Lately, I’ve been finding lots of great new music. But despite spending more time than ever on this task I still miss many releases. That’s why several weeks ago, I decided to launch a feature to capture some of what I overlooked as short takes. Initially titled The Follow-up, going forward it will be known as Catching Up, a more appropriate title, in my view. Today, I’d like to highlight two albums that dropped on May 19.
Luke Enyeart – Phases
Luke Enyeart (pronounced N-Yurt) is a guitarist, singer-songwriter and producer who is based in Minneapolis, Minn. I first came across his name in April 2020 as one of the co-writers of Waiting On…, a song by R&B artist Jessy Wilson from her May 2019 album Phase, which I reviewed here. In addition to writing for other artists and touring as a lead guitarist with the likes of Ryan Bingham, Katie Pruitt and Yola, Enyeart has been penning his own tunes and in 2018 released his debut EP Happier Now. Now he’s out with his first album, Phases.
Enyeart’s Spotifyprofile characterizes his original music as “drawing from his influences of ’70s yacht rock, funk, folk, R&B, blues, and contemporary low-fi indie. ” While that’s quite a stew of different genres, the profile adds, “there is a common denominator of soulful groove and catchy guitar riffs with straightforward-earnest lyrics.”
Except for the funky opener Still Tryin’, which Enyeart co-wrote with Jacob Peter and Kosta Galanopoulos, the remaining eight tracks are solely credited to him. One of the tunes that particularly spoke to me is Turn It Around. In addition to vocals by Enyeart, who also plays most of the instruments, the mellow song features nice alto saxophone action by Steve Frieder.
Other tracks I’d like to call out include Changes and Pillow Talk and the groovy Need, which each feature neat slide guitar, as well as the acoustic-oriented jazzy Green. Overall, this album has a pleasant laid-back feel – the kind of music I can picture hearing while laying in a hammock in the shade on a hot summer day. Phases was produced, engineered, mixed and mastered by Enyeart in his own home studio. This young artist is a true multi-talent!
The Milk Carton Kids – I Only See the Moon
The Milk Carton Kids are an indie folk duo from Eagle Rock, Calif., featuring singers and guitarists Kenneth Pattengale and Joey Ryan, who have been around for 12 years. Their compelling harmony singing reminds me of Simon & Garfunkel and The Everly Brothers. Pattengale and Ryan are also mighty fine acoustic guitarists.
Before getting to their sixth and latest studio album I Only See the Moon, here’s a bit more background from their AllMusicbio: A Grammy Award-nominated neo-traditional folk duo from Los Angeles, Kenneth Pattengale and Joey Ryan formed the Milk Carton Kids in early 2011, shelving their solo careers in favor of a collaborative project that focused on harmonized vocals, entwined acoustic guitars, and rootsy songwriting. They released their first two albums — the live Retrospect and studio LP Prologue — later in 2011, at which time they also began a pattern of persistent touring.
Known on the road for their adversarial, Smothers Brothers-evoking comedic banter as well as their virtuosic guitar skills (Pattengale’s intricate picking and Ryan’s airtight rhythm guitar), they added a backing band to the project for the first time in 2018 with their fourth studio album, All the Things That I Did and All the Things That I Didn’t Do. The duo pared things down for subsequent releases including 2023’s I Only See the Moon.
Off I Only See the Moon, here’s Body & Soul. Like all except one of the other nine tracks, the song was solely written by Pattengale and Ryan. It’s the most invigorated tune on the album, which otherwise has a more melancholic feel. As such, one could argue the song doesn’t represent the album; however, it’s the song I latched on the most!
Celebrating music with six random tracks at a time
Sunday is fun day and I’d like to invite you to join me on another trip through space and time to explore great music from different eras. Rest assured the flux capacitor and the time circuits work, and I’ve already set the coordinates for the first destination the magical music time machine shall visit. Off we go!
Woody Herman and His Orchestra/Early Autumn
Today, we begin our journey in a studio in December 1947 to witness the recording of a beautiful jazz instrumental by Woody Herman – of course, without disrupting the space-time continuum! The American jazz clarinetist, saxophonist, singer and big band leader was active from the mid-1930s until his death in 1987. This recording of Early Autumn, composed by Ralph Burns and Herman, featured Stan Getz (tenor saxophone) and Terry Gibbs (vibraphone), together with Herman (alto saxophone) and his band.
The Heavy Heavy/Miles and Miles
Let’s go back to the future, which really is the present, with a great tune by The Heavy Heavy, a UK-based five-piece band. Led by Will Turner and Georgie Fuller, they “create the kind of unfettered rock-and-roll that warps time and space, sitting at the reverb-drenched collision of psychedelia and blues, acid rock and sunshine pop” according to their Bandcamppage – sounds like a perfect fit for our trip! Miles and Miles, written by Turner, is from their debut EP Life and Life Only released in June 2022.
Led Zeppelin/Stairway to Heaven
Next, let’s set the time circuits to November 1971 and what I would consider the greatest rock tune of all time, on most days: Stairway to Heaven by Led Zeppelin, off their untitled fourth studio album, aka. Led Zeppelin IV. ‘No Beatles song?’ you may wonder. ‘And a band he constantly has called out for borrowing from other artists without giving credit?’ I know, I know. To be clear, I still think Messrs. Robert Plant and Jimmy Page should have put their big egos aside and admitted that Stairway’s intro clearly sounds like Spirit by Taurus (the part in question starts at 45 seconds). It wouldn’t have taken away anything from Stairway, nothing whatsoever! This masterpiece brilliantly builds from an acoustic into a full-blown metal tune, featuring one of the best rock drum parts I know, by the amazing John Bonham. And, yes, the song hasn’t exactly suffered from obscurity on classic rock radio stations, so let’s get it over with!
Marshall Crenshaw/What Do You Dream Of
Time for a dose of great power pop! To get it, we shall travel to July 1996, which saw the release of Miracle of Science, the seventh studio album by Marshall Crenshaw. When thanks to a recent post by fellow blogger Rich Kamerman I started listening to Crenshaw, I came across What Do You Dream Of and earmarked this tune right away for a Sunday Six. Crenshaw, who has been active since the early ’80s, is best known for hit songs, such as Someday, Someway, Cynical Girl and Whenever You’re on My Mind. But he has written many other gems including this one!
