The Sunday Six

Is it really Sunday again? And where did January go? Welcome to another musical excursion through space and time! As always, our itinerary includes six stops in different decades with music in different flavors. Let’s do it!

Kenny Dorham/Blue Friday

Opening today’s trip is American jazz trumpeter, composer and occasional vocalist Kenny Dorham. Over his relatively short 25-year career, he became one of the most active bebop trumpeters. He played with the likes of Dizzy Gillespie, Charlie Parker, Thelonious Monk, Sonny Rollins and Max Roach. Starting from late 1953 Dorham also released some 20 albums as leader. Sadly, he passed away from kidney disease at age 48 in December 1972. Blue Friday, a Dorham composition, appeared on his February 1960 album Quiet Kenny. His quartet included Tommy Flanagan (piano), Paul Chambers (bass) and Art Taylor (drums).

Elton John/Club At the End of the Street

Let’s next head to August 1989 and a song by Elton John I’ve always liked. I was reminded of Club At the End of the Street the other day when I caught it on the radio in my car. While I generally prefer the piano man’s music during the first half of the ’70s, he has also had some great songs thereafter. Composed by Elton John with lyrics from his longtime collaborator Bernie Taupin, Club At the End of the Street is from John’s 22nd studio album Sleeping with the Past. The song was also released separately as a single in March 1990.

Mudcrutch/Scare Easy

A great tip from my longtime German music buddy Gerd takes us back to the current century. Before Tom Petty founded the Heartbreakers, he formed Mudcrutch in 1970, together with Tom Leadon, brother of Eagles co-founder Bernie Leadon, and Mike Campbell who would later join the Heartbreakers. While Mudcrutch gained regional popularity in central Florida and southern Georgia and in 1974 got a deal with Shelter Records in Los Angeles, a single they released failed to chart. Therefore, the label dissolved them, keeping only Petty under contract. Subsequently, he formed the hugely successful Tom Petty and the Heartbreakers. Fast-forward to August 2007 when Petty invited original Mudcrutch members Randall Marsh and Tom Leadon, Campbell and Benmont Tench (also of the Heartbreakers) to reform Mudcrutch. The first outcome was an eponymous album that appeared in April 2008. Another one, Mudcrutch 2, would follow eight years later. From the first album, here’s Scare Easy, written by Petty.

Fats Domino/I’m Walkin’

Let’s jump back 51 years to February 1957. That’s when Fats Domino put out one of his most successful singles, I’m Walkin’. Written by him with frequent collaborator Dave Bartholomew, it was Domino’s third single in a row to top the U.S. R&B Best Sellers chart and also peaked at no. 4 on the pop charts, indicating his crossover appeal. Domino wrote the song after his car had broken down and he overheard a fan say, “Hey, look at Fats Domino, he’s walking!” It’s amazing what a car breakdown can do!

Led Zeppelin/All My Love

Our next stop is August 1979, which saw the release of Led Zeppelin’s eighth and final studio album, In Through the Out Door, prior to their breakup in early December 1980 after the death of drummer John Bonham in September that year. Unlike on Zep’s previous albums, bassist and keyboarder John Paul Jones and vocalist Robert Plant played a much more prominent role. Bonham and guitarist Jimmy Page, who were in the throes of alcoholism and heroin addiction, respectively, oftentimes didn’t show up in time at the recording studio. This left Jones and Plant to put together the songs, with Plant and Bonham adding their parts separately. One of the consequences was the prominent use of the Yamaha GX-1 synthesizer Jones had recently purchased. All My Love is a great example of what this baby could do!

Lenny Kravitz/Rock And Roll Is Dead

Time to wrap up our trip. For this we shall go to September 1995 and the fourth studio album by Lenny Kravitz, Circus. Peaking at no. 10 in the U.S. on the Billboard 200, it became his first top 10 album there. In the UK where Kravitz had enjoyed more chart success up to that point, the album hit no. 5, marking his third in a row to reach the top 10. Circus was most successful in Switzerland and The Netherlands where it topped the charts, as well as Australia and Austria where it peaked at no. 2 and no. 3, respectively. Here’s the great opener Rock And Roll Is Dead, whose title Kravitz said was widely taken at face value when he actually was poking fun at life as a rock star.

