Happy Wednesday and welcome to another installment of Song Musings. This recently introduced recurring feature looks at tunes I haven’t covered yet or only mentioned in passing. It pretty much could be any song regardless of whether the band or artist is famous or more obscure.
Well, my pick for this week definitely falls into the former category. How about “the world’s greatest rock & roll band?” And how about a tune that isn’t exactly what you typically associate with them?
Of course, I’m talking about The Rolling Stones, who I trust need no further introduction. But unless you’re a Stones fan you may be less familiar with a song titled Hot Stuff. At least I can say it hadn’t been on my radar screen until I stumbled across it on Twitter this past Sunday.
Hot Stuff, credited to Mick Jagger and Keith Richards, is the opener of Black and Blue, the 13th British and 15th American studio album the Stones released in April 1976, and the first they recorded after Mick Taylor’s departure in December 1974. While it may not be the best they’ve ever done, it’s a cool funky tune that makes you want to move!
The song starts off with a nice funky guitar played by Richards. Drummer Charlie Watts and bassist Bill Wyman add an infectious groove. The Stones also got a little help from some friends: Harvey Mandel, formerly of Canned Heat, provides some neat wah-wah guitar action. The great Billy Preston is on piano and also contributes backing vocals, together with Richards and guitarist Ronnie Wood. There’s also prolific session musician Ollie E. Brown on percussion.
Hot Stuff also appeared separately as a promo single in the U.S. where it reached no. 49 on the Billboard Hot 100 – decidedly less hot than Fool to Cry, the album’s lead single that became an internal hit, peaking at no. 2, no. 6, no. 8 and no. 10 in France, the UK, The Netherlands and the U.S., respectively.
Here’s another cool clip, which according to the description captures a rehearsal of Hot Stuff on August 16, 2002 in Toronto. This jives with a record on Setlist.fm, according to which the Stones played Palais Royale Ballroom there that day as part of their Licks World Tour.
Following are a few additional tidbits from Songfacts:
With Mick Taylor gone, The Stones were auditioning lead guitarists while recording Black And Blue. Harvey Mandel from Canned Heat played on this, but Ron Wood got the job.
This was dangerously close to disco – Donna Summer had a disco hit three years later with a the same title. [Let’s not forget about Miss You, which Richards, who at the time the Stones recorded the tune was absent, facing serious legal problems over a previous arrest for drug possession in Toronto, dismissively called Mick’s disco song – CMM]
“Hot Stuff” was the working title for the album until they decided on Black And Blue.
Today 50 years ago, The Rolling Stones released what many of their fans consider one of their best albums. While my no. 1 Stones album remains their 1971 predecessor Sticky Fingers, Exile On Main St. has substantially grown on me over time, and I would now put it on my top 3, together with the live album Get Yer Ya-Ya’s Out!
Exile On Main St. took a significant amount of time to make. It seems to me the fact it came to fruition at all bordered on a near-miracle. Work on the album started in England in 1969 during the Sticky Fingers recording sessions. Many of the tracks were recorded at Olympic Studios in London and Mick Jagger’s country house Stargroves.
By the spring of 1971, the Stones found themselves as tax refugees from the British government. Jagger moved to Paris with his new wife Bianca, Keith Richards rented Nellcôte, a 16-room mansion on the Côte d’Azur in Southern France, while the other members of the band settled in Southern France as well. Since the Stones couldn’t find a suitable studio to continue work on the album, they ended up using Richard’s basement at Nellcôteand the group’s mobile recording truck.
The work at Nellcôte was very different compared to previous albums. Richards had begun using heroin daily, which frequently prevented him from attending sessions. Jagger and bassist Bill Wyman oftentimes were absent as well. Time and again, this forced the band to record in altered forms. In addition to Jagger, Richards and Wyman, guitarist Mick Taylor, drummer Charlie Watts, keyboarder Nicky Hopkins, saxophonist Bobby Keys and producer Jimmy Miller, a capable drummer who filled in for Watts on a couple of tunes, participated in the Nellcôte sessions.
The basic tracks that were recorded at Nellcôte were subsequently taken to Sunset Sound Recorders studio in Los Angeles where vocal and instrumental overdubs were added between December 1971 and March 1972. This second stage of the recording included keyboarders Billy Preston and Dr. John, along with top-notch session vocalists. Unlike in France where he was often MIA, Mick Jagger took charge during the LA sessions.
In spite of what looks like a chaotic process, especially during the first stage in Southern France, the outcome was pretty remarkable. I’d say it’s time for some music. In its original configuration, Exile On Main St. is a double-LP album. I’m going to feature one track from each side. A Spotify link to the entire album is included at the end of this post.
Let’s kick things off with Rip This Joint, the second track on side one. Like all other songs, the uptempo rocker is credited to Jagger and Richards. Wikipedia notes it’s one of the fastest songs in the Stones’ catalog. It became a concert staple between the early to mid-’70s before it disappeared from the Stones’ setlists completely until the mid-’90s.
And we’re on to side two and the first track Sweet Virginia, one of the Stones’ country-influenced tunes. Among others, the song features great harmonica and saxophone parts by Jagger and Keys, respectively. The backing vocalists include Dr. John. “‘Sweet Virginia’ – were held over from Sticky Fingers,” Richards said in 2003, according to Songfacts. “It was the same lineup and I’ve always felt those two albums kind of fold into each other… there was not much time between them and I think it was all flying out of the same kind of energy.”
This next tune always makes me, well, Happy. The first track on side three features Richards on lead vocals. It also was the Stones’ first such song to chart. It did best in France where it climbed to no. 5. In Canada, it reached no. 9. In the UK, it missed the charts. Perhaps folks there weren’t happy about the group’s tax refugee status. “It just came, tripping off the tongue, then and there [at Nellcôte – CMM],” Richards said per Songfacts, citing his 2010 autobiography, Life. “…There has to be some thin plot line, although in a lot of my songs you’d be very hard-pressed to find it. But here, you’re broke and it’s evening. And you want to go out, but you ain’t got s–t. I’m busted before I start. I need a love to keep me happy, because if it’s real love it will be free!” Got it? Now you know how to write a great song!
