Best of What’s New

A selection of newly released music that caught my attention

It’s Saturday and the new music show must go on! This installment of Best of What’s New includes two familiar names and two artists who are completely new to me, featuring Celtic punk, instrumental rock, pop and country rock. Nuff said – let’s get to some music!

Dropkick Murphys/Turn Up That Dial

Dropkick Murphys are a Celtic punk rock band formed in the Boston area in 1996. They are named after former pro wrestler Dr. John “Dropkick” Murphy, who also operated an rehab facility for alcoholics in Action, Mass. The band gained first attention when fellow Bostonian ska punk group The Mighty Mighty Bosstones invited them as opening act for their 1997 tour. Later that year, Dropkick Murphys got a deal with Hellcat Records, which was followed by their debut studio album Do or Die in January 1998. Fast-forward 23 years. The band’s present line-up, which has been together since 2008, consists of original co-founder Ken Casey (bass, lead vocals), along with Al Barr (lead vocals), Tim Brennan (lead guitar, accordion, mandolin, bouzouki, keyboards, piano, tin whistle, backing vocals), James Lynch (rhythm guitar, backing vocals), Jeff DaRosa (banjo, mandolin, bouzouki, guitar, keyboards, piano, harmonica, tin whistle, backing vocals) and Matt Kelly (drums, bodhran, backing vocals). Dropkick Murphys first entered my radar screen in 2013 when they teamed up with Bruce Springsteen to record a new version of their song Rose Tattoo. The single appeared in May that year in the wake of the Boston Marathon bombing – hard to believe it’s been eight years! Turn Up That Dial is the title track from Dropkick Murphys’ new album released yesterday (April 30).

Peter Frampton/Isn’t It a Pity

I trust Peter Frampton doesn’t need much of an introduction. The self-taught guitarist has been playing in bands since the age of 12. He first gained prominence in 1966 as a 16-year-old lead vocalist and guitarist in English rock band The Herd. In 1969, he co-founded Humble Pie together with Steve Marriott, frontman and guitarist of Small Faces. Frampton left Humble Pie in 1971 and launched a solo career. After four largely unnoticed studio albums, he got his big breakthrough with Frampton Comes Alive! The huge success led to an infamous shirtless photo on the cover of Rolling Stone, which turned Frampton into a teen idol and diminished his credibility as an artist. He continued to release albums but was unable to repeat the success of Frampton Comes Alive! In early 2019, Frampton announced his retirement from touring due to a progressive autoimmune disease causing muscle inflammation, weakness and atrophy, which eventually is going to impact his ability to play guitar. He launched a farewell tour in June that year. The UK leg, which had been slated for May 2020, was canceled because of you know what! Isn’t it a Pity is a track from Frampton’s new album of instrumental covers ingeniously titled Peter Frampton Forgets the Words and released on April 23. “This album is a collection of ten of my favorite pieces of music,” he stated on his website. My guitar is also a voice and I have always enjoyed playing my favorite vocal lines that we all know and love.” This is certainly a beautiful rendition of the George Harrison tune that originally appeared on his 1970 solo debut All Things Must Pass.

Parker Millsap/The Real Thing

Parker Millsap is an American singer-songwriter from Purcell, OK. According to his profile on Apple Music, As a youth, Millsap alternately spent time singing hymns at his local Pentecostal church and saturating himself in old blues albums, which influenced his unique style along with folk, country, and vintage Elvis-flavored rock & roll. While still in his late teens, Millsap recorded his mostly acoustic debut, Palisade, with childhood friend Michael Rose accompanying him on double bass. Two years later in 2014, his self-titled second LP introduced his signature sound, bringing him national acclaim and leading to support slots with heavy-hitting roots acts like Jason Isbell, Old Crow Medicine Show, and Lake Street Dive. Millsap’s new album Be Here Instead, which is his fifth, came out on April 9. As is the case for most artists I feature in Best of What’s New, I’m completely new to his music. The Real Thing grabbed me right away. To me, it’s got a bit of a Paul McCartney vibe!

The Pink Stones/Put Me On

The last tune I’d like to call out here is Put Me On, a song by The Pink Stones, a country rock band from Athens, Ga. According to their website, the group revolves around Hunter Pinkston, a former punk rocker who discovered country in 2015 when listening to the B-side of the The Lemonheads’ rendition of Brass Buttons, which featured the original by Gram Parsons. This led him not only to explore Parsons’ catalog but also listen to similar other artists. In 2016, Pinkston who is from Albany, Ga. transferred to the University of Georgia in Athens for their music business program. He immersed himself into the local music scene and eventually met what became the core of The Pink Stones: Will Anderson (organ, piano, vocals), Logan Brammer (guitar, vocals), Adam Wayton (guitar, vocals) and Jack Colclough (drums). John Neff (pedal steel guitar), a founding member of Drive-By Truckers, is also part of the band’s current line-up. Put Me On, written by Pinkston, is a track from their debut album Introducing… the Pink Stones released on April 9. Check out this beautiful warm sound!