Last but not least, here’s a Spotify playlist of the above goodies. As always, I hope there’s something for you and that you’ll be back to join me for more music time travel next Sunday!

Sources: Wikipedia; YouTube; Spotify

The Sunday Six

It’s Sunday and I’d like to welcome you to the first music time travel trip of 2024! I hope everybody had a good start into the new year. As always, our itinerary includes six stops in different decades, featuring music in different flavors. Let’s do it!

Red Garland Trio/Blue Red

Our first stop takes us to June 1957 and Red Garland’s debut album as a leader, A Garland of Red. The modern jazz pianist helped popularize the so-called block chord style of playing piano in jazz. He first gained prominence when joining the Miles Davis Quintet in 1954. In addition to Davis (trumpet), it featured John Coltrane (saxophone), Paul Chambers (bass) and Philly Joe Jones (drums). By the time Garland recorded A Garland of Red, he still was a member of Davis’ quintet, though their relationship had started to become strained. Davis eventually fired him. On A Garland of Red, Garland was backed by Quintet mate Chambers (bass), as well as Art Taylor (drums). Let’s listen to the album’s closer and sole Garland composition Blue Red. One could be forgiven to think it was written by Chambers, but trust me, eventually you’ll hear more than just upright bass! Plus, did I ever mention bassists are cool? 🙂

The Subdudes/(You’ll Be) Satisfied

New Orleans band The Subdudes blend folk, swamp pop, R&B, Louisiana blues, country, cajun, zydeco, funk, soul and gospel into a tasty musical gumbo. They have been around since 1987 with breaks from 1996-2002 and 2011-2014. Since their eponymous debut from June 1989, The Subdudes have released nine additional studio and two live albums. (You’ll Be) Satisfied, a tip from my dear German music buddy Gerd, is from the third studio album Annunciation that came out in March 1994. The song was written by the band’s bass player at the time, Johnny Ray Allen. This is great stuff!

Quinn Sullivan/Salvation (Make Me Wanna Pray)

For our next stop, we shall travel back to the present and the most recent single by Quinn Sullivan, a dynamite 24-year-old blues rock singer-songwriter and guitarist. He was discovered in 2007 at the age of 7 by Buddy Guy who became his mentor. Sullivan also was a guest on Guy’s 2008 album Skin Deep and has toured various times with him and also performed with B.B. King. Since 2011, Sullivan has released four albums. His most recent single Salvation (Make Me Wanna Pray), released in November 2023, blends contemporary elements with a neat retro sound that reminds me a bit of Stevie Ray Vaughan and Jimi Hendrix. Damn, this is so good!

Coney Hatch/Don’t Say Make Me

Our next destination was inspired by fellow blogger Deke from DeKe’s Vinyl Reviews & More and The Distortion Den, so you can all blame him! It was on his YouTube channel that I was reminded of Coney Hatch, a Canadian hard rock band I had known by name only. They were formed in 1981 and are still rockin’. In August last year, they released a live album, Postcard from Germany. Of course, any music artist who performs in my country of birth gets my attention! Don’t Say Make Me takes us back to 1983 and the band’s sophomore album Outa Hand – a great opener that reminds me a bit of early Foreigner.

Steve Miller Band/My Dark Hour

We’re reaching our second-to-final stop, so it’s about time to pay a visit to the ’60s. My Dark Hour by Steve Miller Band is the closer of their third studio album Brave New World, which appeared in June 1969. Written by Steve Miller, it was also released separately as a single but only reached a measly no. 126 in the U.S. on the Billboard Hot 100. Even if you don’t know the song, you probably recognize the distinct guitar riff that starts at around 13 seconds into the track. Miller would recycle that riff for his major August 1976 hit single Fly Like an Eagle. My Dark Hour also had a special guest: Paul McCartney (credited as Paul Ramon) who contributed backing vocals, drums, guitar and bass!

Outlaws/Stick Around For Rock & Roll

Time to wrap up our first music excursion of 2024 with a great proposition by southern rockers Outlaws. Stick Around For Rock & Roll is the final track of their third studio album Lady In Waiting, released in May 1976. It was written by Outlaws co-founder, guitarist and vocalist Hughie Thomasson. Later on, from 1996 to 2005, Thomasson who passed away in 2007 would also play with Lynyrd Skynyrd. Outlaws are still around, though no original member remains in their current line-up. That said, Henry Paul, who was part of the band when they recorded Lady In Waiting, remains a member to this day. This definitely rocks and reminds me a bit of The Doobie Brothers.