The final tune I’d like to call out is Shine a Light, the second-to-last track on side four. The song’s original lyrics date back to 1968 when Jagger wrote a song titled Get a Line On You about then-Stones guitarist Brian Jones and his drug addiction. After Jones’ untimely death in July 1969 at age 27, Jagger changed some of the tune’s lyrics and the title. Shine a Light features Billy Preston on piano and organ. It also became the name of a 2008 Stones concert documentary by Martin Scorsese.
When Exile on Main St. originally came out, critics had mixed feelings about it. But as isn’t uncommon, sentiments subsequently changed and the album has since been regarded by many critics as The Rolling Stones’ best work. I’m sometimes a bit puzzled how drastically opinions can change. Rolling Stone ranked Exile on Main St. at no. 7 on their 2003 and 2012 lists of the 500 Greatest Albums of All Time. In the 2020 revision, the album held up pretty well at no. 14, making it the Stones’ highest-ranked album on the list. In 2012, Exile on Main St. became the fourth Stones album to be inducted into the Grammy Hall of Fame.
Exile on Main St. is among the Stones’ best-performing records. It topped the charts in the UK, U.S., Canada, The Netherlands, Norway and Sweden, and climbed to no. 2 in Australia and Germany. The album also received Platinum certification in Great Britain, the US and Australia.
A first look back at 1972, another outstanding year in music
With the 50-year anniversaries of 1971 gems like The Who’sWho’s Next, Carole King’sTapestry, Led Zeppelin’s Led Zeppelin IV, The Rolling Stones’Sticky Fingers and Pink Floyd’sMeddle now behind us, it’s time to take a first look at 1972 albums that are hitting the big milestone this year. And like in the case of 1971, I think the caliber of music released in 1972 is just breathtaking!
Checking Wikipedia revealed an impressive amount of records that appeared 50 years ago. Of these albums, I picked 30 studio releases that are represented in the below Spotify playlist with one song each. Following, I’d like to briefly highlight six of them. I’m planning more in-depth posts timed to their and possibly some of the other albums’ actual 50th-anniversary dates.
Neil Young/Harvest (February 1, 1972)
Undoubtedly, Neil Young’s fourth studio album Harvest is one of his best known and most beloved. With gems like Heart of Gold, The Needle and the Damage Done, Old Man and A Man Needs a Maid, it’s no wonder. Not only did Harvest top the Billboard 200 for two weeks, but it also became the best-selling album of 1972 in the U.S. But Neil Young, who is always good for a surprise, had a different reaction. Feeling alienated by the huge success of Harvest, he decided to release what became known as the “ditch trilogy”: the live album Times Fades Away (October 1973), as well as the studio records On the Beach (July 1974) and Tonight’s the Night (June 1975). While the ditch albums didn’t perform as well as Harvest, let’s just say they didn’t exactly harm Neil’s standing with his fans!
Deep Purple/Machine Head (March 25, 1972)
Machine Head, Deep Purple’s sixth studio release, remains the ultimate ’70s hard rock album in my book. While I literally dig each of the record’s seven tracks, the band’s most commercially successful album is best-known for the classics Smoke on the Water, which is safe to assume must be a nightmare for anybody working in a store selling electric guitars, and Highway Star. Machine Head topped the charts in the UK, Australia, Canada, Finland, Germany, Italy and The Netherlands – yes, I had to name them all, hoping Wikipedia’s account is accurate and complete! The thought of a hard rock album topping the mainstream charts is unreal, especially from today’s perspective! In the U.S., Machine Head reached no. 7 on the Billboard 200, making it their highest-charting record there.
The Rolling Stones/Exile on Main St. (May 12, 1972)
While I prefer Sticky Fingers, there’s no doubt Exile on Main St. is among the top albums by The Rolling Stones. Many Stones fans regard the double LP as their best record – hey, I won’t argue, it’s great rock & roll, and I like it! Some of the highlights include Rocks Off, Rip This Joint, Tumbling Dice, Sweet Virginia, Happy and All Down the Line. Given Keith Richards’ frequent no-shows to the recording sessions since he was, well, stoned, while Mick Jagger and Bill Wyman oftentimes were absent as well, supposedly for other reasons, it’s a near-miracle to me how great this album turned out. That being said, initial reactions among critics were mixed, but as is not uncommon, opinions subsequently changed.
David Bowie/The Rise and Fall of Ziggy Stardust and the Spiders from Mars (June 6, 2022)
Of course, there was no way this upfront section would skip my favorite David Bowie album of all time. The British artist’s fifth studio release, revolving around a bi-sexual alien rock musician who becomes widely popular among teenagers before his fame ultimately kills him, is a true glam rock gem. Similar to Deep Purple’sMachine Head, I feel there’s no weak song on this record. Starman, Suffragette City, Rock ‘n’ Roll Suicide and the title track are a few of the amazing tunes that come to mind. The Ziggy Stardust album climbed to no. 5 in the UK and also charted in various other European countries. In the U.S., where there was generally less of an appetite for glam rock, the record still reached a respectable no. 21 on the Billboard 200.
Curtis Mayfield/Superfly (July 11, 1972)
Curtis Mayfield is another longtime favorite artist of mine, so I’m more than happy to call out Superfly. His third studio album appeared as the soundtrack of the Blaxploitation motion picture of the same name. Rightfully, this record is widely considered a classic of ’70s soul and funk music. In addition to the title track, some of the other tunes on the album include Pusherman, Freddie’s Dead and Eddie You Should Know Better. Superfly was hugely successful in the U.S., topping both the Billboard 200 and the R&B chart. It also became Mayfield’s highest-charting album in the UK where it reached no. 26. Side note: It seems to me music listeners in the UK were into glam rock but not so much into psychedelic soul and funk.
Santana/Caravanserai (October 11, 1972)
The final album I’d like to highlight in this section of the post is a less obvious choice for me. I absolutely love the first three studio albums by Santana, which make up the band’s so-called classic period. I find the combination of Latin rhythms and rock electrifying. On Caravanserai, Carlos Santana and his band went in a very different direction. The album mostly features jazz-like, improvisational instrumentals – definitely posing a challenge for a guy like me who digs catchy hooks and great vocals, especially harmony singing. But sometimes it’s good to push beyond your comfort zone. Musically, I think there’s no question Caravanserai is an outstanding record. Given its radical departure from Santana’s first three albums, it did remarkably well in the charts. In the UK it peaked at no. 6, matching its predecessor Santana III, which previously had been the band’s highest-charting album there. It did even better in The Netherlands, climbing to no. 3, again matching Santana III. Elsewhere, Caravanserai reached no. 8 in the U.S., no. 10 in Norway and no. 16 in Australia.