Sources: Wikipedia; Peter Frampton website; Apple Music; The Pink Stones website; AllMusic; YouTube

Sheryl Crow Goes Out With Big Bang On Final Full-Length Studio Album

Threads features collaborations with Bonnie Raitt, Eric Clapton, Stevie Nicks and others from her music bucket list

“Well, I have loved the tradition of making records. I grew up holding the actual physical record and poring over the album notes and just dreaming about doing what I’m doing now. And with technology, it’s a little bit like putting the toothpaste back into the tube. We can’t go back and expect — particularly young people — to listen to albums from top to bottom. It’s almost a dying art form in that people cherry-pick songs and put them on playlists. So, I don’t know that the listening audience really ever gets the sense of the full artistic statement.” (Sheryl Crow)

So this it it for Sheryl Crow? After nine Grammys and more than 50 million albums sold and at less than 60 years of age? Yes and no. The singer-songwriter, who originally hails from Kennett, Mo., is not planning to release any additional full-fledged studio albums. But it should be a consolation to fans that Crow isn’t retiring from recording and touring. What the above Crow told NPR means is the realization that the music business has changed dramatically since she burst on the scene in August 1993 with Tuesday Night Music Club. Back then, selling records still was a rewarding proposition. Today in the age of music streaming not so much.

Sheryl Crow

“We had a great experience last year with Wouldn’t Want To Be Like You,” Crow further explained in that NPR interview, referring to one of the tunes from Threads, which were released ahead of the album that appeared today. “We put out a song that meant something at that moment in the immediacy and didn’t wait for a full length record. And it was kind of liberating to be able to do that. So I think that’s what I’ll aim for. Then, if people want to put together an album, they can do that; they can put together a compilation or their own playlist. But I like the idea of being able to write in the immediate and putting it out when it really matters.”

Sounds like a valid point to me, though I feel the last sentence of Crow’s statement in the first paragraph of the post represents the essence of her decision. In a modern social media-driven, instant gratification culture, most listeners no longer have the attention span to enjoy entire albums. As much as it pains me to admit this, I’m not entirely immune to this mentality either. There’s also the reality that most albums are not like Sgt. Pepper’s Lonely Hearts Club Band, Tapestry and Aja, to name three of my all-time favorite records, where pretty much every song is a gem you really want. Of course, that has always been the case. In the pre-streaming era, you’d still buy the vinyl record or CD, if it had at least two our three great songs. Today, with iTunes, Spotify, etc. it’s very easy to pick and choose only the tracks you like without ever buying an album.

Okay, let’s get to Threads. Saying Crow’s eleventh studio album features an impressive array of guests would be an understatement. Stevie Nicks, Bonnie Raitt, Eric Clapton, Keith Richards, Joe Walsh, Emmylou Harris and James Taylor, to name some, are all friends who as NPR put it were “her bucket list collaborators.” With some like Richards, Nicks, Harris and Clapton, Crow had worked before over her 18-year recording career. The catchy opener Prove You Wrong, which was co-written by Crow, Al Andersen and Leslie Satcher and features Stevie Nicks and Maren Morris, is an anthem to strong women. Apple Music in their “liner notes” quotes Crow: “Stevie was one of my first calls. Not only has she been a great friend and collaborator over the years, but she was one of the original inspirations for doing what I do…Inviting Maren in just made sense. She’s sort of like a godchild to Stevie and I – super fierce, loves that connection with her audience, and truly has her own perspective on life.”

Since I already previously covered Live Wire, a nice bluesy track for which Crow teamed up with Bonnie Raitt and Mavis Staples, I’m going to skip it in this post and move on to Beware Of Darkness. The cover of the George Harrison tune is one of the gems on the album. And, yes, I may be a bit biased here! 🙂 It first appeared on his 1970 solo masterpiece All Things Must Pass. Quite appropriately, one of the guests on Crow’s recording is Harrison’s friend Eric Clapton. The two other artists are Sting and Brandi Carlile. According to the Apple Music liner notes, “…I wanted to record this as a tribute to George, but also as a message to my children: To let them know while they’re living through what we’re going through, they must witness people either moving towards light or towards darkness. I think that explains a lot about why we are where we are…”

Next up: Cross Creek Road, an original tune Crow co-wrote with long-time collaborator Jeff Trott. The called out guests on this recording include Lukas Nelson and Neil Young. Nelson is sharing vocals, while Young contributes acoustic and electric guitars. A closer look also reveals Don Henley as one of the backing vocalists – interesting why he wasn’t called out. In any case, the track is a nice mid-tempo roots-oriented rocker.

Now we come to The Worst. Blame Mick Jagger and Keith Richards for the cheerful title of this tune, which The Rolling Stones recorded for their 1994 studio album Voodoo Lounge. Richards also is a guest in the current version of the country-oriented tune, providing acoustic, electric and nylon-string guitars, bass and piano, as well as some backing vocals. Frankly, I had no idea Richards plays bass and piano! Here’s another enlightening Crow quote from Apple Music: “Not a lot of people know this, but in the late ’80s, I was a school teacher in St. Louis and went to see the taping of [the music documentary] Hail! Hail! Rock ‘n’ Roll with Chuck Berry and Keith Richards…Cut to 20 years later, I’m recording with Keith Richards, with Steve Jordan producing, so you never now what can happen to a small town girl – a town with three stoplights. It’s amazing what can happen in your life.” Apparently, Crow misspoke, it’s actually 30 years down the road from the above movie.

