Welcome to the 75th installment of my irregularly recurring music history feature where I celebrate birthdays of notable artists and look back at events that happened on a certain date throughout the decades. Today, my picks revolve around December 28.
1968: The Miami Pop Festival kicked off north of Miami, Fla. The three-day event took place at Gulfstream Park, a horse racing track in Hallandale. Not to be confused with another festival that had been held at the same place seven months earlier, the Miami Pop Festival was the first major rock festival on the U.S. East Coast, drawing approximately 100,000 people. Performing acts came from a wide variety of music and included Chuck Berry, José Feliciano, Marvin Gaye, Joni Mitchell and Steppenwolf, among others. The only footage I could find is this clip of Turn On Your Lovelight by Grateful Dead. Good tune, actually, and it’s only 12 and a half minutes long! 🙂
1970:John Lennon released Mother as a single in the U.S. The haunting tune became the lead single of Lennon’s debut solo album John Lennon/Plastic Ono Band that had appeared two weeks earlier on December 11. SongfactsnotesLennon wrote this while he was undergoing “Primal Scream” therapy, where he was dealing with a lot of issues that were detailed in the lyrics: He lost his mother at a crucial period in his life to a drunk-driving, off-duty policeman who ran her over in a crosswalk, and his aunt Mimi raised him, which explains the line, “Mother you had me, but I never had you.” His father, a merchant seaman, left him for the sea and for work. “I wanted you, you didn’t need me” explains his feelings about his dad. Lennon’s primal screaming on this song expresses the pain of his childhood. It’s one of Lennon’s most personal and powerful songs.
1976: Guitarist Freddie King, who together with B.B. King and Albert King was known as one of the “Three Kings of the Blues Guitar,” died at age 42 from complications of stomach ulcers and acute pancreatitis. King who hailed from Gilmer, Texas, picked up the guitar as a six-year-old, initially learning from his mother and uncle. He moved to Chicago as a teenager and eventually got a deal with Federal Records after Chess Records had repeatedly turned him down. In 1960, King recorded his first single Have You Ever Loved a Woman with that label. Written by Billy Myles, the tune also appeared on King’s 1961 debut album Freddy King Sings. Over his 14-year recording career, he released 13 studio records.
1978:Rolling Stone magazine voted Some Girls by The Rolling Stones as album of the year. The band’s 16th studio release became their sixth no. 1 album in a row on the U.S. Billboard 200 since 1971’s Sticky Fingers and is considered to be among their best records by many of their fans. It also holds the distinction of being the only Stones record to be nominated for a Grammy in the Album of the Year category. There was some controversy surrounding the cover showing the Stones with select female celebrities and lingerie ads. Following the threat of legal action from the likes of Lucille Ball, Farrah Fawcett and Liza Minnelli, the album was quickly reissued with a different cover that replaced all celebrities with black and punk-style garish colors with the phrase “Pardon our appearance – cover under re-construction”. Here’s a track off the record, When the Whip Comes Down, credited to Mick Jagger and Keith Richards as usual.
Sources: Wikipedia; This Day In Music; Songfacts; Songfacts Music History Calendar; The Current/Minnesota Public Radio; YouTube
The Sunday Six has become my favorite recurring feature of the blog. Highlighting six tunes from any genre and any time gives me plenty of flexibility. I think this has led to pretty diverse sets of tracks, which I like. There’s really only one self-imposed condition: I have to truly dig the music I include in these posts. With that being said, let’s get to this week’s picks.
Lonnie Smith/Lonnie’s Blues
Let’s get in the mood with some sweet Hammond B-3 organ-driven jazz by Lonnie Smith. If you’re a jazz expert, I imagine you’re aware of the man who at some point decided to add a Dr. title to his name and start wearing a traditional Sikh turban. Until Friday when I spotted the new album by now 78-year-old Dr. Lonnie Smith, I hadn’t heard of him. If you missed it and are curious, I included a tune featuring Iggy Pop in yesterday’s Best of What’s Newinstallment. Smith initially gained popularity in the mid-60s as a member of the George Benson Quartet. In 1967, he released Finger Lickin’ Good Soul Organ, the first album under his name, which then still was Lonnie Smith. Altogether, he has appeared on more than 70 records as a leader or a sideman, and played with numerous other prominent jazz artists who in addition to Benson included the likes of Lou Donaldson, Lee Morgan, King Curtis, Terry Bradds, Joey DeFrancesco and Norah Jones. Here’s Lonnie’s Blues, an original from his above mentioned solo debut. Among the musicians on the album were guitarist George Benson and baritone sax player Ronnie Cuber, both members of the Benson quartet. The record was produced by heavyweight John Hammond, who has worked with Bob Dylan, Bruce Springsteen, Billie Holiday, Aretha Franklin, Leonard Cohen, Mike Bloomfield and Stevie Ray Vaughan, to name some.
