The Sunday Six

Celebrating music with six random tracks at a time

Happy Sunday and welcome to another trip into the beautiful and diverse world of music, six tracks at a time. Hop on, fasten your seatbelts and let’s go!

Miles Davis/So What

Today, I’d like to start our journey in August 1959 with some early Miles Davis. I have to admit I find this more accessible than Bitches Brew and other of his later more experimental music I’ve heard. I guess I’m not alone. According to Wikipedia, many critics regard Davis’s Kind of Blue album as his masterpiece, the greatest jazz record, and one of the best albums of all time. In 1976, it became his first album to reach Gold certification in the U.S., and as of 2019, it has reached 5X Platinum. More importantly, the album’s influence reached far beyond jazz. None other than the great Duane Allman, guitarist of The Allman Brothers Band, said his soloing on songs like In Memory of Elizabeth Reed, “comes from Miles and Coltrane, and particularly Kind of Blue.” Pink Floyd keyboardist Richard Wright noted the chord progressions on Kind of Blue influenced the structure of the introductory chords to the song Breathe on their 1973 gem The Dark Side of the Moon. Meanwhile, Davis ended up viewing Kind of Blue and his other early work differently. During a 1986 interview, he said, “I have no feel for it anymore—it’s more like warmed-over turkey.” Here’s the album’s opener So What composed by Davis. BTW, Davis (trumpet) was in formidable company on the album, including saxophone greats John Coltrane and Cannonball Adderley, pianists Bill Evans and Wynton Kelly, as well as Paul Chambers (double bass) and Jimmy Cobb (drums).

Christine McVie/One in a Million

For our next stop, we’re jumping 25 years ahead to January 1984. I trust Christine McVie (born Christine Perfect) doesn’t need much of an introduction. It’s safe to assume most folks know her as a long-term member of Fleetwood Mac. She joined the group as keyboarder and vocalist in 1970 after her departure from blues band Chicken Shack and the release of her first solo album Christine Perfect. Following the Mac’s 13th studio album Mirage from June 1982, they went on a temporary hiatus, giving McVie the time to record her second eponymous solo album, Christine McVie. She was backed by Todd Sharp (guitar, backing vocals), George Hawkins (bass, backing vocals) and Steve Ferrone (drums, percussion) who 10 years later would join Tom Petty’s band The Heartbreakers. Mac’s Lindsey Buckingham (guitar) and Mick Fleetwood (drums) had guest appearances on certain tracks, as had Eric Clapton and Steve Winwood. Clearly, McVie didn’t have any challenges to secure high-caliber talent for the album. Here’s One in a Million, co-written by her and Sharp. It’s one of the tunes featuring Winwood who in addition to synthesizer also provided lead and backing vocals. Nice pop-rocker!

The Moody Blues/Watching and Waiting

This next pick has been on my list of earmarked Sunday Six songs for several months – not quite sure what took me so long! Watching and Waiting is the beautiful closer of the Moody Blues’s fifth studio album To Our Children’s Children’s Children, released in November 1969. Co-written by band members Justin Hayward (vocals, guitar, sitar) and Ray Thomas (vocals, flute, tambourine, bass flute, oboe), the tune also appeared separately as a single. It didn’t chart, unlike the album, which climbed to no. 2 in the UK, no. 11 in Canada and no. 14 in the U.S. The band’s remaining members at the time were Mike Pinder (Mellotron, piano), John Lodge (bass) and Graeme Edge (drums, percussion). During a 2014 interview Hayward said, “when we heard that song in its studio beauty, we thought, “This is it! All of those people who had been saying to us for the past 3 or 4 years, “You’ll probably just do another Nights in White Satin with it” — no! We had shivers up the spine, and that kind of stuff. But when it came out and you heard it on the radio, you kept saying, “Turn it up! Turn it up!! Oh no, it’s not going to make it.” So it didn’t happen.”

Tom Faulkner/River On the Rise

On to the ’90s and Tom Faulkner, a great American singer-songwriter who isn’t exactly a household name. My former bandmate and longtime music buddy from Germany brought him and his excellent 1997 album Lost In The Land Of Texico on my radar screen last year, and this is the second track from that album I’m featuring on The Sunday Six. To date, Faulkner has only released two albums. His most recent one, Raise the Roof, appeared in 2002. For the most part, he has made his living with commercial music for radio and TV. According to this bio on last.fm, Faulkner has created hundreds of national jingles and scores, including some of the most memorable commercial music on television and radio. Most notably, he composed and sang the wildly popular “I Want My Baby Back” for Chili’s, a jingle that has since found its way into motion pictures (Austin Powers) and over a dozen major network TV shows. He also created the multi-award winning music theme for Motel 6 and Tom Bodett, the longest running commercial campaign in the history of advertising (23 years, 5 CLIOs, and counting). Check out River On the Rise, a nice bluesy tune!