Following is a playlist featuring the above tracks, as well as tunes from 24 other albums that were released in 1972. Since Spotify, unfortunately, doesn’t have Status Quo’sPiledriver (neither does Apple Music!), I included a pretty good, more recent live version of Paper Plane. Again, I have to say 1972 was another amazing year in music!
Celebrating music with six random tracks at a time
Welcome to another Sunday music mini-excursion. I’m excited this is the first Sunday Six to feature music from my native country Germany, though admittedly you wouldn’t have known it if I hadn’t told you. The trip is going to involve some contemporary jazz, blues rock, rock, blues, psychedelic garage rock and R&B. It’ll be touching the ’60s, ’70s, ’80s and the first two decades of the current century. I think it’s another pretty eclectic set of tunes that will hopefully have something for every reader. Hop on board!
Klaus Graf Quartett/Homezone
The first stop on this little journey in Germany and some great contemporary jazz by Klaus Graf Quartett. And, nope, that’s not a typo, “Quartett” is the German word for quartet. I have to give credit to my brother-in-law, who knows much more about jazz than I do and who recently brought the German alto saxophone player Klaus Graf to my attention. According to his website, Graf started playing the clarinet at the age of 10 but soon thereafter switched to the alto saxophone. He found his true love for jazz as a 15-year-old after he had joined a youth music school big band. Following his studies of the saxophone at Cologne University of Music, Graf mainly played as a sideman in various German and international jazz bands. In 2002, he founded his own quartet and released his debut album Changes in Life. In addition to him, the present line-up includes Olaf Polziehn (piano), Axel Kühn (upright bass) and Meinhard Obi Jenne (drums). Klaus Graf Quartett is one of various music projects of Graf who also teaches jazz saxophone at Nuremberg University of Music. Here’s Homezone, a composition by Graf from a 2007 album album titled Moving On. According to the credits listed on Discogs, the recording features all of the quartet’s current members, except for the bassist who on that album was Uli Glaszmann.
The Rolling Stones/Jumpin’ Jack Flash
Next we go back to May 1968 when The Rolling Stones first released their non-album single Jumpin’ Jack Flash in the UK, backed by Child of the Moon. The single also appeared in the U.S. the following month. Credited to Mick Jagger and Keith Richards only as usual, even though Bill Wyman contributed, this tune has one of the coolest rock guitar riffs I know. I recall reading several years ago that Richards during an interview said he still gets excited when he plays that riff – who can blame him! Speaking of Richards, according to Songfacts, he explained the tune’s title to Rolling Stone in 2010 as follows: “The lyrics came from a gray dawn at Redlands. Mick and I had been up all night, it was raining outside, and there was the sound of these boots near the window, belonging to my gardener, Jack Dyer. It woke Mick up. He said, ‘What’s that?’ I said, ‘Oh, that’s Jack. That’s jumping Jack.’ I started to work around the phrase on the guitar, which was in open tuning, singing the phrase ‘Jumping Jack.’ Mick said, ‘Flash,’ and suddenly we had this phrase with a great rhythm and ring to it.” Now you know how to write an iconic rock song! After the Stones’ psychedelic Their Satanic Majesties Request album, Jumpin’ Jack Flash was considered to be a return to their blues roots. It became a major hit, topping the mainstream charts in the UK and Germany, climbing to no. 3 in the U.S., and reaching no. 2 in France, The Netherlands, Switzerland and Australia, as well as no. 5 in Canada. Man, this just rocks!
Steve Miller Band/Rock’n Me
On October 5, Steve Miller turned 78. Amazingly, the man still fronts the Steve Miller Band, the group he founded in 1966 as the Steve Miller Blues Band. And had it not been because of this dreadful pandemic, he would probably be out on the road. As he toldBillboard earlier this year, the group had to cancel a planned 55-city tour with Marty Stuart & His Fabulous Superlatives that was supposed to kick off in June 2020. On the upside, Miller put the downtime to good use and dug into his archives. Out came a concert film, Breaking Ground concert, and a companion album, Steve Miller Band Live! Breaking Ground: August 3, 1977, which were released on May 14 this year. You can watch a trailer of the film here. And here’s Rock’n Me from the companion album. Originally, the tune was recorded for the Steve Miller Band’s ninth studio album Fly Like an Eagle released in May 1976. It also appeared separately as a single in August 1976 and became the group’s second no. 1 in the U.S. on the Billboard Hot 100. It topped the charts in Canada as well. This is neat rock & roll!
Buddy Guy/Stay Around a Little Longer (feat. B.B. King)
Next, let’s slow it down for some great blues by two of the best electric blues guitarists: Buddy Guy and B.B. King. Guy at age 85 thankfully is still with us and still playing, while King sadly passed away in May 2015 at the age of 89. This beautiful recording is from Guy’s 15th studio album Living Proof that came out in October 2010. The tune was co-written by producer Tom Hambridge and country and blues singer-songwriter Gary Nicholson, who both have become frequent collaborators ever since. It’s just great to hear B.B. King sing on this tune, in addition to playing guitar. His voice sounds so good. He was 85 years at the time, Guy’s current age. I can’t deny I find this tune and clip quite emotional. That’s what great music does – it touches you!
The Fuzztones/Cinderella
After some emotional blues, it’s time to step on the gas again with a terrific tune by American garage rockers The Fuzztones. According to their profile on Apple Music, the New York City-based psychedelic/garage rock combo played a large role in the mostly underground ’60s revival during the 1980s. Led by the enigmatic Rudi Protrudi, the Fuzztones were one of the major “successes” (particularly in Europe) of the revival that flourished in 1984 and that also boasted the Chesterfield Kings, the Cynics, the Miracle Workers, and Plasticland. Their debut studio LP, Lysergic Emanations, was released in 1985. Thanks to praise from Ian Astbury of the Cult, the newly refitted Los Angeles-based Fuzztones were one of the few to get a major-label deal, and a second album, In Heat, was released by Beggars Banquet in 1989. Due to the album’s lackluster sales performance, the Fuzztones went back to the indies. That might have been the end of the story, but it wasn’t. Thanks to a hugely successful tour of Europe in 1985, the group built a loyal and dedicated fan base there, and one version or another of the Fuzztones has toured there regularly ever since. Here’s Cinderella from the band’s above noted 1985 debut album, which mostly featured covers, including this tune that originally was recorded by The Sonics in 1965. With that cool organ, the rendition reminds me a bit of The Animals. Founding member Rudi Protrudi (vocals, guitar, harmonica) remains with the band’s current line-up.