John Hiatt/Have a Little Faith in Me
Singer-songwriter John Hiatt’s songs are perhaps best known for having been covered by numerous other artists like B.B. King, Bob Dylan, Bonnie Raitt, Emmylou Harris, Eric Clapton, Joe Cocker, Linda Ronstadt, Ry Cooder and Nick Lowe. While his albums received positive reviews from critics, it took eight records and more than 10 years until Hiatt finally had an album that made the Billboard 200: Bring the Family, from May 1987, which reached no. 107. The successor Slow Turning was his first to crack the top 100, peaking at no 98. If I see this correctly, his highest scoring album on the U.S. mainstream chart to date is Mystic Pinball from 2012, which climbed to no. 39. Hiatt did much better on Billboard’s Independent Chart where most of his albums charted since 2000, primarily in the top 10. Fans can look forward to Leftover Feelings, a new album Hiatt recorded during the pandemic with the Jerry Douglas Band, scheduled for May 21. Meanwhile, here’s Have a Little Faith in Me, a true gem from the above noted Bring the Family, which I first knew because of Joe Cocker’s 1994 cover. Hiatt recorded the album together with Ry Cooder (guitar), Nick Lowe (bass) and Jim Keltner (drums), who four years later formed the short-lived Little Village and released an eponymous album in 1992.
Robbie Robertson/Go Back to Your Woods
Canadian artist Robbie Robertson is of course best known as lead guitarist and songwriter of The Band. Between their July 1968 debut Music from Big Pink and The Last Waltz from April 1978, Robertson recorded seven studio and two live albums with the group. Since 1970, he had also done session and production work outside of The Band, something he continued after The Last Waltz. Between 1980 and 1986, he collaborated on various film scores with Martin Scorsese who had directed The Last Waltz. In October 1987, Robertson’s eponymous debut appeared. He has since released four additional studio albums, one film score and various compilations. Go Back to Your Woods, co-written by Robertson and Bruce Hornsby, is a track from Robertson’s second solo album Storyville from September 1991. I like the tune’s cool soul vibe.
Joni Mitchell/Refuge of the Roads
Joni Mitchell possibly is the greatest songwriter of our time I’ve yet to truly explore. Some of her songs have very high vocals that have always sounded a bit pitchy to my ears. But I realize that’s mostly the case on her early recordings, so it’s not a great excuse. Plus, there are tunes like Big Yellow Taxi, Chinese Café/Unchained Melody and Both Sides Now I’ve dug for a long time. I think Graham from Aphoristic Album Reviews probably hit the nail on the head when recently told me, “One day you’ll finally love Joni Mitchell.” In part, his comment led me to include the Canadian singer-songwriter in this post. Since her debut Song to a Seagull from March 1968, Mitchell has released 18 additional studio records, three studio albums and multiple compilations. Since I’m mostly familiar with Wild Things Run Fast from 1982, this meansbthere’s lots of other music to explore! Refuge of the Roads is from Mitchell’s eighth studio album Hejira that came out in November 1976. By that time, she had left her folkie period behind and started to embrace a more jazz oriented sound. The amazing bass work is by fretless bass guru Jaco Pastorius. Sadly, he died from a brain hemorrhage in September 1987 at the age of 35, a consequence from severe head injuries inflicted during a bar fight he had provoked.
Los Lobos/I Got to Let You Know
Los Lobos, a unique band blending rock & roll, Tex-Mex, country, zydeco, folk, R&B, blues and soul with traditional Spanish music like cumbia, bolero and norteño, have been around for 48 years. They were founded in East Los Angeles in 1973 by vocalist and guitarist David Hildago and drummer Louis Pérez who met in high school and liked the same artists, such as Fairport Convention, Randy Newman and Ry Cooder. Later they asked their fellow students Frank Gonzalez (vocals, mandolin, arpa jarocha), Cesar Rosas (vocals, guitar, bajo sexto) and Conrad Lozano (bass, guitarron, vocals) to join them, completing band’s first line-up. Amazingly, Hidalgo, Pérez, Rosas and Lozano continue to be members of the current formation, which also includes Steve Berlin (keyboards, woodwinds) who joined in 1984. Their Spanish debut album Los Lobos del Este de Los Angeles was self-released in early 1978 when the band was still known as Los Lobos del Este de Los Angeles. By the time of sophomore album How Will the Wolf Survive?, their first major label release from October 1984, the band had shortened their name to Los Lobos and started to write songs in English. In 1987, Los Lobos recorded some covers of Ritchie Valens tunes for the soundtrack of the motion picture La Bamba, including the title track, which topped the Billboard Hot 100 for three weeks in the summer of the same year. To date, Los Lobos have released more than 20 albums, including three compilations and four live records. I Got to Let You Know, written by Rosas, is from the band’s aforementioned second album How Will the Wolf Survive? This rocks!