The Byrds/You Ain’t Goin’ Nowhere
You know we simply can’t skip the ’60s as long as I man the controls of the magical time music machine. Today’s destination of this decade shall be August 1968. That’s when The Byrds fully embraced country on their sixth studio album Sweetheart of the Rodeo, thanks to Gram Parsons. Initially conceived by band leader Roger McGuinn as a double LP that would span American popular music ranging from (early) bluegrass to (then-current) electronic music, Sweetheart of the Rodeo became the first widely recognized country rock album. One of my favorite tracks is You Ain’t Goin’ Nowhere, penned by Bob Dylan in 1967 in Woodstock, N.Y. during a self-imposed isolation following his motorcycle accident the year before. The maestro himself recorded the tune in September 1971. It was included on his second compilation Bob Dylan’s Greatest Hits Vol. II, released in November of the same year.
The Alarm/Sixty Eight Guns
Once again, we’ve reached the sixth and final stop. This one takes us to Feb 1984 and Sixty Eight Guns by The Alarm. Fellow blogger Max from PowerPop first brought the Welsh rock band and this great tune to my attention a year ago, and Rich Kamerman reminded me of them a few weeks ago. Ya see, Robert and Jimmy, giving credit is simple – just man up and do it! Co-written by the group’s Eddie Macdonald (bass, guitar, vocals) and Mike Peters (vocals, guitar, harmonica), the catchy song is from their debut album Declaration. If you made it grungy, it could be a Green Day tune.
As usual, I’ll leave you with a Spotify playlist of the above goodies and hope I’ll see you again next Sunday for another trip!
Sources: Wikipedia; The Heavy Heavy Bandcamp page; YouTube; Spotify
Jane Lee Hooker not only have one of the coolest blues rock band names I can think of, but the four ladies and the gent from New York City also deliver the goods. A couple of weeks ago, they came out with their latest single White Gold, a neat acoustic blues tune from their 2022 studio album Rollin’, along with a fun video. The release comes ahead of a five-week European tour that kicks off one week from today.
Credited to all members of the group, White Gold is Jane Lee Hooker’s first acoustic blues. Traditionally, they have focused on electric blues rock, blended with rock & roll, R&B and on their latest album also some soul. “I always knew we had a song like this in us,” said Tina Gorin who played resonator guitar on the tune. “It doesn’t even feel like a departure for us to me. We always had roots in our music and this shows our purer side of that.”
White Gold is the fifth single and video off Rollin’, Jane Lee Hooker’s third studio album released in late April 2022. I reviewed it here at the time. “I can’t remember the name of the studio in Woodstock [Dreamland Recording Studios – CMM], but it was an old church,” recalled Tracy Hightop, the band’s second guitarist. Matt [producer Matt Chiaravalle – CMM] and Ron [drummer Ron Salvo – CMM] had already gone to sleep and Dana [lead vocalist Dana Athens – CMM], T-Bone [Gorin’s nickname – CMM] and I snuck back into the old dark church to practice the song. Just two guitars and Dana’s massive voice filling the church.”
If you dig live music and energetic blues rock and can get to any of the above cities in Belgium, Germany, Slovakia, France and Spain, I can highly recommend Jane Lee Hooker. I’ve seen them twice and they were killing it!
Last but not least, a shoutout to Gregg Bell of Wanted Management, who kindly gave me a heads-up on the above!
Last week (May 11), Eric Burdon turned 82 years. Since the first moment I heard him I’ve always thought he’s one of the most compelling white blues vocalists. It also reminded me of a post I published in February 2019. Here it is again with the added bonus of a Spotify playlist at the end. Yes, it’s a bit of a beast! 🙂
Tumultuous Path Of A Journeyman And Survivor
For more than 50 years, Eric Burdon has been one of rock’s most distinctive vocalists
Oftentimes, I feel the best blog ideas are inspired by a previous post. In this case, it was my writing about great covers performed by Tom Petty and the Heartbreakers, which included I’m Crying by The Animals. The tune reminded me of Eric Burdon and a voice I’ve always felt was made for singing the blues. Just like many other blues artists or more generally those who started out during the ’60s and ’70s, Burdon has experienced it all, from the highest high to the deepest low and everything else in-between. Unlike many fellow artists, he’s still there, which I think makes him one of the ultimate survivors.
Eric Victor Burdon was born on May 11, 1941, in the northeastern English industrial town of Newcastle upon Tyne. His upbringing in a lower-class working family was rough. Burdon started smoking at the age of 10 and skipping school with friends to drink beer. He described his early school years as a Dickens novel-like “dark nightmare,” which included bullying, sexual molestation and sadistic teachers hitting kids with a leather strap. While his father Matt Burdon struggled as an electric repairman, this allowed the family to have a TV by the time Eric was 10. Yet again the TV sparking it all!
Seeing Louis Armstrong on the tube triggered Burdon’s initial interest in music, first in the trombone, then in singing. The next decisive stage in his life was secondary school and a teacher named Bertie Brown who helped him get into the local art college. There he met John Steele, the original drummer of The Animals. They ended up playing in a band called The Pagan Jazzmen. By early 1959, keyboardist Alan Price had joined. After a few iterations and name changes, the band evolved into The Animals in 1962.
The Animals (from left): John Steele, Eric Burdon, Hilton Valentine, Alan Price and Chas Chandler
The initial lineup featured Burdon (lead vocals), Steele (drums), Price (keyboards), Hilton Valentine (guitar) and Chas Chandler (bass), who later became the manager of Jimi Hendrix. Between September and December 1963, The Animals developed a following in Newcastle by playing local clubs there. During that period, Burdon met some of his blues heroes, including John Lee Hooker and Sonny Boy Williamson. The Animals also backed Williamson during a local gig.