Ray Charles/Hit the Road Jack
Let’s conclude this mini-excursion with a tune that randomly popped up in my head the other day. When it did, I immediately thought it would be a terrific song to feature: Hit the Road Jack by the great Ray Charles. They didn’t call the singer-songwriter and pianist “The Genius” for nothing. Frank Sinatra reportedly said Charles was the “only true genius in show business.” Charles identified Nat King Cole as a primary influence. Others included Louis Jordan and Charles Brown. Hit the Road Jack, written by R&B artist Percy Mayfield and first recorded as an a cappella demo in 1960, was Charles’ second of three no. 1 mainstream hits in the U.S. on the Billboard Hot 100. The other two were Georgia on My Mind and I Can’t Stop Loving You. Any of them would have been great picks as would have many other tunes by Charles, but I felt like finishing with a more up-tempo song like Hit the Road Jack.
Sources: Wikipedia; Klaus Graf website; Discogs; Songfacts; YouTube
Celebrating the 50th anniversary of Sticky Fingers
While fans of The Rolling Stones may have different opinions which is the best album by the ‘Greatest Rock and Roll Band in the World’, I think most agree Sticky Fingers ranks among their top records. If I would have to pick one, it would be this gem that was released on April 23, 1971. This Friday marks the 50th anniversary of the record by a band that has existed for some 59 years and whose key songwriters became childhood friends in 1950. It’s just mind-boggling!
Sticky Fingers, the ninth British and the eleventh American studio album by the Stones, was the first they released under Rolling Stones Records. Mick Jagger, Keith Richards, Mick Taylor, Bill Wyman and Charlie Watts decided to form their own label in 1970 after the band’s recording contract with Decca Records had expired. Ten additional Stones albums appeared on that label until its discontinuation in 1992 when the Stones signed to Virgin Records.
The Rolling Stones in 1971 (from left): Charlie Watts, Mick Taylor, Bill Wyman, Keith Richards and Mick Jagger
Sticky Fingers also had a few other firsts. It became the Stones’ first studio album without any contribution from founding member Brian Jones who had been fired in June 1969 over his increasingly erratic behavior due to drug use. As we know, the story didn’t end well. Less than one month thereafter, Jones was found dead in his swimming pool – yet another great music talent tragically lost to drugs! Moreover, Sticky Fingers introduced the iconic tongue and lips logo of Rolling Stones Records, which has appeared on all Stones albums ever since.
The album’s original cover art work depicting a close up of a jeans-clad male crotch with a visible outline of a penis was conceived by none other than Andy Warhol. Unlike many fans assumed, it wasn’t Jagger’s crotch. Instead, Warhol “superstar” Joe Dallesandro claims to have been the model, though apparently this hasn’t been confirmed. Initial editions of the cover had a working zipper and perforations around the belt buckle that opened to reveal a sub-cover image of cotton briefs. Following complaints from retailers that the zipper damaged the actual vinyl records during shipping, the zipper was slightly pulled down toward the middle of the record to minimize the problem. Later reissues eliminated the working zipper and simply showed the outer photograph of the jeans.
In terms of the music, Sticky Fingers marked a return to a more basic and traditional Stones sound that mostly relied on guitar, bass, drums and percussion provided by the band’s key members: Mick Jagger (lead vocals, percussion, rhythm guitar), Keith Richards (guitar, backing vocals), Mick Taylor (guitar), Bill Wyman (bass) and Charlie Watts (drums). Long-time collaborators included Bobby Keys (saxophone) and keyboarders Billy Preston, Jack Nitzsche, Ian Stewart and Nicky Hopkins. The album was produced by Jimmy Miller, who had started to work with the Stones for Beggars Banquet from December 1968 and produced all of their albums until Goats Head Soup released in August 1973.
Time for some music. Unless otherwise noted, all tracks are credited to Jagger and Richards. Here’s the opener Brown Sugar. Songfactsnotes that while the tune comes across as “a fun rocker about a guy having sex with the black girl,” the lyrics written by Jagger are actually “about slaves from Africa who were sold in New Orleans and raped by their white masters.” The Stones recorded the tune in Sheffield, Ala. in early December 1969 and performed it for the first time live during the fateful Altamont Speedway concert on December 6 that same year. Brown Sugar backed by Bitch also became Sticky Finger’s lead single on April 16, 1971.
Wild Horses is one of my long-time favorite tunes by the Stones. Referencing the liner notes from their 1993 compilation Jump Back, Wikipedia quotes Jagger: “I remember we sat around originally doing this with Gram Parsons, and I think his version came out slightly before ours. [It did, in April 1970 on The Flying Burrito Brothers’ sophomore album Burrito Deluxe – CMM] Everyone always says this was written about Marianne [Faithfull – CMM] but I don’t think it was; that was all well over by then. But I was definitely very inside this piece emotionally.” Added Richards: “If there is a classic way of Mick and me working together this is it. I had the riff and chorus line, Mick got stuck into the verses. Just like “Satisfaction”, “Wild Horses” was about the usual thing of not wanting to be on the road, being a million miles from where you want to be.” Wild Horses, with Sway as the B-side, was also released separately as the album’s second single on June 12, 1971.
Another highlight on Side One of Sticky Fingers is Can’t You Hear Me Knocking. At 7 minutes-plus, this is an unusually long track for the Stones. One of the song’s distinct features is a lengthy saxophone solo by Bobby Keys. Rocky Dijon and Billy Preston contribute percussion and organ, respectively. “Can’t You Hear Me Knocking” came out flying,” Richards said, as quoted by Rolling Stones fan site Time Is On Our Side. “I just found the tuning and the riff and started to swing it and Charlie picked up on it just like that, and we’re thinking, hey, this is some groove. So it was smiles all around. For a guitar player it’s no big deal to play, the chopping, staccato bursts of chords, very direct and spare.”