Booker T. & the M.G.’s/Green Onions
Let’s finish where this post started, with the seductive sound of a Hammond B-3. Once I decided on that approach, picking Booker T. & the M.G.’s wasn’t much of a leap. Neither was Green Onions, though I explored other tunes, given it’s the “obvious track.” In the end, I couldn’t resist featuring what is one of the coolest instrumentals I know. Initially, Booker T. & the M.G.’s were formed in 1962 in Memphis, Tenn. as the house band of Stax Records. The original members included Booker T. Jones (organ, piano), Steve Cropper (guitar), Lewie Steinberg (bass) and Al Jackson Jr. (drums). They played on hundreds of recordings by Stax artists during the ’60s, such as Wilson Pickett, Otis Redding, Bill Withers, Sam & Dave, Carla Thomas, Rufus Thomas and Albert King. In 1962 during downtime for recording sessions with Billy Lee Riley, the band started improvising around a bluesy organ riff 17-year-old Booker T. Jones had come up with. It became Green Onions and was initially released as a B-side in May 1962 on Stax subsidiary Volt. In August of the same year, the tune was reissued as an A-side. It also became the title track of Booker T. & the M.G.’s debut album that appeared in October of the same year. In 1970, Jones left Stax, frustrated about the label’s treatment of the M.G.’s as employees rather than as musicians. The final Stax album by Booker T. & the M.G.s was Melting Pot from January 1971. Two additional albums appeared under the band’s name: Universal Language (1977) and That’s the Way It Should Be (1994). Al Jackson Jr. and Lewie Steinberg passed away in October 1975 and July 2016, respectively. Booker T. Jones and Steve Cropper remain active to this day. Cropper has a new album, Fire It Up, scheduled for April 23. Two tunes are already out and sound amazing!
I guess I really should consider subscribing to a music magazine. The thing is, based on what I’ve seen, these publications mostly write about contemporary stuff that rarely interests me. If anyone has a great recommendation, please let me know. Why am I bringing it up? Because here’s another recently released album I completely missed. And while it only includes two new songs, I was immediately hooked when I started listening to the music a couple of days ago: Note By Note by Booker T. Yep, I’m talking about the man from Stax house band Booker T. & the M.G.’s.
To start with, I think Booker T.’s love of music isn’t only obvious but also truly infectious. That’s why I dig the man! Witnessing him in action playing the keys of his Hammond B3 frequently gives me goosebumps. In case you haven’t watched it yet, check out Booker T.’s demo of the iconic organ I previously covered here. If you’re a music lover and curious about exploring instruments, tell me how you can not feel like wanting to have a friggin’ Hammond and, in case you don’t know how to play keyboards, figuring out yourself how to create these magic sounds or take lessons after watching this – heck, if I could afford it, I would even put a B3 in my living room as a beautiful piece of furniture!
By the way, Booker T. has something else I admire: The man is a multi-instrumentalist. Two instruments (guitar, electric bass) was all I could handle to learn many moons ago and, frankly, while I guess I was on okay player when I was at my best, I was far away from mastery! According to Wikipedia, apart from his signature Hammond B3, Booker T. also knows how to play the oboe, saxophone, trombone and double bass. And let’s not forget about the piano, though one could say that’s perhaps less of a surprise, considering the organ, despite the significant differences between those two instruments. In fact, as you can learn from the above noted clip, it was the piano and lessons Booker T. took as a child with his teacher in Memphis, Tenn., which led him to discover the mighty Hammond. Great story, by the way, and one of various anecdotes he tells during the demo. Have I whetted your appetite to watch? 🙂
Released on November 1, Note By Note is a companion album to Booker T.’s memoir Time Is Tight, which was published by Little, Brown and Company and appeared on October 29. According to a press release, Note By Note celebrates and revisits a number of integral musical moments throughout Jones’ life – from playing with Mahalia Jackson at age 12, to his pivotal role as bandleader, performer and songwriter at Stax, to his focus on production through his work with Willie Nelson and Carlos Santana. The tracks largely mirror the chapter titles of the book. The memoir certainly sounds intriguing, and you can check out a review in The New York Timeshere. In this post, I’d like to focus on the music, so let’s get to it!
While I didn’t see any clips on YouTube, luckily, the album is available on Soundcloud. Here’s the excellent opener Cause I Love You, the first single released by Carla Thomas in 1960, a duet with her father Rufus Thomas, who also wrote the lyrics of the song. It also featured her brother Marvell Thomas on keyboards and, yes, you perhaps guessed it, Booker T. A 16-year-old high school student at the time, he played the tune’s opening notes on a borrowed barritone saxophone – his very first studio recording! The single was released by Satellite Records, which eventually became the legendary Stax Records. The cover on this album features Evvie McKinney and Joshua Ledet, two young talented vocalists who sound smoking hot!