Last but not least, here’s a Spotify playlist featuring all of the above tracks. Hope you enjoyed the trip and will be back for more!

Sources: Wikipedia; YouTube; Spotify

The Sunday Six

Another Sunday is upon us and I hope everybody is feeling groovy. It’s time again to embark on another trip to visit music from different decades and in different flavors, six tunes at a time. Let’s do it!

Lou Donaldson/That Good Old Feeling

Our first stop today is June 1957, which saw the release of Wailing With Lou, a studio album by Lou Donaldson. The American jazz alto saxophonist who is now 96 years officially retired in 2017 after a 64-year career as an active performer. Here’s an excerpt from the bio on his website: Jazz critics agree that “Sweet Poppa Lou” Donaldson is one of the greatest alto saxophonists of all time. He began his career as a bandleader with Blue Note Records in 1952 and, already at age 25, had found his sound, though it would continue to sweeten over the years — earning him his famed nickname –“Sweet Poppa Lou.” He made a series of classic records for Blue Note Records in the 50’s and takes pride in having showcased many musicians who made their first records as sidemen for him: Clifford Brown, Grant Green, Blue Mitchell, Donald Byrd, Ray Barretto, Horace Parlan, John Patton, Charles Earland, Al Harewood, Herman Foster, Peck Morrison, Dave Bailey, Leon Spencer, Idris Muhammad, and others. Coming back to the above-mentioned album, here’s the beautiful Donaldson composition That Good Old Feeling. The recording featured various of the above-listed jazz musicians, including Bryd (trumpet), Foster (piano) and Morrison (bass), along with Art Taylor (drums).

The Blasters/Crazy Baby

After having been eased in with smooth jazz, let’s visit 1980 and pick up the speed with great music by The Blasters. I first read about this American roots rock band on Cincinnati Babyhead’s blog. Formed in Downey, Calif. in 1979 by Phil Alvin (vocals, guitar) and his brother Dave Alvin (guitar), together with John Bazz (bass) and Bill Bateman (drums), the group had an initial 6-year run before they first broke up. Various incarnations of The Blasters have since been led by Phil Alvin who together with Bazz has been the only constant member. The current line-up also includes cofounder Bateman who rejoined in 2008. Crazy Baby, co-written by Ron Volz and Ron Wemsman, appeared on the band’s 1980 debut album American Music. It’s got a cool retro rockabilly vibe!

Bee Gees/To Love Somebody

Time to go back to the ’60s and a beautiful early song by the Bee Gees. Co-written by Barry Gibb and his brother Robin Gibb, To Love Somebody first appeared in June 1967 as the second upfront single of the group’s international debut studio album Bee Gee’s 1st, which came out in July of the same year. Prior to that, they had released two albums in their native Australia only. To Love Somebody reached no. 17 in the U.S. on the Billboard Hot 100 and no. 49 on the UK Official Singles Charts. Ten years later, the Bee Gees would rule the charts in both the U.S. and the UK, as well as many other countries with their no. 1 soundtrack album Saturday Night Fever, which spawned multiple no. 1. singles. Oftentimes, the Bee Gees are associated with the disco era, but early songs like To Love Somebody show there was much more to the group. You can read more about the Bee Gees in my four-part series from December 2020 here, here, here and here.

Cordovas/High Feeling

Now, let’s set our music time machine to the current century, more specifically to October 2020. That’s when Americana and country rock band Cordovas released their third full-length studio album Destiny Hotel. The four-piece group from East Nashville, Tenn. first entered my radar screen in the summer of 2018 when I caught them during a free concert in a park not far from my house. Their multi-part harmony singing proved to be an immediate attraction. So was their sound that reminds me of bands like Crosby, Stills, Nash & Young, The Band, Grateful Dead, Eagles and Little Feat. Led by bassist Joe Firstman, Cordovas have been around for more than 10 years. Here’s the album’s opener High Feeling. These harmony vocals and the warm sound are right up my alley!