In December 1963, The Animals recorded their first single Baby Let Me Take You Home. It climbed to a respectable no. 22 on the UK singles chart. But it was the second single, The House Of The Rising Sun from June 1964, which brought the big breakthrough, topping the charts in the UK, U.S., Canada and Sweden. It also started the beginning of the band’s demise when the arrangement of the traditional was only credited to Price who collected all the songwriting royalties.
The band’s first studio album The Animals appeared in the U.S. in September 1964. Their British debut record followed two months later. As was quite common at the time, the track listing between the two versions differed. Altogether, the original incarnation of The Animals released five U.S. and three U.K. studio albums. Here’s the above-mentioned I’m Crying, which was included on the second U.S. record The Animals On Tour, a peculiar title for a studio album. Co-written by Burden and Price, it’s one of only a few original tracks by the band that was mostly known for fiery renditions of blues and R&B staples by the likes of John Lee Hooker, Jimmy Reed and Ray Charles.
In May 1966, The Animals released Don’t Bring Me Down. Co-written by songwriter duo Gerry Goffin and Carole King, the tune became Burdon’s favorite single, he toldLouder/The Blues during a long interview in April 2013. The song also became the opening track to the band’s fourth U.S. album Animalization released in July 1966. The great tune is characterized by a distinct Hammond B3 sound played by Dave Rowberry, who had replaced Alan Price following his departure in late 1965, and Hilton Valentine’s fuzz guitar. Burdon recalled the song’s recording in a hotel in the Bahamas. “There was an old record player in the room where we were recording and it had this strange, thin electrostatic speaker. Dave Rowberry connected it to his Hammond B3 and that’s where the sound comes from on that track.”
By September 1966, The Animals had dissipated and Burdon started work on his first solo album Eric Is Here, which wouldn’t appear until the following year. Meanwhile, in December 1966, he formed Eric Burdon & The Animals. In addition to him, the band included Barry Jenkins, who had replaced John Steel on drums during the first incarnation of The Animals, John Weider (guitar, violin, bass), Vic Briggs (guitar, piano) and Danny McCulloch (bass). The band subsequently relocated from the U.K. to San Francisco. By that time, Burdon had become a heavy user of LSD.
In October 1967, Eric Burdon & The Animals released their debut. Appropriately titled Winds Of Change, it featured mostly original tracks and psychedelic-oriented rock, a major departure from the past. But, as Louder/The Blues noted, except for San Franciscan Nights, “the British public were reluctant to accept Eric’s transformation from hard-drinking Geordie bluesman to LSD-endorsing, peace and love hippy.” Three more albums followed before this second incarnation of The Animals dissolved in late 1968. Here’s Monterey, the opener to their second record The Twain Shall Meet from May 1968. Reflecting the band’s drug-infused experiences at the Monterey Pop Festival, where they also had performed, the tune is credited to all five members.
Disillusioned with the music business, Burdon went to LA to try acting. But after one year, he returned to music, fronting a Californian funk rock band that would be called War. Together they recorded two original albums in 1970. Here’s Spill The Wine from the first, Eric Burden Declares “War”, which appeared in April 1970. Credited to the members of War, the tune became the band’s first hit, peaking at no. 3 on the Billboard Hot 100. It also marked Burdon’s last major chart success.
Burdon’s relationship with War abruptly unraveled after the band had decided to record their next album without him. It was around the same time his friend Jimi Hendrix passed away. Burdon was devastated. “That became the end of the parade because it affected us so much,” he stated during the above Louder/The Blues interview. “It was tough for me. It was tough for everybody.” Unfortunately, one of Burdon’s answers was drugs and more drugs.
During the ’70s and ’80s, Burdon had numerous drug excesses. In 1983, this led to an arrest in Germany where he had lived since 1977. Subsequently, he returned to the U.S. Yet despite all the upheaval, Burdon still managed to continue recording albums and touring. In 1971, he teamed up with American jump blues artist Jimmy Witherspoon for a record titled Guilty! Here’s Home Dream, a great slow blues tune written by Burdon.
In August 1977, the first incarnation of The Animals released the first of two reunion albums, Before We Were So Rudely Interrupted, billed as The Original Animals. Despite positive reviews, the record only reached no. 70 on the Billboard 200. Lack of promotion, no supporting tour and most importantly appearing at a time when punk and disco ruled were all factors. Here’s the great opener Brother Bill (The Last Clean Shirt), a tune co-written by Jerry Leiber, Mike Stoller and Clyde Otis.
Next up: Going Back To Memphis, a song co-written by Burdon and Steve Grant. It appeared on Burdon’s 1988 album I Used To Be An Animal. Released in the wake of his autobiography I Used To Be An Animal, But I’m Alright Now, it was Burdon’s first new album in almost four years.
In April 2004, My Secret Life appeared, Burdon’s first new solo record in almost 16 years. Here’s the opener Once Upon A Time, a nice soulful tune co-written by Burdon and Robert Bradley.
‘Til Your River Runs Dry is Burdon’s most recent studio release, which came out in January 2013. His website calls it his “most personal album to date.” Here’s Old Habits Die Hard, co-written by Burdon and Tom Hambridge. “This song is dedicated to the people in Egypt and Libya trying to throw off the shackles of all those centuries of brutality,” Burdon toldRolling Stone a few days prior to the record’s release. “It reminds me of Paris in 1968 when I saw the kids going up against the brutal police force or the L.A. uprising. I went through these experiences and they’re still with me today. The struggle carries on. I wrote this song so I won’t forget and to say, even though I’m older now, I am still out there with you.”
Burdon’s most recent recording is a nice cover of For What It’s Worth, written by Stephen Stills and originally released by Buffalo Springfield in December 1966. He commented on his website: The whole idea of recording this song came as a result of a conversation I had with a young fan backstage, when she asked me, “Where are the protest songs today?” Right then and there, I wanted to write something about the brutality that’s going on in the world today but I couldn’t find any better way to say it than Buffalo Springfield did in “For What It’s Worth.