While it’s very well known, I simply could not leave out Born Under A Bad Sign, the blues classic first recorded by Albert King at Stax in May 1967, and co-written by Booker T. and William Bell. It’s the only track on the album, featuring Booker T. on lead vocals. That’s a bit of a pity, in my opinion, since he has a quite soulful voice. Check it out! By the way, that nice guitar work comes from Booker T.’s son Ted Jones.
Another tune I have to call out is Precious Lord. Written by the Reverend Thomas A. Dorsey, the gospel tune was recorded by Mahalia Jackson in March 1956 and became her signature song. The original complete title was Take My Hand, Precious Lord. As noted above, Booker T. got to perform with the famous gospel singer as a child – it’s not hard to see how that must have made a lasting impression on a 12-year-old! Check out the album’s powerful version featuring vocalist Sharlotte Gibson. Her voice together with the sparing instrumentation led by Booker T.’sHammond is just beautiful! It makes me want to do a post to gospel music – so many powerful tunes in that genre!
So how about some Otis Redding? Ask and you shall receive! These Arms of Mine was written by Redding and initially released as his first single for Stax in October 1962. The song was also included on his debut album Pain In My Heat that appeared in March 1964. Redding, of course, was one of many Stax recording artists who were backed by Booker T. and the M.G.’s. This cover of the slow-tempo soul tune, which includes a piano part that reminds me a bit of Fats Domino, features Ty Taylor, another great vocalist who hails from New Jersey and is the leader of a soul rock band called Vintage Trouble.
Next up: Havana Moon, a song written by Chuck Berry and first released in November 1956 as the B-side to his single You Can’t Catch Me. The tune also became the title track of a 1983 studio album by Carlos Santana, who appropriately gave it more of a Latin feel. That recording featured Booker T. The take on Note By Note is much closer to the Santana version than Berry’s original. In fact, Ted Jones’ guitar work is reminiscent of Santana – nicely done!
The last track I’d like to highlight is Maybe I Need Saving, one of the album’s two new tracks; the second one is called Paralyzed. Both were co-written by Ted Jones and feature him on vocals. I could not find information on who else was involved in writing these songs. At first, I was a little surprised about their inclusion on the album. Sure, Ted is Booker’s T.’s son, which is an obvious connection. But initially, I felt the more contemporary sound of these tracks created a bit of a disconnect to the other, older tunes. Yet, after fter having listened a few times, I actually think they are worthy tunes. Maybe I Need Saving has a nice bluesy touch, which once again features great guitar work by Ted, who has impressive guitar chops, and yet another illustration of Booker T.’s beautiful Hammond.
In addition to Ted Jones, Booker T.’s backing musicians on Note By Note include Steve Ferrone on drums (Average White Band, Tom Petty) and his longtime bandmate Melvin Brannon on bass. Booker T. is currently on the road to support the book and the record. Had I known about all of this a week earlier, perhaps I could have seen him at Le Poisson Rouge, a live music venue in New York City’s Greenwich Village – definitely a missed opportunity! Unfortunately, any of his remaining gigs are nowhere close to my location and include Salt Lake City (tonight), Phoenix (Jan. 8 & 9), Tucson (Jan. 10) and Nashville (Jan. 16). The schedule of all outstanding currently scheduled shows is here.
But not all may be lost. Booker T., who less than two weeks ago turned 75, is aging admirably and seems to be in decent health. So there still could be an opportunity for me to see the man – I would definitely love to, and preferably so at a small venue. Maybe he’ll read this and add some dates to his current tour that are within reasonable geographic reach! 🙂
Sources: Wikipedia; Shoe Fire Media press release; New York Times; Booker T. website; Soundcloud
Southern Avenue perhaps couldn’t have chosen a better title for their sophomore album. Released yesterday, Keep On continues to effectively draw from different musical backgrounds of the band’s members. Southern Avenue skillfully blend Stax-style soul with blues, R&B, gospel, funk and rock. The result is powerful music combining familiar with new influences and a sound that has noticeably matured and become more distinct since the band’s eponymous debut from February 2017.
The five-piece band from Memphis, Tenn. has been on my radar screen since I listened to the first album about two years ago. I also witnessed what a great live act Southern Avenue are when I saw them in New York City last August. At the time, I briefly chatted with guitarist Ori Naftaly, who mentioned their new album. My anticipation grew further with the release of the lead single Whiskey Love in early April, followed by the appearance of the second single Savior.