This brings me to Side Two of the album. The first track I’d like to highlight here is Bitch, a tune with a great guitar riff and horn line. Like many other songs on the album, the Stones recorded it at the Stargroves estate in Hampshire, England, using their mobile recording unit. Songfactspoints outMick Jagger had multiple relationships, so the tune is not about Marianne Faithfull or any other specific woman for that matter. It’s safe to assume the song’s lyrics could not be written today without triggering a political fire storm. “When we were doing Bitch, Keith was very late,” recalled recording engineer Andy Jones, according to Time Is On Our Side. “Jagger and Mick Taylor had been playing the song without him and it didn’t sound very good. I walked out of the kitchen and he was sitting on the floor with no shoes, eating a bowl of cereal. Suddenly he said, Oi, Andy! Give me that guitar. I handed him his clear Dan Armstrong Plexiglass guitar, he put it on, kicked the song up in tempo, and just put the vibe right on it. Instantly, it went from being this laconic mess into a real groove. And I thought, Wow. THAT’S what he does.”
Next up is a track I’ve come to increasingly love over the years, even though it’s not a traditional Stones rocker: Dead Flowers. Nowadays, I would go as far as calling this must-play tune for every bar band my favorite Stones song – so much for a guy who used to dismiss country as hillbilly music for the longest time! Recorded at Olympic Studios in London in April 1970, Dead Flowers was written during a time when the Stones were embracing country and Richards’ writing was influenced by his friendship with Gram Parsons. “The ‘Country’ songs we recorded later, like “Dead Flowers” on Sticky Fingers or “Far Away Eyes” on Some Girls are slightly different (than our earlier ones),” Jagger observed, per Rocks Off: 50 Tracks That Tell the Story of The Rolling Stones, a 2013 book by Bill Janovitz. “The actual music is played completely straight, but it’s me who’s not going legit with the whole thing, because I think I’m a blues singer not a country singer – I think it’s more suited to Keith’s voice than mine.” Be that as it may be. What I particularly love about Dead Flowers are the great guitar fill-ins by Richards and Taylor throughout the song.
Let’s wrap things with one more tune: Moonlight Mile, the album’s excellent closer! Another track recorded at Stargroves at the end of October 1970, Moonlight Mile came out of an all-night session involving Jagger and Taylor. Notably, Richards was absent for the recording of this tune, so Taylor handled all guitar work. Songfacts also calls out contributions from Jim Price (piano) and Paul Buckmaster (string arrangements). “That’s a dream song,” Jagger reportedly said in 1978. “Those kinds of songs with kinds of dreamy sounds are fun to do, but not all the time – it’s nice to come back to reality.” BTW, even though Richards was nowhere to been when the tune was recorded, it still was credited to Jagger and him.
Sticky Fingers became the first Stones album to top both the U.S. and the UK albums charts. Based on a January 2020 article by news and entertainment outlet The Talko, it is the band’s best-selling record with about 21.7 million units sold, followed by Let It Bleed (21.3 million) and Aftermath (19.6 million). Sticky Fingers was ranked at no. 63 in Rolling Stone’s 2003 list of The 500 Greatest Albums of All Time. While it lost some ground in the most recent revised list from September 2020, it still came in at a respectable no. 104. Sticky Fingers was also inducted into the Grammy Hall of Fame in 1999.
Given the album’s significance, you might think the Stones are celebrating the 50th anniversary with a major reissue. Not so. Instead, in early December, the band announced on Twitter a Red Limited Edition LP: Introducing… the Sticky Fingers Stones Red Limited Edition LP. 500 will be available in the Stones Carnaby Street store from Thursday Dec 3rd & 500 available online later that day at 8pm GMT / 12pm PST.Sign up for reminders: https://the-rolling-stones.lnk.to/StonesSignUpSo. More Stones Red to come! While at first sight, this may be a bit disappointing, it’s important to remember that Sticky Fingers already saw a reissue in 2015. Plus, there’s Sticky Fingers Live At The Fonda Theatre 2015, a great 2017 release the Stones put out as part of their From the Vault series.
How about a little encore? Ask and you shall receive, and it’s a true gem: a killer rendition of Can’t You Hear Me Knocking from the aforementioned Sticky Fingers Live At The Fonda Theatre 2015, which captures a gig before a relatively tiny audience of 1,200 people. It marked the opening of the Stones’ two-month Zip Code Tour in 2015 and also celebrated the above noted Sticky Fingers reissue. The band was truly on fire that night. I would argue that performance reaches the level of the legendary Get Yer Ya-Ya’s Out. If you haven’t seen this clip before and dig the Stones, I’d highly encourage you to watch it. This is rock & roll at its best!
Sources: Wikipedia; Songfacts; Time Is On Our Side; The Talko; Rolling Stones Twitter feed; YouTube
Lately, I’m finding myself coming across lots of new music I like. Ironically, it’s largely due to my streaming music provider. I used to complain they do a rather mediocre job of serving up music I’m supposed to dig, based on my listening habits. While some of their suggestions still look a bit odd to me, I have to give credit where credit is due: Finally, it appears their algorithms have improved, and lately, they’ve been proposing some pretty good stuff.
Hoping this is going to continue, I’m introducing a new feature to the blog ingeniously titled Best of What’s New. The idea is to highlight new songs rather than new albums. I’m already doing the latter and have no intention to change that. While I don’t see myself starting to write about electronic dance music or Neue Deutsche Haerte a la Rammstein, I’m hoping to keep these posts a bit eclectic. I realize the characterization “best” is pretty subjective. If a song speaks to me, it’s fair game. With this disclaimer out of the way, let’s get to the inaugural post.
Clarke Thorndycaft/Jumpin’ Jack Flash
‘Really,’ you might wonder, ‘a cover?’ I didn’t say these posts will only include original music! Behind Clarke Thorndycraft are guitarist Mick Clarke and singer and harmonica player Bill Thorndycraft, who both were among the founding members of Killing Floor, a British blues-rock band that initially was active between 1968 and 1972 and has been revived in 2002. More than just a cover, the tune is an homage to The Rolling Stones, which becomes obvious when they call out each member of “the world’s greatest rock & roll band” at the end of the tune. Co-written by Mick Jagger, Keith Richards and an uncredited Bill Wyman, the song was first released as a single in May 1968.