Pink Floyd/Us And Them

This past Wednesday marked the 50th anniversary of The Dark Side of the Moon, one of my favorite Pink Floyd albums, an appropriate occasion to go back to March 1, 1973. Developed during live performances before work in the studio began, the eighth studio release by the British psychedelic and progressive rock band was a concept album revolving around dark human themes, such as conflict, greed, time, death and mental illness. One of the most critically acclaimed albums of all time, The Dark Side of the Moon is a sonic gem that not only represents one of the peaks in Floyd’s recording career but also a highlight in sound engineering provided by Alan Parsons. It catapulted Pink Floyd to international stardom and perhaps somewhat ironically made its members pretty wealthy. For more on this album, you can read an excellent recent post by fellow blogger Bruce from Vinyl Connections. Us And Them, composed by Richard Wright with lyrics by Roger Waters, became the album’s second single in February 1974 after Money from May 1973. A reissue, The Dark Side of the Moon 50th Anniversary, is set to appear on March 24. Among others, the box set includes remastered edits of the studio album and The Dark Side of the Moon Live at Wembley 1974.

Son Volt/Route

And once again it’s time to wrap up another musical journey. For the last stop, our time machine takes us to September 1995. Alternative country and Americana rock band Son Volt first entered my radar screen in July 2021 when their most recent studio album Electro Melodier appeared. Singer-songwriter and guitarist Jay Farrar formed the group in 1994 after the breakup of Uncle Tupelo, another alt. country outfit he had co-founded in 1987. To date, Son Volt have released 10 albums. Apart from Farrar, the current members include Chris Frame (guitar), Mark Spencer (keyboards, steel guitar),  Andrew DuPlantis  (bass) and Mark Patterson (drums). Route, penned by Farrar, is a nice crunchy rocker off their 1995 debut album Trace. It’s got a Neil Young and Crazy Horse vibe, which in my book usually is a great thing!

This post wouldn’t be complete without a Spotify playlist that includes all featured tunes. I gladly oblige and hope there’s something you dig!

Sources: Wikipedia; Lou Donaldson website; YouTube; Spotify

The Sunday Six

Good morning, afternoon, evening, night…in whichever time zone you are, I’d like to welcome you! Is 2023 already starting to feel old? Are you struggling with sticking to any new year’s resolutions? I hope you can put aside any such thoughts you may have and join me on another trip into the amazing world of music. Let’s all escape the present and have a great time together while it lasts!

Red Garland/Almost Like Being in Love

Today, our journey starts in June 1957 with some groovy jazz by pianist Red Garland. Born in 1923 in Dallas, Tx., Garland started playing the clarinet and alto. saxophone before switching to the piano in 1941. In the ’40s, he also had a short-lived career as a welterweight boxer. Garland who helped popularize the block chord style of playing in jazz piano, gained prominence when he joined the Miles Davis Quintet in 1954. In addition to Davis, it featured jazz greats John Coltrane, Philly Joe Jones and Paul Chambers. After leaving the quintet in 1958, Garland formed his own trio. They recorded with many other artists, such as Pepper Adams, Nat Adderley, Ray Barretto, Kenny Burrell and Eddie “Lockjaw” Davis. Garland continued to work until his death from a heart attack at age 60 in April 1984. Almost Being in Love, composed by Allen Jay Learner and Frederick Loewe, is a great track from Garland’s album Red Garland’s Piano. He was backed by Chambers (bass) and Art Taylor (drums). Feel free to snip along!

Toad The Wet Sprocket/All I Want

Our next stop takes us to the early ’90s and a great tune I was reminded of the other day when I coincidentally caught it on the radio: All I Want by Toad The Wet Sprocket. Formed in 1986 in Santa Barbara, Calif., this alternative rock band took their peculiar name from a Monty Python comedy sketch. After their first two albums, which didn’t receive much attention, the band broke through with their third studio release, Fear, which appeared in August 1991. That success was fueled by All I Want, the second single off the album and the group’s first to chart on the Billboard Hot 100, climbing to no. 15. Toad the Wet Sprocket had a few additional charting songs and disbanded in 1998 after their fifth album Coil. Yet they continued to work on and off until 2008. As of 2009, the band has officially reunited and released two additional albums to date. All I Want was written by Glen Philips (lead vocals, rhythm guitar, mandolin, keyboards), one of three founding members who remain with the group to this day. This jangly guitar sound and beautiful harmony singing are right up my alley!