For brief background, Southern Avenue were founded in 2015 when Israeli blues guitarist Ori Naftaly met Memphis vocalist Tierinii Jackson and her sister Tikyra Jackson, drummer and backing vocalist. Jeremy Powell on keyboards rounds out the band’s core line-up. Bassist Gage Markey has been a touring member for the past couple of years and also plays on the new record. Southern Avenue took their name from a street that runs from East Memphis to “Soulsville,” the original home of Stax Records. While that’s a clear nod to the band’s admiration for the legendary soul label, they are not a Stax revival act.
Keep On features some impressive guests. In this context, I first would like to mention the great horn section comprised of saxophonist Art Edmaiston and trumpet player Mark Franklin. They are an important factor for the above noted more mature sound. Edmaiston has played with artists like Levon Helm and Gregg Allman, while Franklin has supported sessions for the likes of Aretha Franklin, B.B. King, Solomon Burke and Booker T. & the M.G.s. Another prominent guest is William Bell, who is perhaps best known for co-writing Born Under a Bad Sign with Booker T. Jones. The tune was first recorded by Albert King in 1967 and popularized by Cream the following year.
Alright, I think it’s time for some music. Here’s the album’s opener and title track. Co-written by Ori Naftaly, Tierinii Jackson and producer Johnny Black, the tune is a nice example of how Southern Avenue blend different genres. Naftaly clearly is a blues guitarist at heart and I can hear some Cream in his cool riff. The horns add a dose of soul while Jackson’s strong vocals throw in some R&B.
Since I previously wrote about the first two singles Whiskey Love and Savior, I’m skipping these great tracks here and jump to the nice funky Switchup. Like the title track, the song is co-credited to Naftaly, Jackson and Black.
Next up: Lucky. Co-written by Naftaly and Jackson, this song has a beautiful retro Stax vibe to it. But, as if to emphasize that Southern Avenue don’t want to be a retro Memphis soul band, Naftaly throws in a fairly rock-oriented guitar solo.
Another great number is Jive, a co-write by Naftaly, Black and both Jackson sisters. I dig the tune’s driving beat, which makes you want to get up and dance. The horns and the backing vocals set great accents.
On the upbeat We’ve Got The Music, William Bell joins Tierinii Jackson on vocals. Bell also shares writing credits with Naftaly and her. I like the song’s message about the power of music and how it can bridge differences among people: If you don’t look like me/If you don’t talk like me, that’s alright/We’ve got the music/If you don’t know my face/But you’re feeling the sound, it’s okay/We’ve got the music…
The last track I’d like to call out is the album’s closer We’re Gonna Make It. I think music publication No Depression nicely described the tune in their review of Keep On. “This gospel-inflected song opens with a nod to Sam Cooke’s “A Change is Gonna Come,” and builds a message of love, persistence, and encouragement layer-by-layer. The song takes up where the Staple Singers left off, carrying the torch of hope in a world of darkness and giving us a new anthem for these times.”
“Making this album was an interesting journey,” Ori explained. “Our first album was recorded very fast and released very fast. With this one, we spent a long time planning, and we knew how we wanted it sound. For me, it’s a big progression from the first album.” Added Tierinii: “The experience was completely different from making the first one. We learned a lot about each other and a lot about the band.”
One of the cool things about Keep On is that the album was recorded at Sam Phillips Recording. The studio was opened in Memphis in 1960 by no one other than legendary Sun Records founder and producer Sam Phillips, who worked with artists like Elvis Presley, Carl Perkins, Johnny Cash,Jerry Lee Lewis, Roy Orbison and B.B. King. Wow, one can only imagine what it must have felt like for this young band to record in that studio – the thought of it gives me goosebumps!
“The thing that stood out most to me about Southern Avenue is their dedication to making this record ‘the hard way’,” stated producer Johnny Black. “Even in their selection of studios; by picking Sam Phillips Recording, the band, in essence, forced themselves to record within the same parameters as some of their heroes. And while that process may have taken extra time, it was well worth the effort.” In my humble opinion, I think Black is spot on.
Southern Avenue currently is where they seem to be most of the time – on the road. Their tour schedule is packed between now and mid-November and mostly includes U.S. dates. From late May to mid-June, the band is also playing a series of shows in Europe. I have no doubt Southern Avenue will keep on wowing audiences with their performances that are passionate, authentic and humble at the same time. As a communications professional, I also have to commend the band for their effective use of Facebook to build their fan base. I’m planning to catch them again on July 11 during Jams on the Sand, a free outdoor event in Asbury Park, N.J.
Sources: Wikipedia, Southern Avenue website, William Bell website, No Depression, YouTube
When one of the coolest Hammond B3 players on the planet demonstrates the legendary organ and chats about how he got into playing this beautiful instrument, you know you’re in for a treat! To me the above NPR footage of Booker T. Jones hands-down is one of the most mesmerizing music clips I’ve ever watched on YouTube. Observing the man explain how you “crawl” on the Hammond and seeing the joy he still gets out of playing the organ is just priceless. His voice isn’t shabby either! If you’re into soulful music craftsmanship and haven’t seen this yet, I would strongly encourage you to invest the 18 minutes it takes to watch this clip in its entirety.