Joe Jackson Band/Take It Like a Man

It’s time to feature a couple of songs from the current century, don’t you agree? First, let’s go to March 2003 and Volume 4, the 16th studio album by versatile British music artist Joe Jackson, released as Joe Jackson Band. For this project, Jackson (piano, organ, electric piano, melodica, lead vocals) brought back together his original backing band of Gary Sanford (guitar, backing vocals), Graham Maby (bass, backing vocals) and David Houghton (drums, backing vocals). And there’s definitely some of that cool vibe from Jackson’s first three albums Look Sharp! (January 1979), I’m the Man (October 1979) and Beat Crazy (October 1980). Over his now 50-plus-year career, Jackson has touched many different genres ranging from pub rock, new wave, swing, and jazz-oriented pop to even classical music. Here’s the album’s great opener Take It Like a Man, which like all other tunes was penned by Jackson.

Candy Dulfer/Jammin’ Tonight (feat. Nile Rodgers)

And once again, it’s time to wrap up. For this final track, we’re traveling back to the present and a funky tune by Dutch jazz and pop saxophonist Candy Dulfer: Jammin’ Tonight featuring Mr. funky guitar Nile Rodgers. Dulfer, the daughter of Dutch tenor saxophonist Hans Dulfer, began playing the drums as a five-year-old before discovering the saxophone a year later. Since the age of seven, she has focused on the tenor saxophone. By the time she was 11, Dulfer made her first recordings for her father’s jazz band De Perikels (the perils). Three years later, she opened up two European concerts for Madonna with her own band Funky Stuff. Two years later, in 1989, she duetted with Dave Stewart (of Eurythmics) on the worldwide instrumental hit Lily Was Here, from the motion picture soundtrack of the same name. The following year, she put out her solo debut album Saxuality. The above tune Jammin’ Tonight is from Dulfer’s forthcoming album We Never Stop, which is scheduled for October 28. Funky!

Last but not least, here’s a Spotify playlist featuring all of the above tunes. Hope there’s something for ya!

Sources: Wikipedia; last.fm; YouTube; Spotify

Advertisement

The Sunday Six

Celebrating music with six random songs at a time

It’s an overcast and rainy weekend in my neck of the woods (central New Jersey), but this shall not take away any of the fun to present another eclectic set of six tunes, especially given The Sunday Six is hitting a mini-milestone today with its 20th installment. Plus, if the weather is a mixed bag in your area as well, it’s a perfect opportunity to listen to some music. And in case conditions are perfect to be outdoors, just take the music with you! 🙂

Dave Holland/Grave Walker

Kicking us off today is some brand new funky jazz by an old hand: Dave Holland, an English double bassist, composer and bandleader who has been active for five decades. Holland started out teaching himself how to play the ukulele as a four-year old, followed by the guitar and the bass. At the age of 15, he quit school, initially wanting to play pop before discovering jazz. Holland subsequently received a full-time scholarship for London’s Guildhall School of Music and Drama. By age 20, he was a busy student and musician, who frequently performed at London’s premier jazz venue Ronnie Scott’s Jazz Club. In 1968, Miles Davis saw Holland and invited him to join his band to replace Ron Carter. For the next two years, he worked with Davis and appeared on the albums In a Silent Way and Bitches’ Brew. His first record as a bandleader, Conference of the Birds by Dave Holland Quartet, appeared in 1973. In addition to Davis, Holland has worked with numerous other jazz artists, such as Thelonious Monk, Anthony Braxton, Stan Getz and John Abercrombie. According to his website, Holland’s “playing can be heard on hundreds of recordings, with more than thirty as a leader under his own name.” This brings me to Grave Walker, the great funky opener of Holland’s new album Another Land, which came out on Friday (May 28), featuring guitarist Kevin Eubanks and drummer Obed Calvaire. Groovy and great sound, baby!

Sam & Dave/Hold On, I’m Coming

Let’s keep on groovin’ and jump back 55 years to March 1966. That’s when Stax recording artists Sam & Dave released their new single Hold On, I’m Comin’. Co-written by the songwriting team of Isaac Hayes and David Porter, this gem became the soul duo’s first no. 1 hit on the Billboard Hot R&B Singles chart. It also was the title track of Sam & Dave’s debut studio album, which was released the following month. According to Wikipedia, Steve Cropper, lead guitarist of Stax house band Booker T. and the M.G.s, said the song’s title came out of a verbal exchange between Porter who was in the restroom at the Stax studio and an impatient Hayes who yelled for Porter to return to their writing session. When Porter responded, “Hold On, I’m Comin’,” they both thought this would make for a great song title and completed the tune within an hour. It’s amazing what bathroom breaks can do!