Emil Ingmar/Ellegatan
I betcha didn’t see a modern jazz type instrumental coming, did ya? Well, while for the most part, I anticipate not to veer off too far from my core wheelhouse, I have no problem doing so, if I like it. And I find this tune beautiful and very soothing. According to Naxos Direct, Ingmar is a jazz pianist, composer and freelance musician from Uppsala, Sweden. He also is the chairman of the Uppsala Jazz Club and organizer of the Live Jazz Bar at Uplands Nation and the Jazz Corner at UKK. Coolio, Julio! Ellegatan is from Ingmar’s new album Karlavagnen, which came out yesterday. Let’s hear it!
Deep Purple/Throw My Bones
Wait, what, haven’t these guys been on a farewell tour for the past couple of years? And now new music? Well, Deep Purple ingeniously called it “The Long Goodbye Tour.” I suppose the emphasis is on long. Just released yesterday, Throw My Bones is the lead single from the band’s upcoming new studio album Whoosh! set for release on June 12. According to a statement on Deep Purple’s website, the tune “is an invitation to take a step back and see the bigger picture, a call for action and an invitation to observe the planet and the current situation on earth” – have they turned into philosophers now? The song is co-credited to the band’s current members Don Airey (keyboards), Ian Gillan (lead vocals), Roger Glover (bass), Steve Morse (guitar) and producer Bob Ezrin. While it’s not exactly Machine Head caliber, Deep Purple remain my favorite hard rock band, and I will always have a weak spot for them. Check out Steve Morse’s guitar solo on that tune – obviously, he’s a hell of a guitarist!
Durand Jones & The Indications/Young Americans
From their website: Durand Jones & the Indications aren’t looking backwards. Helmed by foil vocalists in Durand Jones and drummer Aaron Frazer, the Indications conjure the dynamism of Jackie Wilson, Curtis Mayfield, AND the Impressions. This young band of twenty-somethings are students of soul, including guitarist Blake Rhein, who moonlights doing research for The Numero Group. Even with that background, and an aesthetic steeped in the golden, strings-infused dreaminess of early ‘70s soul, the Indications are planted firmly in the present, with the urgency of this moment in time. The website lists two albums: The eponymous debut from 2016 and the sophomore American Love Call, which came out last year. Their cover of Young Americans was released as a single on January 28. Written by David Bowie, Young Americans is the title track of Bowie’s ninth studio album from March 1975. While it’s not very different from the original, I think Durand Jones and the band give it a nice soul vibe.
Ready for one more? How ’bout some more contemporary jazz? Ever heard of Pat Metheny? Yep, the American jazz guitarist and composer who has been around like forever – to be more precise since 1974, according to Wikipedia. His debut album Bright Size Life dates back to early 1976. This tune, Love May Take a While, is off Metheny’s latest album From This Place. Released on February 21, it appears to be his 10th studio record. I don’t wanna pretend that all of a sudden, I’ve turned into a jazz connoisseur. The truth is I rarely listen to jazz and know next to nothing about it. But it ain’t rocket science, baby: I simply dig the smooth and relaxing sound of this tune. The tone of Metheny’s guitar is just beautiful. Hope you enjoy it as much as I do!
Source: Wikipedia; Clarke Thorndycraft Facebook page; Naxos Direct; Deep Purple website; Durand Jones & The Indications website; YouTube
‘Greatest rock & roll band in the world’ delivers powerful performance at New Jersey’s MetLife Stadium
Whether you agree or not with the label “greatest rock & roll band in the world” (I dig the Stones big time but still would choose The Beatles, if could only select one band), I believe it is safe to say The Rolling Stones are a unique phenomenon. For now more than 55 years, they have brought energetic blues-oriented rock to audiences around the world. And they did so again last night at MetLife Stadium in East Rutherford, N.J., during the first of two dates at that venue, as part of the previously postponed North American leg of their No Filter Tour.
At age 76, Mick Jagger remains one of the most compelling front men in rock. His voice still is in fairly decent shape. What’s even more remarkable is that he doesn’t appear to have lost any of his swagger. He is still a born show guy. He also continues to have the energy of a young man, allowing him to, well, move like Jagger. And let’s not forgot his heart valve replacement surgery only happened a few months ago. Frankly, all of this is friggin’ unreal to me. I will say that age hasn’t been as kind to other core members of the band, but together they still sounded great.
The Rolling Stones (from left): Ronnie Wood, Mick Jagger, Charlie Watts and Keith Richards
I agree with everything Music Enthusiast recently noted during his review of the Stones’ gig at Gillette Stadium in Foxborough, Mass. These shows ain’t cheap, but when a band puts on that kind of performance, spending big bucks is worth it, especially if you dig their music. And like Music Enthusiast, I was also surprised how fresh and dynamic Miss You sounded, certainly not my favorite Stones tune, and what a killer performance they put on for Midnight Rambler. Last but not least, I also love Brown Sugar, actually more so than Midnight Rambler, and Jagger and co delivered on this one as well. Hell, even the overplayed second and last encore (I Can’t Get No) Satisfaction sounded cool.
Since most if not all more frequent visitors of my blog also follow Music Enthusiast, I’m going to deliberately highlight other tunes. Let’s kick it off with the opener last night: Street Fighting Man. As usually credited to Mick Jagger and Keith Richards, the tune was first released as a U.S. single in August 1968. It was also included on the Beggars Banquet album from that same year.
Next up: Tumbling Dice from Exile On Main Street, a favorite among Stones fans. Even many critics who initially were lukewarm about it changed their opinions later and concluded it’s one of the band’s best records – I guess being a critic and saying something clever is hard, and I’m definitely happy I’m not one of ’em! Co-written by Jagger and Richards, Tumbling Dice also appeared as the album’s lead single in April 1972, one month ahead of the record’s release.
Are you ready for something acoustic? Well, ready or not, here’s the second and last tune the Stones performed on the so-called B-stage. And even though as a country-oriented song it’s less typical for the band, Dead Flowers off Sticky Fingers from April 1971 is one of my favorite tracks from what has become my favorite Stones record. Again, it’s a Jagger/Richards co-write. Take me down little Susie!