In 1994, Eric Burdon was inducted into the Rock & Roll Hall Of Fame as part of The Animals, along with the other original members of the band. He did not attend the induction ceremony. Burdon remains active to this day and uses the name The Animals for his backing band, which includes Evan Mackey (trombone), Davey Allen (piano), Dustin Koester (drums), Johnzo West (guitar), Justin Andres (bass) and Ruben Salinas (saxophone).
While Burdon’s website currently does not list any upcoming gigs for this year, according to Consequence of Sound, Eric Burdon & The Animals are part of the lineup for the KAABOO Festival in Arlington, Texas, May 10-12. The band is also scheduled to perform on May 26 at Avila Beach Blues Festival in California.
Asked by Louder/The Blues during the above interview how he would sum up the past 50 years, Burdon said, “I’d been screwed by [War], I’d been screwed by The Animals. All use Burdon because he’s a great front guy and then come payday where’s the money? A lot of people had a great ride off me being on stage and I didn’t get much of it.” With a little chuckle he added, “I’m not bitter. I’m bittersweet.”
– END –
The original post, which was published on February 10, 2019, ended here. One thing that happened since then is a 2020 British TV documentary titled Eric Burdon, Rock’ n’ Roll Animal, which was written and directed by Hannes Rossacher, an Austrian film director and producer. It featured interviews with Burdon, Sting, Bruce Springsteen, Steven Van Zandt, George Thorogood and Patti Smith. An edited version is available here.
Other than an awkward 2022 remix of Spill the Wine, I’m not aware of any music associated with Burdon, which has appeared since the time the above post was published first. The most recent evidence of live performances I could find on Setlist.fm was from November 2019. The lack of more recent concerts could largely be explained by the pandemic. There’s an Eric Burdonwebsite, but other than what looks like a fairly recent photo, it’s not evident whether it is active. Perhaps Eric is simply taking it easy these days, which after 60-plus years since the start of his career would be more than deserved!
Last but not least, here’s the aforementioned Spotify playlist. It features all of the above tracks except For What It’s Worth, as well as a good number of additional tunes from throughout Burdon’s recording career.
Sources: Wikipedia; Louder/The Blues; Deutsche Welle; Eric Burdon website; Rolling Stone; Consequence of Sound; Eventbrite; Setlist.fm; YouTube; Spotify
The name Bruce Cockburn first entered my radar screen a few years ago when my longtime music buddy from Germany mentioned the Canadian singer-songwriter. He did so again when I saw him last in December, recommending that I check him out. Subsequently, I started some listening and featured one of Cockburn’s tunes in a Sunday Sixinstallment in January. But I’m still at the very beginning of exploring this artist, which makes a review of his new album O Sun O Moon, out May 12, a bit tricky. But after having listened to the 12 tracks a few times, I’m confident to say that would this be Cockburn’s debut album, I sure as heck would already look forward to his sophomore release!
O Sun O Moon is Cockburn’s 35th album and, according to this Glide Magazinereview, “his first vocal album since 2017’s Bone on Bone.” At 77 years and soon to turn 78 on May 27, Cockburn sounds in amazing shape to me, both as a guitarist and as a vocalist. Sometimes, he reminds me a tiny bit of fellow Canadian singer-songwriter Gordon Lightfoot, who sadly passed away a couple of weeks ago at the age of 84. Unlike Lightfoot, Bruce Cockburn has pretty much been absent from U.S. charts since he started his recording career in 1970. That seems to be a real shame!
Before getting to some music, I’d like to provide a bit of additional background on Cockburn. I’m doing this by borrowing from his bio written by AllMusic. Most of the time, I feel they do an outstanding job I couldn’t beat. One of Canada’s greatest singer/songwriters, Bruce Cockburn has won international acclaim for his insightful songs of emotional honesty and social significance in a career that’s lasted well over five decades. While usually lumped in with the contemporary folk and singer/songwriter communities, Cockburn’s sound encompassed elements of blues and world music on early efforts like 1971’s High Winds White Sky and 1973’s Night Vision, and the gentle blend of folk and jazz on Dancing in the Dragon’s Jaws won him his first significant audience outside his homeland.
Cockburn’s progressive politics came to the fore on 1984’s Stealing Fire with songs like “If I Had a Rocket Launcher,” as well as a stronger rock influence, and these themes would become a major part of his work, extending to 2003’s You’ve Never Seen Everything and 2011’s Small Source of Comfort. Cockburn is also celebrated for his skill as a guitarist, and he’s matured into an éminence grise of Canadian music. 2023’s O Sun O Moon shows that he hasn’t stopped writing graceful, challenging songs of the heart, the soul, and the conscience.
Let’s take a closer look at some of the new album’s tracks. And where better to begin than with the opener On a Roll. The tune has a nice bluesy vibe and features The McCrary Sisters, Ann McCrary and Regina McCrary (of American gospel quartet The McCrary Sisters) on backing vocals. I love the resonator guitar sound! “The adventure continues,” Cockburn said in an interview with Innerviews posted on his website. “I don’t take any of it for granted. I do think that it’s going to hit the wall at some point. The hands are going to stop working or something else will happen, but for now, I’m able to keep doing this stuff.”
On Orders, Cockburn reflects on how religion keeps getting hijacked to serve political agendas. “I do hope that people will be encouraged by “Orders” and what it has to say,” Cockburn stated during the above interview. “It’s one thing to sit there and say, “Oh yeah, we’re supposed to love thy neighbor,” but Christians have been failing to live up to that for 2,000 years. And there’s no reason to think we won’t keep on failing at that. But it doesn’t hurt to be reminded every now and then, that’s what we’re supposed to be doing.”
To Keep the World We Know is another socially-conscious song. In this tune, Cockburn sings about environmental degradation, referencing more recent wildfires in California where he lives near San Francisco, as well as other countries like France, Greece, Spain and Australia. “The actual song came about because Susan Aglukark (a fellow Canadian singer-songwriter – CMM) called up and wanted to write a song together, and I thought it seemed like a good idea,” Cockburn explained. “We had a good time working together on it. The title was mine, but the idea of the world being in flames was hers. We’re seeing all this drought and wildfires all around the world, and it just seemed like something worth writing about.”