The Georgia Satellites/Keep Your Hands to Yourself

Time to pay a visit to Atlanta, Ga. The year is 1986 and it’s the month of October. That’s when southern rock band The Georgia Satellites released their eponymous debut album. The record became their most successful to date, surging to no. 5 in the U.S. on the Billboard 200. In turn, that was thanks to Keep Your Hands to Yourself. Their biggest hit peaked at no. 2 on the Billboard Hot 100 and no. 3 in Canada. Elsewhere, it reached no. 20 in Australia and no. 69 in the UK. After two more albums and a few additional charting singles, the group went on hiatus in 1990. The Georgia Satellites reemerged in 1993, released another album in 1996, and have since been a touring act. Their current line-up features original member Rick Richards (lead guitar, backing and lead vocals), together with Fred McNeal (lead vocals, rhythm guitar), Bruce Smith (bass, backing vocals) and Todd Johnston (drums). Keep Your Hands to Yourself was penned by the group’s original lead vocalist and rhythm guitarist Dan Baird. That Stonesy rocker just makes me smile, but no touching, please!

Pink Floyd/See Emily Play

After three tunes into our current excursion, we must turn to the ’60s, one of my favorite decades in music. Our destination is the second single by Pink Floyd, See Emily Play. I love the early stage of the British group, formed in London in 1965 by Syd Barrett (guitar, lead vocals), Richard Wright (keyboards, vocals), Roger Waters (bass guitar, vocals) and Nick Mason (drums). See Emily Play, penned by Floyd’s initial leader and key songwriter Barrett, first appeared in the UK in June 1967 as a non-album single. This early gem was also included on the U.S. edition of the band’s debut album The Piper at the Gates of Dawn, which came out in August of the same year. Unfortunately, it was the only album featuring Barrett as a full member of Pink Floyd. Due to heavy drug use and mental illness, his behavior became increasingly erratic and led to his departure in April 1968. At that time, David Gilmour had already joined the group. While Floyd’s June 1968 sophomore album A Saucerful of Secrets still included some contributions from Barrett, Gilmour had fully taken over on guitar. Sadly, Barrett passed away from pancreatic cancer in 2006, after he essentially had lived in obscurity since the late ’70s.

Bob Dylan/Tangled Up in Blue

On to the ’70s and an artist I trust needs no introduction. When it comes to Bob Dylan, I’ve always had sentiments ranging from admiration to indifference. If anything, I’ve regained appreciation of Robert Zimmerman since his most recent studio album Rough and Rowdy Ways. To me, it’s a late-career gem. One of Dylan’s earlier tunes I’ve loved from the very first time I heard it is Tangled Up in Blue. In fact, I would count it among my all-time favorites by the Nobel Prize-winning singer-songwriter. It first appeared as a single on January 17, 1975, three days ahead of the release of Blood On the Tracks. Initially, Dylan’s 15th studio album received mixed reviews, but as we’ve seen all too often, the critics came around and now regard it as one of his greatest albums. Fans apparently agreed all along. Blood On the Tracks became Dylan’s second album to top the U.S. charts. It also was no. 1 in Canada and reached the top 5 in the UK (no. 4), Spain (no. 3), Norway (no. 2) and The Netherlands (no. 5). Man, I just love that song!

Melissa Etheridge/Hold On, I’m Coming

Once again, we’re reaching the final stop of yet another music journey. For this last pick, we turn to the current century, though it’s a ’60s Stax tune. You see what I did there? I sneaked in another song from one of my favorite decades in music! In October 2016, Melissa Etheridge released Memphis Rock and Soul, a great tribute to Memphis soul label Stax. One of my favorite tracks on that album is her sizzling rendition of Hold On, I’m Coming. Co-written by Isaac Hayes and David Porter, the tune was first recorded by Sam & Dave. Released in March 1966, it became one of their biggest hits. And, yes, it’s been covered by many other artists, such as Aretha Franklin, Waylon Jennings and Tina Turner, but I just dig Etheridge’s funky version.

Of course, this post wouldn’t be complete without a Spotify list of the above goodies. Hope there’s something you like!

Sources: Wikipedia; YouTube; Spotify