The last tune I’d like to highlight is one of my other favorites from the Stones: Jumpin’ Jack Flash. Recorded during the Beggars Banquet sessions, the track was released as a single in May 1968. While officially it is only credited to Jagger and Richards, according to Wikipedia, then-bassist Bill Wyman in his autobiography Stone Alone wrote that he came up with the tune’s signature guitar riff on a piano but wasn’t acknowledged by the Glimmer Twins – that doesn’t sound nice!
Here’s the setlist from last night.
Main Stage:
Street Fighting Man
Let’s Spend the Night Together
Tumbling Dice
She’s a Rainbow (audience request)
You Can’t Always Get What You Want
B-Stage / Acoustic:
Sweet Virginia
Dead Flowers
Main Stage:
Sympathy for the Devil
Honky Tonk Women
Slipping Away (Keith Richards on lead vocals)
Before They Make Me Run (Keith Richards on lead vocals)
Miss You
Paint It Black
Midnight Rambler
Start Me Up
Jumpin’ Jack Flash
Brown Sugar
Encore:
Gimme Shelter
Play Video
(I Can’t Get No) Satisfaction
Core members Mick Jagger (lead vocals, harmonica, guitar, percussion), Keith Richards (guitars, vocals), Ronnie Wood (guitars, backing vocals) and Charlie Watts (drums, percussion) were backed by Darryl Jones (bass), Chuck Leavell (keyboards, backing vocals), Matt Clifford (keyboards, percussion, French horn), Karl Denson (saxophone), Tim Ries (saxophone, keyboards), Sasha Allen (backing vocals) and Bernard Fowler (backing vocals, percussion). In addition to Jagger, Wood stood out to me with excellent guitar work among the Stones’ core members. And while all supporting musicians were top-notch, I’d like to call out Jones for his killer bass solo in Miss You and Denson for his strong sax work, which was on display during Miss You and other tunes.
Three fun facts I learned: Jagger said last night was the first time for The Rolling Stones to play at MetLife Stadium. During band introductions, he called Charlie WattsFrank Sinatra’s favorite drummer – an allusion to Watts’ age who turned 78 in June? No idea, but I found it funny. Watts didn’t look bothered by it. Opening act The Wombats, an indie rock and power pop band from Liverpool, England, during their set mentioned that it was one of their songs, Techno Fan, to which Jagger danced during his post-heart surgery practice video that went viral on the internet. It sounded like that song choice led to outreach to the Stones and to The Wombats opening up for them last night – cool story.
The Stones are playing MetLife Stadium again on Monday, August 5. Then it’s on to Denver (Aug 10) and Seattle (Aug 14). The last North American date and I assume the end of the tour is in Miami on August 31. The No Filter Tour kicked off on September 9, 2017 in Hamburg, Germany. There were a few bigger breaks throughout the two-year span. The schedule for the remaining shows is here.
Sources: Wikipedia, Rolling Stones website, YouTube
Uncredited on countless Motown songs, Jamerson was one of the most influential bass guitar players in modern music history
If you had asked me as recently as a few weeks ago to name influential bass players in pop and rock, I might have mentioned Paul McCartney, John Entwistle, Jack Bruce and John Paul Jones. Then I read that McCartney, one of my all-time favorite artists, noted James Jamerson and Brian Wilson as key influences for his bass playing. Admittedly, that was the first time I had heard about Jamerson.
While given my history as a hobby bassist I’m a bit embarrassed about my ignorance regarding Jamerson, I can point to one key difference between him and the other aforementioned bassists. Unlike them, Jamerson was kind of invisible for a long time – literally. While he played on countless Motown recordings in the ’60s and early ’70s, usually, he wasn’t credited, at least at the time. That’s even more unbelievable once you realize how revered this man was among other professional bass players.
According to Bass Player magazine, which named Jamerson no. 1 on its 2017 list of The 100 Greatest Bass Players of All Time, “The most important and influential bass guitarist in the 66-year history of the Fender Precision he played, South Carolina-born, Detroit-raised James Jamerson wrote the bible on bass line construction and development, feel, syncopation, tone, touch, and phrasing, while raising the artistry of improvised bass playing in popular music to zenith levels.” In addition to McCartney, many other prominent bassists have pointed to Jamerson as a primary influence, including Jones, Enwistle, Wilson, Randy Meisner, Bill Wyman, Chuck Rainey, Geddy Lee and Pino Palladino, to name some.
Jamerson was born on January 29, 1936 on Edisto Island near Charleston, S.C. In 1954, he moved to Detroit with his mother. Soon, while still being in high school, he began playing in local blues and jazz clubs. After graduation, Jamerson started getting session engagements in local recording studios. In 1959, he found a steady job as a studio bassist at Motown where became part of The Funk Brothers, essentially the equivalent of Stax houseband Booker T. & the M.G.s, except it was a much larger and more fluid group of musicians.
During his earliest Motown sessions, Jamerson used a double bass. In the early ’60s, he switched to an electric Fender Precision Bass most of the time. Like him, most of The Funk Brothers originally were jazz musicians who had been hired by Motown founder Berry Gordy to back the label’s recording artists in the studio. For many years, the members of The Funk Brothers would do session work at the Motown studio during the day and play in local jazz clubs at night. Occasionally, they also backed Motown’s stars during tours.
Not only did the musicians make substantially less money than the label’s main artists, but they also did not receive any recording credits for most of their careers. It wasn’t until 1971 that Jamerson was acknowledged on a major Motown release: Somewhat ironically, that album was Marvin Gaye’sWhat’s Going On. Eventually, Motown put Jamerson on a weekly retainer of $1,000 (about $7,200 in 2018 dollars), which enabled him and his family to live comfortably. In 1973, Jamerson ended his relationship with Motown, which had since been relocated to Los Angeles. For the remainder of the ’70s, he worked with artists like Eddie Kendricks, Robert Palmer, Dennis Wilson, Smokey Robinson and Ben E. King.
But Jamerson did not embrace certain trends in bass playing that emerged during the ’70s, such as simpler and more repetitive bass lines and techniques like slapping. As a result, he fell out of favor with many producers, and by the 1980s, sadly, he essentially could not get any serious session work. Eventually, Jamerson’s long history with alcoholism caught up with him, and he died of complications from cirrhosis of the liver, heart failure and pneumonia on August 2, 1983. He was only 47 years old. Time for some music featuring this amazing musician!