In addition to being a socially-conscious songwriter, Bruce Cockburn is also known as a talented guitarist. He gives us a nice flavor of his skills on the beautiful instrumental Haiku. “I’ve always felt like there was a sense of space that went with instrumental music that doesn’t typically happen with songs with lyrics,” Cockburn told Innerviews. “If I listen to Bob Dylan, I’m thinking about what he’s saying, as well as savoring the music and whoever’s playing on the record. But if I listen to Japanese flute music or Bach, I’m not doing that. Rather, I’m allowing myself to be transported to wherever that music takes me.”
The final track I’d like to highlight is O Sun by Day O Moon by Night, in which Cockburn reflects on death but does so in a peaceful way. “I think the manner of going is the part that scares us and the part that is too often tragic, and sometimes horribly inflicted on us,” Cockburn mused. “But the result of the departure I think can be approached with joy, or at least with kind of joyful anticipation. Not that I’m in a hurry or anything, but I think since it’s inevitable, death is as much a part of life as birth.”
Before wrapping up this review, a few words are in order about the other musicians on the album. First, there’s Cockburn’s longtime collaborator Colin Linden (guitar) who also produced O Sun O Moon. Other musicians include Janice Powers (keyboards), who is also Linden’s wife; Jeff Taylor (accordion); Jenny Scheinman (violin); multi-instrumentalist Jim Hoke; Viktor Krauss (bass); as well as Gary Craig and Chris Brown (both drums). In addition to Colvin and Ann and Regina McCrary, guests include Buddy Miller, Allison Russell and Sarah Jarosz.
Here’s Spotify link to the album:
With O Sun O Moon, Bruce Cockburn has delivered an impressive album, which not only demonstrates top-notch musicianship and great vitality but also a singer-songwriter who after more than 50 years still has a lot to say. If you like what you’ve heard and want to experience Cockburn live, he’s scheduled to embark on an extended North American and UK tour. It kicks off on June 1st in Plymouth, N.H. and wraps up on December 2nd in Berkeley, Calif. The current schedule is here.
Sources: Wikipedia; Glide Magazine; Innerviews; Bruce Cockburn website; YouTube; Spotify
Celebrating music with six random tracks at a time
Happy Sunday, and I hope you’re in the mood to accompany me on another zig-zag trip with the magical music time machine. As always, the journey shall include six stops in different decades, featuring music in different flavors. But this time, I’d like to shake things up a tiny bit. Let’s go!
Stevie Ray Vaughan & Double Trouble/Lenny
Today, our first stop is June 1983, which saw the release of electric blues guitar virtuoso Stevie Ray Vaughan’s debut album Texas Flood. But don’t worry, I’m not gonna hit you over the head (yet) with some hard-charging Jimi Hendrix-style blues rock. Instead, we’re gonna do it nice and easy with a relaxing jazzy instrumental, Lenny, the album’s closer. Just listen to that brilliant guitar tone and you know why I love Vaughan as much as I do. He was backed by Tommy Shannon (bass) and Chris Layton (drums), who were known as Double Trouble. Initially, they were a five-piece (including SVR) Vaughan had formed in 1978, and after some line-up changes evolved into a power trio. Sadly, the career of Vaughan, one of the most talented guitarists I can think of, was tragically cut short in August 1990 when he died in a helicopter crash, along with the pilot and three other passengers on board.
Buzzcocks/Ever Fallen in Love (With Someone You Shouldn’t’ve)
Okay, time to wake up in case you nodded off during the previous track – now we’re gonna kick some butt! This next tune takes us to September 1978. That’s when English punk rockers Buzzcocks came out with their sophomore album Love Bites. And I’m not talking about some fast and loud music and screaming vocals by some guys who can barely play their instruments. This is punk with catchy pop hooks and decent vocals – in other words, my kind of punk! The Buzzcocks were formed in Bolton, England in 1976 by singer-songwriters Pete Shelley (vocals, guitar) and Howard Devoto (lead vocals). Devoto already departed after the release of the group’s debut EP Spiral Scratch (Jan 1977) to form Magazine, an early post-punk band. By the time Love Bites appeared, the remaining line-up of Buzzcocks included original members Steve Diggle (guitar, vocals), Steve Garvey (bass) and John Maher (drums). Buzzcocks who are still around have since seen multiple changes. Shelley remained until his death of a suspected heart attack in December 2018. Diggle is still around. To date, Buzzcocks have released 10 studio albums, most recently Sonics in the Soul, which came out in September 2022.
The Platters/The Great Pretender
If you’re a frequent reader of my blog or know my music taste otherwise, you’ve probably noticed I dig great singing. A lot! As such, it shouldn’t come as a huge surprise that I like certain vocal groups. One of the first such formations I heard are The Platters. I can’t quite remember whether it was Only You (And You Alone), their first hit single from July 1955, or the follow-on, which I decided to feature here. Released in November 1955, The Great Pretender became an even bigger chart success, their first single to top the U.S. pop charts. Written by Samuel “Buck” Ram, who also was a prominent music producer and arranger, The Great Pretender was a no. 1 in The Netherlands as well and reached no. 5 in each the UK and Belgium. Amazingly, a touring version of The Platters exists to this day, though none of their founders are still around. The one constant member from the group’s inception in 1952 until his death in 2012 was Herb Reed. And, sure enough, The Platters are on the road and have a pretty busy schedule throughout the year. So, let’s hear it for The Great Pretender – what a marvelous classic!
Nirvana/Smells Like Teen Spirit
Our next stop is the ’90s, the decade where I began to largely tune out from contemporary music unless it was by a band or artist I had started to follow in the late ’70s or ’80s. I realize this time and again when fellow bloggers post about ’90s music. There were a few notable exceptions – thank goodness! One I initially wasn’t crazy about were Nirvana. It took me a few times until I fully appreciated the brilliance of Smells Like Teen Spirit, the opener and lead single of their sophomore album Nevermind, released September 10 and September 24, 1991, respectively. The tune was primarily penned by frontman and main songwriter Kurt Cobain with inputs from the band’s bassist and drummer Krist Novoselic and Dave Grohl, respectively. The title was derived from the phrase “Kurt smells like Teen Spirit,” which his friend Kathleen Hanna, lead vocalist of punk band Bikini Kill, had written on his wall. Cobain thought it was some revolutionary slogan. However, Hanna referred to the deodorant Teen Spirit, which she and Cobain’s then-girlfriend Tobi Vail had discovered during a trip to the grocery store. The dynamic changes in this haunting tune are just incredible!