In fact, if you’ve visited the blog in the past, you may have seen a previous feature I did on the Hammond B3 back in June 2017. That piece included the above clip as well, but it was kind of buried all the way at the end. I was reminded of this great footage last night when I talked to a keyboarder of a jam band. I told him Green Onions would be a cool addition to their set list and in this context mentioned Jones’ great demo and that he had to watch it. Did I mention I can have strong opinions about music? In any case, I felt featuring this clip again and this time doing it more prominently was warranted.
Apart from Jones sharing nice anecdotes from the past, including how his piano teacher changed his life, he plays three tunes: Green Onions, Born Under A Bad Sign and Down In Memphis. Green Onions became a signature tune for Booker T. & The M.G.s in 1962 and launched their career as a standalone act. Of course, they were primarily known as the house band of Stax Records where they backed such amazing artists like Wilson Pickett, Otis Redding, Carla Thomas and Albert King on hundreds of recordings.
Born Under A Bad Sign was co-written by Jones and Stax longtime recording artist William Bell for Albert King, who recorded it in 1967. The tune became the title track of King’s second studio album that appeared in August of the same year. Jones closes out his presentation with Down In Memphis, a new song at the time this footage was recorded. The track was included on Jones’ ninth studio album The Road From Memphis released in May 2011. I don’t recall having ever listened to that record, so I should go and check it out!
Fourth album was the bus-driving Chicago blues man’s recording breakthrough
This is starting to feel a bit like Groundhog Day. Lately, I find myself spotting a listening recommendation from my music streaming service, and before too long blogging about it. But I just can’t help it, when music grabs me, I get excited!😀
Should I have heard of Toronzo Cannon before? Probably yes, based on the recognition this contemporary Chicago blues guitarist singer/songwriter has received. But just because I’m a music fan who likes to write about his passion doesn’t mean I’m a know-it-all expert – in fact, I’m far from that; and if anything, this only becomes more clear the deeper I get into music blogging. And that’s quite okay with me, since I like exploring stuff I don’t know.
According to the bio on his website, when Cannon isn’t touring, he’s driving a Chicago Transit Authority bus during the day and playing the blues at night, “using every vacation day and day off and working four ten-hour shifts a week.” I know it sounds a bit cliche, but where other than in America do you hear about such stories?
I suppose if Cannon continues to work as a bus driver, this means one of two things or possibly both: Driving the bus helps him write his lyrics. Notes Cannon’s bio: His songwriting is inspired by his deep, homegrown Chicago roots, his years observing the public while working as a city bus driver on the West Side, and his own battles and triumphs. And/or Cannon still depends on his additional income as a bus driver, since he isn’t making enough money with his music. If it’s the latter, maybe Cannon isn’t that well known after all beyond Chicago blues circles, which would make me feel a bit better that I had not heard of him before. Regardless, he sure as heck plays a groovy blues guitar and has a great soulful voice.
Cannon is a native Chicagoan. He was born there on February 14, 1968 and grew up on the South Side of the city. He bought his first guitar as a 22-year-old and apparently was a quick study. Interestingly, he focused on reggae in the beginning, but soon found the blues was his real calling. “It was dormant in me,” he says in his bio. “But when I started playing the blues, I found my voice and the blues came pouring out.” The bio also reveals he was influenced by the likes of Buddy Guy, Albert Collins, Hound Dog Taylor, B.B. King, Albert King, Freddie King, Al Green, Jimi Hendrix, J.B. Hutto, Lil’ Ed and others – surely a list of fine artists!
The Chicago Way, which appeared in 2016, is Cannon’s breakthrough album and the fourth album in his recording career that started in 2007. It’s his first release on Alligator and was co-produced by Cannon and the independent Chicago blues label’s president Bruce Iglauer. Cannon first had gained broader attention when he performed as one of the headliners at the Chicago Blues Festival in June 2015.
BTW, at the time The Chicago Way appeared, Cannon was 48 years old, in other words not exactly a young kid. Once again, this proves that age doesn’t have to be a hurdle when you got great talent like Cannon, though being younger in the brutal music business probably isn’t a disadvantage either! The record earned Cannon a nomination for a Blues Music Award in 2017 by the Blues Foundation as Album of the Year. While Taj Mahal and Keb’ Mo’ ended up winning that award for their outstanding collaboration record TajMo, which I previously reviewed here, being nominated with these guys in the first place says a lot about Cannon. Time to get to some music!
