys, I’m throwing in yet another clip: The final song of the night, Whole Lotta Love, the iconic opener to Led Zeppelin II. As Zep did on various occasions, parts of the song were adapted from another tune, in this case Willie Dixon’sYou Need Love, recorded by Muddy Waters in 1962. Unfortunately, it took a lawsuit that was settled in 1985 to have Dixon being added to the credits, which also list Bonham, Jones, Page and Plant.
Founded in the fall of 2003, GTLO went through some changes in their early years before their current line-up: In addition to the previously mentioned drummer and percussionist Ferraiolo and guest vocalist DeSantis, the band’s members include Paul Sinclair (lead vocals, harmonica), Paul Hammond (electric and acoustic guitars, mandolin), Jimmy Marchiano (electric and acoustic guitars), Phil D’Agostino (bass, vocals) and Andrew Lipke (keyboards, electric and acoustic guitars, vocals, percussion).
A look at their bios reveals, these guys are not only true Zeppelin fans, but bring a substantial amount of talent and experience to the band. Listening to them also makes it obvious they have played together for a long time. The attention to detail is really incredible. But after all these years, the band still strives to get even closer to perfection in replicating the sound of Zep’s oftentimes complex studio recordings.
During a recent podcast with STNJ, Lipke talked about GTLO’s meticulous approach. “It’s a constant process of refining and distilling.” The following excerpt nicely illustrates his point. Referring to Stairway To Heaven, which he said the band has performed more than 600 times, Lipke added, “but even a year ago, we were listening again…and realized, ‘Wait a second, that’s not a single 12-string playing that part, it’s a double 12-string. Now let’s figure out who’s gonna play that other 12-string.”
GTLO has a heavy tour schedule that’s posted on their website. Between their next gig in Lakewood, N.J. this Sat, Nov 25 and the end of March, the band is scheduled for some 40 shows in Pennsylvania, Virginia, Maryland, Massachusetts and ten additional US states, and even Mississauga, Ontario, which is close to Toronto. That’s great news to all Zep fans out there!
Sources: Get The Led Out website and Facebook page, NJST “All Access” podcast, Wikipedia, YouTube
The above clip of Back In Black is from a show AC/DC performed on December 4, 2009 at River Plate Stadium in Buenos Aires, Argentina during their Black Ice World Tour. Yesterday, Malcolm Young, the band’s original rhythm guitarist who played a key role in writing the riff to this and many other AC/DC classics, passed away at the age of 64. He had fought an extended battle with dementia, which had forced his official retirement from the band in September 2014.
Malcolm co-founded AC/DC together with his younger brother Angus Young in November 1973. While he always gladly left the limelight to Angus and singer Bon Scott and later Brian Johnson, Malcolm had a major influence on AC/DC’s songwriting and sound. He is co-credited on pretty much all of their tunes together with Angus, Scott and later Johnson. An official statement on the AC/DC website highlights his “enormous dedication and commitment,” calling him “the driving force behind the band.”
Back In Black was the title track to AC/DC’s seventh studio album, which appeared in July 1980. Not only did the record bring unprecedented success to the band, but with an estimated 50 million copies sold worldwide, it became the second-highest selling album in music history behind Michael Jackson’sThriller.
New York all-female band delivers more raw blues power
Jane Lee Hooker is a relatively recent discovery I made back in August when I saw this all-female blues rock band from New York at a free outdoor concert. I previously posted about them here. On Friday, they released their second studio album Spiritus on iTunes. According to the band’s website, the record is also out on CD in Europe and will become available in this format in the U.S. on January 26, 2018.
From the first to the last tune, the band exactly delivers what it does during their amazing live shows – raw oftentimes furious blues rock power that grabs you and invites you to move. Unlike their 2016 debut No B!, Spiritus mostly features original tracks. These five ladies definitely prove that in addition to covering tunes of blues greats like Muddy Waters and Johnny Winters, they also know how to write.
Except for one tune, I couldn’t find any of the studio recordings from the new album on YouTube, but luckily there are many clips of live performances, which are more fun to watch in the first place. Plus, according to a review in Music Republic Magazine, all tracks on the album were recorded live in the studio with no overdubs. This translates to the album’s sound, which comes across as unfiltered and spontaneous.
How Ya Doin’ kicks off the record. The uptempo blues rocker sounds like a perfect concert opener. Here’s a clip of the tune, which was captured in Orleans, France on November 1.
Gimme That, another original tune, has a nice Stonesey sound. But Jane Lee Hooker play it with more of an edge. The following clip is from a show back in July at Callahan’s Music Hall in Auburn Hills, Mich.
Here’s another nice tune, which was written by the band, Be My Baby. The clip is from another gig in France earlier this month.
Black Rat is one of the two covers on the album. It was first recorded in the 1940s by Memphis blues guitarist and songwriter Lizzie Douglas known as Memphis Minnie. BTW, that’s the same artist who together with her husband Kansas Joe McCoy wrote and recorded When The Levee Breaks in 1929, which was later reworked by Led Zeppelin and became the last song on their 1971 studio album Led Zeppelin IV. Jane Lee Hooker’s version of Black Rat sounds like triple the speed of the original.
The last song I’d like to highlight is the album’s closer, a cool slower track called The Breeze. It’s the only tune for which I could find a clip of the studio recording on YouTube.