Squeeze/Pulling Mussels (From the Shell)

Pulling Mussels (From the Shell) may be one of only a handful of Squeeze songs I’ve heard but, hey, you don’t have to be an expert about a band to recognize a great power pop tune. When I came across the song in the process of researching this post, it was an easy decision to include. Co-written by Squeeze rhythm guitarist and vocalist Chris Difford and Glenn Tilbrook, the band’s lead guitarist and keyboarder, Pulling Mussels (From the Shell) is from their third studio album Argybargy released in February 1980. It also appeared separately as a single in April that year. To my big surprise, the tune only climbed to no. 44 in the UK and didn’t chart in the U.S. at all. BTW, Squeeze, which were initially founded by Difford and Tilbrook in March 1974, are still around, though they had some breaks in-between. The current incarnation has been active since 2007, released three new albums to date, and still includes Difford and Tilbrook.

Deep Purple/Pictures of Home

It’s time to push the pedal to the heavy metal coz why not? In this context, I couldn’t think of a better choice than Deep Purple, my all-time favorite hard rock band. The combination of Ritchie Blackmore’s guitar and Jon Lord’s roaring Hammond B3 still excites me. Pictures of Home is a track from Deep Purple’s sixth studio album Machine Head that came out in March 1972 and is their Mount Rushmore, in my view. Just about everything about this song is cool: The intro by Ian Paice, who is a beast of a drummer; the great main guitar riff by Ritchie Blackmore; Jon Lord’s sweet B3 work; Ian Gillan who was at the top of game as a lead vocalist; and let’s not forget about Roger Glover’s pumping bass and his neat short solo starting at about 3:40 minutes. Like all other tracks on the album, Pictures of Home was credited to all members of the band.

Mariah Carey featuring Trey Lorenz/I’ll Be There

Mariah Carey? Yep, you read that right! Have I lost my mind? I hope that’s not the case. Before causing too much confusion here, I generally don’t listen to Mariah Carey. However, together with Christina Aguilera, I believe she’s one of the strongest female contemporary vocalists. Then there’s I’ll Be There, a tune I loved from the moment I heard it first from The Jackson 5 as part of a Motown box set. It must have been in the early ’80s. Credited to Berry Gordy, producer Hal Davis, Bob West and Willie Hutch, I’ll Be There was released in late August 1970 as the lead single of the Jackson 5’s third studio album ingeniously titled Third Album that appeared two weeks later. Carey’s cover, which I think is even more compelling than the original, was included on her MTV Unplugged EP from June 1992. Apart from Carey’s strong rendition of Michael Jackson’s part, I’d like to call out R&B singer Trey Lorenz who does an amazing job singing Jermaine Jackson’s lines. It’s really the outstanding vocal performance that convinced me to feature this rendition.

3 Doors Down/It’s Not My Time

Just in case that previous tune shocked you, or perhaps did the opposite thing and put you in a sleepy mood, let’s finish this installment on a rock note: It’s Not My Time by 3 Doors Down. Formed in 1996 in Escatawpa, Miss., they broke through internationally with their first single Kryptonite from January 2000. Originally, that song had been recorded as a demo for a local Mississippi radio station. From there, it was picked up by other radio stations and became popular, topping Billboard’s Mainstream Rock Tracks chart and eventually reaching no. 3 on the Hot 100. Subsequently, 3 Doors Down signed with Republic Records and recorded their debut album The Better Life. Appearing in February 2000, it continued the band’s remarkable streak of success, climbing to no. 7 on the Billboard 200, charting in many other countries, and becoming their best-selling album that only the in the U.S. sold more than 5 million copies. It’s Not My Time is from 3 Doors Down’s eponymous fourth studio album from May 2008. Like all other songs on the record, the tune is credited to four of the band’s members at the time: Brad Arnold (lead vocals), Matt Roberts (lead guitar, backing vocals), Chris Henderson (rhythm guitar, backing vocals) and Todd Harrell (bass). Greg Upchurch (drums) completed their line-up. 3 Doors Down are still active, with Arnold, Henderson and Upchurch remaining part of the current formation.

Sources: Wikipedia; Dave Holland website; YouTube