The Rolling Stones/Child of the Moon
We’re four stops into this trip and haven’t visited the ’60s yet. This must be corrected immediately by setting our music time machine to May 1968. On the 24th of that month, The Rolling Stones released Jumpin’ Jack Flash as a non-album single in the UK. It also came out in the U.S. one week later. Since it appeared, the Stones have played Jumpin’ Jack Flash during each of their tours – I mean, it’s a dynamite tune, so who can blame them! By comparison, I think it’s fair to say the single’s B-side, Child of the Moon, has largely remained obscure, even though it’s a great tune as well. It got my attention the other day when I came across the cool official video. As noted by ABKCO Music & Record when posting the clip on YouTube, Filmed in 1968, this surrealist promotional film features all five original band members and Emmy Award-winning actress Dame Eileen June Atkins. Shot on a farm near Enfield, outside north London, the eerie music video for “Child of the Moon” is an early example of the narrative approach, when the format was in its infancy, over a decade before the advent of MTV.
Artemis/Lights Away From Home
And once again, this brings us to the sixth and final stop. You may wonder what happened to the “usual jazz track”. I told you things would be a bit different this time, though my first pick by blues guitarist Stevie Ray Vaughan was jazzy. Here comes a second instrumental with a more traditional jazz sound, except it’s by a contemporary New York all-female sextet, Artemis, and it’s brand new. From their website: The brainchild of pianist and composer Renee Rosnes, Artemis is a powerful ensemble of modern masters. Named for the Greek goddess of the hunt, the multinational, multigenerational band was founded in 2017 under the banner of International Women’s Day. Artemis’ performance at the 2018 Newport Jazz Festival was so dynamic, Blue Note Records President Don Was signed the group to the label. Tour dates across Europe and North America followed, including performances at such iconic stages as Carnegie Hall, the Kennedy Center for the Performing Arts, SFJAZZ, Chicago Orchestra Hall, as well as at the Detroit Jazz Festival, Saratoga Jazz Festival, and the Monterey Jazz Festival among others. Off their sophomore and new album In Real Time, which was released on May 5, here’s Lights Away From Home, a composition by the ensemble’s bassist Noriko Ueda. According to this review by Glide Magazine, this groovy track was inspired by watching a meteor shower. BTW, in addition to their involvement with Artemis, each of these six amazing ladies is leading their own band!
Of course, I won’t leave you without a link to a Spotify playlist featuring each of the above goodies. Hope you enjoyed our trip and will be back for more. And, who knows what may be in store next. Perhaps, I’ll throw in some yodel music! 🙂
While my music history series is an irregular feature, this time, I did not want to wait for another 10 weeks before putting together the next installment. Plus, May 4 turned out to be a date I had not covered yet. As always, this content reflects my music taste and is not meant to present a full accounting of events.
1956: Rockabilly and early rock & roll pioneer Gene Vincent recorded what would become his signature song at Owen Bradley’s studio in Memphis, Tenn.: Be-Bop-a-Lula. Vincent wrote the music in 1955 at US Naval Hospital in Portsmouth, Va. while recuperating from a motorcycle accident. The song is also credited to his manager Bill “Sheriff Tex” Davis who claimed he wrote it together with Vincent. Another version is the lyrics were penned by Donald Graves who Vincent met at the hospital and Davis subsequently bought out his rights to the tune. To make things even more confusing, in yet another version, Vincent maintained he came up with the tune’s words, which were inspired by a comic strip called Little Lulu. What is undisputed is that once released in June 1956, Be-Bop-a-Lula became Vincent’s biggest hit in both the U.S. and the UK, peaking at no. 7 and no. 16, respectively.
1967: The Young Rascals (who later became known as just The Rascals) reached the top of the U.S. pop charts with Groovin’, the title track of their third studio album released in July of the same year. The tune was co-written by band members Felix Cavaliere (lead and backing vocals, keyboards) and Eddie Brigati (backing and lead vocals, percussion). Gene Cornish (guitar, harmonica, backing and lead vocals, bass) and Dino Danelli (drums) completed the group who were still in their original lineup. Groovin’, their second big hit after Good Lovin’ (February 1965), reflected Cavaliere’s newfound interest in Afro-Cuban music. The tune featured a conga and a Cuban-influenced bassline played by prominent session musician Chuck Rainey, one of the most recorded bass players who also worked with the likes of Aretha Franklin, Steely Dan and Quincy Jones. Groovin’ also became The Young Rascals’ highest-charting single in the UK (no. 8) and Australia (no. 3).
1970: A peace rally at Kent State University in Kent, Ohio against the U.S. incursion into Cambodia ended in what became known as the May 4 massacre or the Kent State massacre. After more than 300 students had gathered on campus to protest the expansion of the Vietnam war, 28 National Guard soldiers emerged and fired tear gas at the crowd, followed by about 67 rounds of bullets over 13 seconds, killing four students and wounding nine others. Unbeknownst to the protesters, Ohio Governor Jim Rhodes had stationed the National Guard on campus and declared martial law, superseding First Amendment rights and making any assembly illegal. Among the protesters was Jerry Casale who subsequently became a co-founder of the band Devo. Another student who was there that day decided to drop out of school, work as a waitress for a while and eventually head to England to form a rock band. Her name: Chrissie Hynde, of the Pretenders. But the most immediate outcome of the May 4 massacre was the song Ohio, written by Neil Young, and released as a single by Crosby, Stills, Nash & Young in the wake of the shooting.