The album opens with a great funky tune called The Pain Around Me. Like all of the other 10 tracks, the tune was written by Cannon. Except for one track, I couldn’t find any clips on YouTube of the studio recordings, so I’m relying on live footage. But in my opinion, that’s not a disadvantage – if there’s one music genre that’s made to be experienced live, it’s the blues!
Another great song is Walk It Off. It’s got some of that cool Muddy WatersHoochie Coochie Man and Mannish Boy vibe. I also dig the classic blues lyrics. Here’s an excerpt: She didn’t mean it, that’s what she said/He was an old friend and she lost her head/I know my woman is nice and kind/but now we don’t know if the baby is his or mine/I got to walk it off/I got to walk it off/The feeling’s so strong I might do something wrong/So I’m gonna just walk it off. I just love the story-telling!
Fine Seasoned Woman has a cool driving jazzy groove. I also dig the Hammond-like organ sound.
Midlife Crisis is another great tune featuring some classic blues lyrics: Woke up this morning feeling kind of strange/Some of you men might feel the same/Looked in the mirror the other day/My chest hair was turning gray/My old friends are far too old/Don’t wanna hang with them no more/Went to the doctor say, “what’s wrong with me?”/He looked in my eyes, “There’s one thing I see”/You having a midlife crisis/You having a midlife crisis, Lord/Don’t know what to do because you ain’t 22/You having a midlife crisis.
The last song I’d like to call out is When Will You Tell Him About Me? I think Cannon’s soulful voice comes out particularly nice out on this slow blues. Here’s a clip of the studio version for a change.
So what did some of the music reviews have to say about the album? Usually, I don’t care much about the critics, but if they agree with me, hey, I don’t mind!
“Deep, contemporary Chicago blues…razor-sharp guitar and compelling, forceful singing” – The Chicago Tribune
“One of Chicago’s new greats” — The Chicago Sun-Times
“Progressive as he is rootsy…Slow, simmering riffs and smoldering licks” – Chicago Reader
“Among the cream of the next generation of Chicago blues musicians” — Blues & Rhythm
Yep, I can support all of the above!
Looking at Cannon’s remaining 2018 schedule, his next gigs are in Poland and the Czech Republic in mid-October, followed by U.S. shows in San Diego (Oct 28), Cleveland (Nov 9) and Auburn Hills, Mich. (Nov 10 & 11). If any of these places would be closer to Central New Jersey, I’d seriously consider seeing him. But I suppose there’s always hope for 2019!
Inspired by this recent post from Music Enthusiast, I’ve been listening to Koko Taylor and originally intended to post a clip of this amazing artist who was also known as The Queen of the Blues. Then I came across the amazing clip above, which apparently was captured at the Grammy Awards in 1987 and shows two back-to-back performances by some of the greatest blues artists on one stage.
Things kick off with Willie Dixon and Taylor singing the Dixon tune When I Make Love. The backing band includes Dr. John, Junior Wells and Ry Cooder, among others. Next up is the Louis Jordan song Let The Good Times Roll, performed by Albert King and B.B. King, together with Big Jay McNeely, Robert Cray and Etta James. The audience is on their feet and McNeely on his back by the end of the track – any doubts you may have had whether the blues is here to stay will be gone after you’ve watched this!
I’ll definitely do something on Taylor soon and also post on some of the other blues pioneers who wrote music that was made popular by others, often white artists.
In a short amount of time, Southern Avenue has become one of my favorite new bands. It all started when fellow blogger Music Enthusiast included this firecracker Memphis blues and soul quintet and their tune Don’t Give Up in a recent post. I immediately liked what I heard.
Don’t Give Up and the tune I’d like to highlight in this post, 80 Miles From Memphis, an uptempo blues with a cool groove and amazing singing, are both on the band’s eponymous debut album. Produced by Kevin Houston and released in February this year,the record appeared on none other than Stax Records, the storied Memphis soul label (now based in Los Angeles) that in its heyday had artists like Otis Redding, Wilson Pickett, Booker T. & the M.G.’s and Albert King under contract. According to a story in the Commercial Appeal, Southern Avenue is the first Memphis act signed to Stax in five decades – pretty incredible! For more on Stax, see my recent post.
Named after the street that runs from the east of Memphis to Soulsville, the original home of Stax, Southern Avenue was formed in 2015. The band’s line-up includes Ori Naftaly, an Israeli blues guitarist who came to the U.S. in 2013; Tierinii Jackson (lead vocals); her sister Tikyra Jackson (drums, vocals) and Jeremy Powell (keyboards). Daniel McKee, who plays bass on the recording, has since left Southern Avenue. The band is currently relying on a couple of different bassists during shows.
I just find it very refreshing to listen to these guys. Oh, by the way, their album entered the U.S. Billboard Top Blues Albums Chart at no. 6 during the week ended March 18 and remained in the chart for four weeks. Not bad for a debut – I hope they’re just getting started!