The next song I’d like to highlight is Still The Good Old Days, which Crow co-wrote with Joe Walsh. He also provides electric slide guitar Walsh kickass style, acoustic guitar and shares vocals. This is a great tune. Here’s the official video, which is also fun to watch.

I’d like to end this review on a quieter note with a beautiful track titled Nobody’s Perfect. Co-written by Crow and Trott, the recording features Emmylou Harris. Gee, the more I hear from this lady, the more I realize I should check her out more closely. “It’s such a joy to sing with her, and she, for me, is my great hope with my career,” Crow told NPR. “I look at what she’s done and who she has constantly been and who she’s become — how she’s still curious, still growing, still rocking, still out there fighting for the things she believes in and still looks like herself and is just beautiful. For me to get to sing with her and to have our voices blend is, I mean, that’s my kind of high.” Harris is 72, while Crow turned 57 this February.

Reflecting on her last studio album overall, Crow in a statement on her website said, “I became inspired to record an album of musical experiences with the legacy artists who inspired me to want to be a great songwriter, musician, and producer. It is a celebration with them, and a tribute to them. Just as importantly, I wanted to work with younger artists on this record, who I believe will pick up the torch and continue to light the way for humanity with their stories and their songs for many years to come. Their music inspires me every day.” I would say, if you officially declare an album is your final full-length record, Threads is a great way to go out with a big bang.

Sources: Wikipedia, NPR, Apple Music, Sheryl Crow website, YouTube

On This Day In Rock & Roll History: January 23

Even though I’ve already done numerous installments for this recurrent feature, many of the 365 dates remain to be explored. Let’s take a look at some of the events on January 23 in rock & roll history.

1956: Cleveland, Ohio banned rock & roll fans under the age of 18 from dancing in public unless accompanied by an adult, after the Ohio police had re-introduced a law dating back to 1931. Music bans rarely work, and there was no way young people could be kept away from rock & roll. Ironically, 27 years later, the very same city saw the founding of the Rock & Roll Hall of Fame. The times they are a-changin’.

50s dance ban

1965: Petula Clark hit no. 1 on the Billboard Hot 100 with Downtown, the first female singer from the U.K. to reach the top of the U.S. chart since Vera Lynn in 1952. The tune, which peaked at no. 2 in the U.K., was written by Tony Hatch, who also produced it for Clark. The song’s recording session on October 16, 1964 at Pye Studios in London was attended by a popular studio guitarist. His name: Jimmy Page. That same year, his session work also included As Tears Go By (Marianne Faithfull), Heart Of Stone (The Rolling Stones) and Baby, Please Don’t Go (Them), among others.

1969: The Beatles were working at Abbey Road Studios as part of the Get Back/Let It Be sessions. They spent a great deal of time on Get Back, recording an impressive 43 takes of the Paul McCartney tune, none of which was officially released. Their efforts eventually would pay off during their rooftop concert. And, yes, they passed the audition!

1971: George Harrison reached no. 1 on the Official Singles Chart in the U.K. with My Sweet Lord, becoming the first former member of The Beatles to top the charts as a solo artist. The tune appeared on All Things Must Pass, Harrison’s first solo album following the band’s breakup. My Sweet Lord peaked at no. 1 in many other countries as well, including the U.S., Canada and Australia. It also made Harrison the first and only ex-Beatle to find himself embroiled in major copyright infringement litigation. The lawsuit alleged My Sweet Lord plagiarized He’s So Fine, a tune Ronnie Mack had written for The Chiffons, giving them a no. 1 single in the U.S. in 1963. In September 1976, a New York judge ruled that Harrison had “subconsciously copied” Mack’s tune. Subsequent litigation over damages dragged on until 1998.

1976: David Bowie released his 10th studio album Station To Station. It became his highest-charting record in the U.S. during the ’70s, climbing to no. 3 on the Billboard 200. The record also catapulted the Thin White Duke into the top 10 in various other countries, including the U.K. (no. 5), Australia (no. 8), The Netherlands (no. 3), Norway (no. 8) and New Zealand (no. 9). In 2012, Rolling Stone ranked Station To Station at no. 324 on their list of 500 Greatest Albums of All Time. Here’s the closer Wild Is The Wind, which like all tracks was written by Bowie.

1978: Terry Kath, best known as a founding member of Chicago, accidentally shot himself dead. Following a party, he started playing around with guns, held a pistol he thought was empty to his temple and pulled the trigger. The freak accident happened only a few days prior to what would have been his 32nd birthday. Referring to Kath, Jimi Hendrix reportedly once told Chicago’s saxophone player Walter Parazaider that “your guitar player is better than me.” Regardless whether Hendrix meant it or not, there’s no question that Kath was an ace guitarist. Here’s I Don’t Want Your Money, which was co-written by him and Robert Lamm, and appeared on Chicago’s third studio album Chicago III from January 1971.

Sources: Wikipedia, This Day in Music.com, The Beatles Bible, YouTube