1987: Prominent blues harmonica player and vocalist Paul Butterfield, best known as the founder and leader of the Paul Butterfield Blues Band, died from a drug overdose in his Los Angeles apartment at age 44. Butterfield formed the Paul Butterfield Blues Band in 1963. Between 1965 and 1971, they released a series of studio and live albums. After their breakup in 1971, Butterfield formed a new group, the short-lived Paul Butterfield’s Better Days, who put out two albums. Afterward, Butterfield launched a solo career. In 1986, he released his final studio album, The Legendary Paul Butterfield Rides Again, an unsuccessful comeback attempt with an updated rock sound. Butterfield’s physical and financial condition started to deteriorate in the early ’80s after he became addicted to heroin, a possible attempt to ease symptoms from serious and painful intestinal inflammation. Here’s Paul Butterfield Blues Band’s rendition of Robert Johnson’sWalkin’ Blues, off their sophomore album East-West, featuring guitarist Mike Bloomfield.
1991: Texas Governor Ann Richards declared ZZ Top day in the Lone Star State. According to an article in the Deseret News, which weirdly is a Utah paper, Richards led a Capitol ceremony honoring the Houston-based rock band, which ended its 120-city “Recycler” tour in Austin Friday.”You’ve heard me talk an awful lot about how proud Texas is of its music industry,” Richards said. “I can’t think of a group better than ZZ Top.” While setlist.fm doesn’t include ZZ Top’s above-noted May 3, 1991 Austin gig, it lists their show in Lubbock, Texas the night before – close enough! Here’s one of the tunes they played, Concrete and Steel, the opener of Recycler, their 10th studio album released in October 1990 – sounds like it was inspired by Sharp Dressed Man.
Sources: Wikipedia; Songfacts Music Calendar; This Day In Music; Deseret News; Setlist.fm; YouTube
Ever since I sawLucinda Williams open up for Bonnie Raitt in Philadelphia last June, I’ve been wanting to take a deeper dive into her music. This post is a first attempt to further explore the singer-songwriter who has been active since 1978. Over a 45-year-and-counting career, Williams has released 14 studio albums with no. 15, Stories from a Rock n Roll Heart, scheduled to drop June 30. I recently featured the excellent lead single New York Comeback in a Best of What’s Newinstallment.
Before getting to some music, I’d like to provide some background. From Williams’ website: Lucinda Williams’ music has gotten her through her darkest days. It’s been that way since growing up amid family chaos in the Deep South, as she recounts in her candid new memoir, Don’t Tell Anybody the Secrets I told You [Crown, April 25, 2023 – CMM].
Over the past two years, it’s been the force driving her recovery from a debilitating stroke she suffered on November 17, 2020, at age 67. Her masterful, multi-Grammy-winning songwriting has never deserted her. To wit, her stunning, sixteenth studio album, Stories from a Rock n Roll Heart, brims over with some of the best work of her career. And though Williams can no longer play her beloved guitar – a constant companion since age 12 – her distinctive vocals sound better than ever.
“I’m singing my ass off,” she told Vanity Fair in February, following her first European tour since 2019. The love emanating from audiences and her musical family onstage and in the studio exemplify the healing power of music, says Williams. In 2020, she spent a week in intensive care, followed by a month in rehab before returning home. The blood clot on the right side of her brain impaired the left side of her body’s motor skills, forcing her to relearn some of the most basic of activities, like walking.
In July 2021, she played her first gig, opening for Jason Isbell at Red Rocks. She began seated in a wheelchair, but soon she was upright. “Just the energy of the audiences being so welcoming and warm and the band playing so great and being so supportive gave me so much strength,” Williams relates. “I figured, ‘Hell, all I have to do is stand up there and sing. How hard can that be?”
Williams got into songwriting and music at an early age. She started writing as a six-year-old and was playing guitar by the time she was 12. Five years later, she found herself on stage in Mexico City for her first live performance, together with her friend and banjo player Clark Jones. This was followed by gigs in Austin and Houston, Texas in her early 20s. In 1978, a then-25-year-old Williams move to Jackson, Miss. and recorded her debut album Ramblin’ on My Mind, which appeared the following year.
Williams first gained critical acclaim with her third, eponymous studio album from 1988, which was voted the 16th best album of the year in The Village Voice’s annual Pazz & Jop critics poll. Lucinda Williams has since been viewed as a leading work in the development of the Americana movement. In 1998, Williams broke through into the mainstream with Car Wheels on a Gravel Road. Her fifth album topped the aforementioned Pazz & Jop poll and won the 1999 Grammy Award for Best Contemporary Folk Album. It also became her first album to chart on the Billboard 200, climbing to no. 68.
Time for some music! I’m going to highlight six tunes, followed by a Spotify playlist featuring these and additional songs from all of her albums. Kicking it off is a great rendition of Robert Johnson’s Ramblin’ on My Mind, the title track of Williams’ above-mentioned 1979 debut album, which she recorded together with guitarist John Grimaudo.
After two blues, country and folk-oriented albums, Lucinda Williams started to embrace a more Americana and roots rock-oriented sound on her third, eponymous album. Here’s Changed the Locks, which also became the album’s first single. Like all except one tune, it was penned by Williams. Tom Petty and the Heartbreakers covered this song on their 1996 soundtrack album She’s the One.
This brings me to Car Wheels on a Gravel Road, Williams’ acclaimed fifth album. It featured guest appearances by Emmylou Harris and Steve Earle who in addition to Williams served as one of the producers, along with Ray Kennedy who was working with Earle at the time, as well as Roy Bittan, best-known as longtime keyboarder of Bruce Springsteen’sE Street Band. While the recording process was drawn out, in part due to some tensions between Earle and Williams who ended up bringing in Bittan to finish the album, Car Wheels on a Gravel Road overall became her most successful album to date. Here’s the great opener Right in Time – love the guitar sound on that cut!