I’d like to kick things off with an early recording that did not appear on Motown: Boom Boom by John Lee Hooker. Written by him, it became one of his signature tunes. According to Wikipedia, apparently it was Detroit pianist Joe Hunter, who brought in Jamerson and some other members from The Funk Brothers to the recording session.
Here’s one of the many Motown tunes on which Jamerson performed: For Once In My Life, the title track of Stevie Wonder’s album from December 1968. The song was co-written by Ron Miller and Orlando Murden.
Next up: The aforementioned What’s Going On, which I think is one of the most soulful Marvin Gaye songs. The title track of his 11th studio album released in May 1971 was co-written by Gaye, Motown songwriter Al Cleveland and Renaldo Benson, a founding member of The Four Tops.
I also like to touch on a couple of songs after Jamerson had parted with Motown. Here is Boogie Down by Eddie Kendricks, another title track. The fourth studio album by the former vocalist of The Temptations appeared in February 1973. The groovy tune was co-written by Anita Poree, Frank Wilson and Leonard Caston.
For the last track let’s jump to November 1975 when Robert Palmer released his second studio album Pressure Drop. Here’s the great opener Give Me An Inch, which was also written by Palmer.
James Jamerson received numerous accolades after his death. In 2000, he was inducted into the Rock and Roll Hall of Fame, one of the first inductees to be honored in the “sideman” category. In 2004, he received a Grammy Lifetime Achievement Award as part of The Funk Brothers. Along with the other members of the group, Jamerson was also inducted into the Musicians Hall of Fame in Nashville, Tenn. in 2007.
I’d like to close with Paul McCartney, who during a 1994 interview with bass book author Tony Bacon said: “Mainly as time went on it was Motown, James Jamerson—who became just my hero, really. I didn’t actually know his name until quite recently. James was very melodic, and that got me more interested.”
Sources: Wikipedia, Bass Player magazine, Reverb.com, YouTube
Relatives of original members pay tribute to legendary power rock trio
While I’ve seen many tribute bands over the past couple of years, Tuesday night was a first: a tribute act whose members were relatives of the original band’s musicians. Meet Music of Cream: Malcolm Bruce (bass) and Kofi Baker (drums), sons of Jack Bruce and Ginger Baker; and Will Johns (guitar), nephew of Eric Clapton.
The closest case I can think of is Jason Bonham, son of the late Led Zeppelin drummer John Bonham, who pays tribute to the English rockers with Jason Bonham’s Led ZeppelinExperience. But I’ve never seen a tribute act where the entire lineup is blood-related to the members of the original band.
Apart from being true masters of their craft, Malcolm Bruce, Kofi Baker and Will Johns also have impressive other accomplishments, as their bios on the Music of Creamwebsite show. Malcolm is a composer, songwriter, multi-instrumentalist and engineer. In addition to having recorded and performed with his father, he can be heard on recordings of other artists like Little Richard, Eric Clapton or Elton John. Last year, Malcolm also released his debut solo album Salvation.
Kofi first performed live with his father on the BBC TV show The Old Grey Whistle Test when he was just six years old. In addition to Jack Bruce, he has also played and toured with other rock musicians, such as Uli Jon Roth (former lead guitarist of Scorpions), UFO guitarist Vinnie Moore and Rick Derringer. He also released a solo record, Lost City, and recorded an album with Jonas Hellborg and Shawn Lane called Abstract Logic.
Music of Cream (from left): Kofi Baker, Malcolm Bruce and Will Johns
In addition to Jack Bruce, Will has performed with Ronnie Wood, Mick Taylor and Bill Wyman. Will’s strong connection to members of The Rolling Stones is likely due to his father Andy Johns, recording engineer and producer, who apart from the Stones has worked with Led Zeppelin and Jimi Hendrix. Will is also the nephew of Glyn Johns who has produced for The Who, Eric Clapton and Eagles. To date, he has released three solo albums: Count On Me, Hooks & Lines and Something Old, Something New.
Yes, it’s safe to assume that all their connections haven’t hurt Malcolm, Kofi and Will, but this doesn’t take away from the fact that they are highly talented musicians and accomplished artists. Music of Cream’s shows are billed as a 50th anniversary tour, which was launched in Australia and New Zealand last year. Cream’s debut album Fresh Cream appeared in December 1966.
Tuesday night’s show was divided in two sets separated by a 20-minute intermission. Based on what I’ve seen on Setlist.fm, this appears to be the typical format. In addition to great music, I also thought the projection of psychedelic color patterns mixed with historical footage of Cream on the stage background was pretty cool. While the band was taking a break, documentary film footage was shown. During both sets, Kofi, Macolm and Will also shared anecdotes about Ginger, Jack and Eric.
Time for some clips! Here are two from the first set. Politician appeared on Wheels Of Fire, Cream’s third album released in August 1968. It was written by Jack Bruce and lyricist and singer Pete Brown who frequently collaborated with Bruce.
Next up: Strange Brew, the opener of Cream’s sophomore album Disraeli Gears from November 1967. The tune is credited to Eric Clapton, the record’s producer Felix Pappalardi and his wife Gail Collins.
Some of the other tunes from the first set included N.S.U., Badge and Sleepy Time Time.
The second set kicked off with I’m So Glad, followed by Crossroads. Following is a clip of the latter, a Robert Johnson tune arranged by Eric Clapton.
White Room was another tune Music of Cream performed during the second half of show. Co-written by Bruce and Brown, the song was the opener of the Wheels Of Fire album.
Some other tunes from the second sets included Born Under A Bad Sign, Sitting On Top Of The World, Toad and Sunshine Of Your Love. Here’s a clip of the latter, another track from Disraeli Gears, co-written by Bruce, Clapton and Brown. The band stretched it into an 11-minute-plus jam.
Music of Cream also threw in Spoonful as an encore. Including the intermission, the show lasted a solid three hours. Not only did Malcolm Bruce, Kofi Baker and Will Johns do a great job to capture the music of Cream, but they were also clearly enjoying themselves.
Upcoming tour dates include Baltimore, Md. (Oct 25), Greensburg, Pa. (Oct 26), Bristol, Tenn. (Oct 28) and Richmond, Va. (Oct 30). The full schedule is available here.
Sources: Wikipedia, Music of Cream website, Setlist.fm,
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