Spiritus was recorded in New York this summer and produced by Matt Chiaravalle. According his website, Chiaravalle is a New York City-based music producer and engineer, who has worked with such artists as Debbie Harry, Courtney Love, Warren Zevon, and Joe Bonamassa. Like the band’s debut album, Spiritus appears on German contemporary blues label Ruf Records. Apparently, Jane Lee Hooker just wrapped up a European tour in support of the album yesterday (November 18) in Šumperk, Czech Republic. The only upcoming date that’s currently listed on their website is the Cincy Blues Winter Blues Fest on February 3, 2018 in Cincinnati, OH.
Sources: Wikipedia, Jane Lee Hooker website, Music Republic Magazine, YouTube
‘I Knew You When’ features old time rock & roll and reflective tunes
I believe Old Time Rock And Roll was the first Bob Seger song I heard in the late ’70s when I started listening to music on the radio. Together with Bruce Springsteen, Tom Petty and John Mellencamp, Seger belongs to my all-time favorite American rock artists. On Friday (November 17), he released I Knew You When, his 18th studio album. While it may not include immediately obvious gems like Katmandu, Turn The Page, Rock And Roll Never Forgets and Old Time Rock And Roll, to name a few, it’s a pretty solid record that gets better after listening to it for a few times.
In addition to arena first-pumping style rockers, Seger included various more reflective tunes. Perhaps this shouldn’t come as a big surprise. In May, the heartland rocker turned 72, and rock & roll is a tough business that certainly doesn’t get any easier with advancing age. Last month, Seger was forced to cut short his 2017 Runaway Train Tour with The Silver Bullet Band due to a back issue that required surgery. According to a recent announcement on Seger’s website, his recovery is going well and “rescheduled dates are being mapped out for a coast to coast reboot of the tour this Spring.”
Seger’s new album is dedicated to his long-time friend Glenn Frey, who like Seger was born in Detroit, MI. The two met in 1967 when Fry played in a band called the Mushrooms. Seger helped him get a recording contract and also wrote and produced the band’s first single Such A Lovely Child. Together with Frey, Don Henley and J.D. Souther, Seger also co-wrote the Eagles classic Heartache Tonight, a 1979 Billboard Hot 100 no. 1 hit. I Knew You When also pays tribute to Lou Reed and Leonard Cohen with covers of Busload Of Faith and Democracy, respectively. While Seger isn’t known for being particularly vocal about politics, it’s safe to assume the inclusion of these two tunes is not a coincidence.
Currently, there are only clips of two songs from the new album on YouTube, and I wonder whether that’s by design. Only in June this year did Seger’s music become more widely available on streaming platforms like Spotify, Apple Music and iHeart Radio. In a 2014 interview with Rolling Stone, Seger pointed to his manager and record company: “It’s an ongoing issue with my manager and Capitol Records. You have to talk to him about that. They agreed to something many years ago about new media and they don’t want to live up to it. The record business is 50 percent of what it was ten years ago, so they’re trying to cut costs. Until that’s resolved, we let very little out.”
The first clip is Glenn Song, Seeger’s moving tribute to Frey, which initially appeared as a free download on his website this January on the first anniversary of Frey’s death. The song is included as one of three bonus tracks on the deluxe version of the new album. “It’s obviously not meant to be a hit,” Seger toldRolling Stone. “There’s no chorus per se or title section or anything. The idea was just to honor his memory and talk, very specifically, about my impression of him in 1966 when we first met.”
The second clip I found is Seger’s cover of the Reed tune Busload Of Faith. Reed included the track on his 1989 studio record New York and also released it separately as a single that same year. Seger’s version adds muscle to the original with a great electric slide guitar, soul-sounding horns and gospel-like backing vocals. It’s a highlight of the record. According to Billboard, Seger adjusted some of the lyrics. He replaced the Reed lines “You can’t depend on the churches/Unless there’s real estate that you want to buy” with “You can’t depend on the president/Unless there’s real estate that you want to buy” – remarkable how lyrics that were written in a different context more than 25 years ago eerily fit the situation in present day America!
Other tunes I’d like to mention are Gracile and The Highway, two rockers written by Seger. A third rocker, Runaway Train, was co-written by Seger, Tim Mitchell and Silver Bullet Band keyboarder Craig Frost. According to Wikipedia, it is one of several tunes on the album that were recorded many years ago but had remained unreleased until now. This particular song was initially recorded in 1993 and intended for Seger’s 1995 studio album It’s A Mystery. Another example is the title track I Knew You When, which Seger wrote in 1997 and considered for his 2006 album Face The Promise.
I Knew You When was recorded in Nashville and Detroit and produced by Seger himself. According to an announcement on Seger’s website, the album marks his 49th year with Capitol Records, extending his record as the longest tenured solo artist in the company’s history. The standard version of the album has 10 tracks and comes on vinyl and CD. The deluxe version of the album includes three additional tracks and is available on CD, digital download and via select streaming services.
Seger has earned 13 platinum and 7 multi-platinum RIAA-certified sales awards, including his studio albums Beautiful Loser (1975), Night Moves (1976), Stranger In Town (1978), Against The Wind (1980), The Distance (1982), Like A Rock (1986), The Fire Inside (1991), Face The Promise (2006) and his double live albums Live Bullet (1976) and Nine Tonight (1981). Except for Beautiful Loser and Face The Promise, Seger recorded all of these records with The Silver Bullet Band. Earlier this year, his Greatest Hits album was certified diamond by the RIAA for achieving 10 million units sold in the U.S.
Sources: Wikipedia, Bob Seger website, Rolling Stone, Billboard, YouTube