Sources: Wikipedia, Commercial Appeal, Billboard Charts, YouTube
Some of my favorite artists who recorded at the legendary Memphis record label
This year marks the 60th anniversary of Stax Records. I’ve always been impressed with the amazing array of artists who are associated with this record label: Booker T. & the M.G.’s, Otis Redding, Sam & Dave, Albert King, Carla Thomas, Wilson Pickett, Isaac Hayes, Kim Weston and The Staple Singers, to name some of them. I thought this would be a great theme for a list, but before I get to it, a bit of history is in order.
Stax Records was originally founded as Satellite Records in 1957 in Memphis, Tenn. by Jim Stewart, a banker who played the fiddle in a country band on the side. Initially operating in a garage, Stewart started out focusing on country, rockabilly and straight pop. In 1958, his sister Astelle Axton co-invested in the company by mortgaging her family home.
In 1959, Satellite set up a small recording studio in Brunswick, Tenn. and released its first record in the summer of that year, Fool In Love, by R&B band The Veltones. Following the release of the record, Satellite moved back to Memphis and set up shop in an old movie theater. In the summer of 1960, Rufus Thomas and his daughter Carla became the first artists to record at the new facility. Their record Cause I Love You was nationally distributed by Atlantic Records, laying the foundation for an important yet fateful distribution partnership.
Due to a legal dispute, Satellite Records changed its name to Stax in September 1961, using the first two letters from the siblings’ last name – Stewart and Axton. In addition to a recording studio in the movie theater’s former auditorium, the company also set up a record store in the cinema’s old foyer. The store carried records from many different labels and became a popular hangout for local teenagers, which gave the company valuable insights into what music was selling.
Stax also established a house band that backed up the company’s artists during recordings. Eventually, that band consisted of the members who formed Booker T. & the M.G.’s in 1962: Booker T. Jones (organ), Steve Cropper (guitar), Lewie Steinberg (bass) and Al Jackson Jr. (drums). They served as the session band during most recordings until 1970.
In 1962, Stax also signed Otis Redding, who would become its biggest star until his untimely death in 1967. By the mid ’60s, Stax had also signed other major artists, including Sam & Dave, Carla Thomas, Wilson Pickett and Isaac Hayes. Stax’s Booker T. & the M.G.’s and other ethnically integrated bands, along with a racially integrated team of staff and artists was unprecedented amid the civil rights-era racial strive and deep-seated tensions of the late ’50s and ’60s, especially in Memphis and the South.
In 1968, Stax ended its distribution deal with Atlantic Records and in the process lost the rights to all recordings Atlantic had distributed between 1960 and 1967. A new co-owner, Al Bell, stepped up and substantially expanded the label’s operations in an effort to better compete with its main rival Motown Records. In 1972, Bell got a distribution deal with CBS Records, but CBS lost interest in Stax, which eventually forced the label to close in 1975.
In 1977, Fantasy Records purchased the post-1968 Stax catalog and some of the pre-1968 recordings. In 1978, Stax under Fantasy’s ownership began signing new acts. But by the early ’80s, no new material appeared on Stax, and it became strictly a reissue label. In 2004, the Stax label was reactivated after Fantasy had been acquired by Concord Records. Today, Stax continues to be owned by Concord and issues both new recordings and its 1968-1975 catalog. Atlantic Records still owns most of the Stax material from 1959 to 1968.
Following is a selection of songs from some of my favorite artists whose records have been issued on Stax, old and new:
Booker T. & the M.G.’s/Green Onions (1962)
Otis Redding/I’ve Been Loving You For Too Long (1965)
Wilson Pickett/In the Midnight Hour (1965)
Sam & Dave/Soul Man (1967)
Isaac Hayes/Theme From Shaft (1971)
The Staple Singers/I’ll Take You There (1972)
Albert King/That’s What the Blues Is All About (1974)
Nathaniel Rateliff & The Night Sweats/S.O.B. (2015)
Melissa Etheridge/Hold On I’m Coming (2016)
Southern Avenue/80 Miles From Memphis (2017)
Between its initial establishment and 1975, Stax has released more than 800 singles and nearly 300 LPs, winning eight Grammys and an Academy Award. The label has had 243 hits in the Top 100 R&B Charts and more than 167 hits in the top 100 Pop Charts. In April this year, Concord and Rhino Entertainment, which manages the Stax catalog owned by Atlantic Records, announced a joint campaign to celebrate the 60th anniversary with multiple albums, boxed sets and live performance releases throughout the year. Among others, this includes the Stax Classic Series, which consists of collection albums for each of the label’s 10 biggest stars, the Complete Stax Singles boxed set series, as well as a 4-CD anthology of Isaac Hayes to coincide what would have been his 75th birthday.