Next, let’s jump to October 2008 and Little Honey, Williams’ ninth studio album. It featured guest appearances by Elvis Costello, Susanna Hoffs, Matthew Sweet and Charlie Louvin. Little Honey earned a nomination for the 2010 Grammy Award for Best Americana Album, the category’s inaugural year, which was won by Levon Helm for Electric Dirt. Here’s the excellent opener Real Love, which also appeared separately as a single. Penned by Williams, with backing vocals by Hoffs and Sweet, the roots rocker was also featured in the 2007 American comedy-drama The Lucky Ones.
In September 2014, Williams released her 11th studio record Down Where the Spirit Meets the Bone, the first on her own label Highway 20 Records. The double album debuted at no. 13 on the Billboard 200, becoming one of Williams’ highest-charting on the U.S. mainstream chart. It also won the 2015 Americana Music Award for Album of the Year. Once again, there were various guests, including Jakob Dylan, Tony Joe White, Ian McLagan and Elvis Costello, among others. Here’s the great Burning Bridges, penned by Williams.
Fast forward to April 2020 and Good Souls Better Angels, Williams’ 14th and most recently released studio album. Another widely acclaimed album, it earned Williams yet another Grammy nomination, for Best Americana Album. Here’s When the Way Gets Dark. Like all except one other track on the album, it was co-written by Williams and Tom Overby who also served as producer, along with Williams and Ray Kennedy.
Last but not least, here’s the aforementioned Spotify playlist featuring the above and some other Lucinda Williams tunes. This artist is a true treasure! Hope you have as much fun listening to her music as I had putting together this post. I’m really looking forward to her new album, which based on the lead single sounds very promising.
Sources: Wikipedia; Lucinda Williams website; YouTube; Spotify
The other day, fellow blogger Max from PowerPopfeaturedSweet Little Sixteen by Chuck Berry, and we started exchanging comments about Berry’s importance in shaping early guitar-driven rock & roll. When I heard the iconic intro to Johnny B. Goode for the first time as a young cat, I wanted to be able to play like that. Once I got my first electric guitar at around 14 or 15, I tried very hard, but my fretting fingers just wouldn’t cooperate very well.
Berry’s playing was actually pretty crude, but it just sounded cool. And what a terrific showman he was. Only much later did I realize how great his lyrics were. I also learned that like many of my music heroes, Berry was no angel. All of this made me think of a post I first published in August 2017. Instead of writing about Berry’s original recordings, I thought it would be fun to feature great covers of his songs performed by other artists. So, here is that post again, slightly edited and with a Spotify playlist added as a bonus.
Chuck Berry Classics Performed By Other Artists
A list of covers from AC/DC to The Yardbirds
A few days ago, I coincidentally came across a previously created iTunes playlist I had completely forgotten about: Covers of Chuck Berry classics performed by other music artists. I thought it would be fun to develop a post around this theme.
While no one artist can claim they created an entire genre of music, there is a reason why Berry was known as Mr. Rock & Roll. In any case, the number of other artists who covered his tunes sure as heck is impressive.
Maybelline/Foghat
English blues and boogie rock band Foghat included a killer version of Maybelline on their 1972 eponymous album. The tune was written and recorded by Berry in 1955, and first released as a single in July that year. It also appeared on his 1959 iconic third study album Chuck Berry Is On Top, which also included many of his other major hits. Here’s a great clip of the tune from a Foghat live performance.
School Days/AC/DC
AC/DC recorded a cool cover of School Days for their second Australian studio album T.N.T., which appeared in December 1975. Originally, Berry released the song as a single in March 1957, two months ahead of his debut studio album After School Session.
Too Much Monkey Business/The Yardbirds
Too Much Monkey Business is the first track on Five Live Yardbirds, the band’s terrific debut live album from 1964. Berry released the song as his fifth single in September 1956. It was also included on the After School Session album.
Sweet Little Sixteen/John Lennon
John Lennon recorded a nice Memphis soul-style cover of Sweet Little Sixteen for Rock ‘n’ Roll, his sixth studio album from 1975. Berry released the track as a single in January 1958. It was also included on his second studio album One Dozen Berries, which appeared in March 1958.
Rock & Roll Music/The Beatles
Rock & Roll Music is among my favorite rock & roll covers by The Beatles. They included it on their 1964 fourth studio album Beatles For Sale. Berry initially released the tune as a single in September 1957. It also appeared on the One Dozen Berrys studio album. Unfortunately, I couldn’t find a clip of the Beatles’ studio version, so here is a live performance captured from a 1965 performance in Paris. [Actually, nothing unfortunate about it. Rock & Roll Music is now available on YouTube, but I decided to keep that live clip – CMM]
Carol/The Rolling Stones
I’ve always loved the cover of the song The Rolling Stones recorded. Initially, they included it on their 1964 eponymous debut album, but my favorite version appeared on the fantastic 1970 live record Get Yer Ya-Ya’s Out!. First released in 1958 as a single, Carol is also one of the gems from Chuck Berry Is On Top. Here’s a great clip of the Get Yer Ya-Ya’s Out version. [Damn, I’ve said it before and I say it again, the Stones never sounded as great as on that live album – CMM]
Johnny B. Goode/Jimi Hendrix
If I only had one classic rock & roll tune to choose, it would be Berry’s 1958 gem Johnny B. Goode, which first appeared as a single in March that year and is yet another highlight from Chuck Berry Is On Top. Who could possibly do a better cover of it than Jimi Hendrix? Here is a great clip of Hendrix absolutely killing it live – not sure whether it is the same performance that was also captured on Hendrix in the West, a 1972 posthumous live album. [Kind of funny how Hendrix asks the audience whether his music is too loud! – CMM]
Little Queenie/The Kentucky Headhunters with Johnnie Johnson
Frankly, I do not quite remember how I came across this cover of Little Queenie when I put together the above iTunes playlist, but I find it pretty awesome. It’s performed by country and southern rock band The Kentucky Headhunters featuring Johnnie Johnson, a jazz, blues and rock & roll pianist, and was included on a 2015 release titled Meet Me In Bluesland. Originally, Berry released Little Queenie as a single in 1959, another tune from Chuck Berry Is On Top.
Roll Over Beethoven/Electric Light Orchestra
It’s safe to say this is one of the most unique covers of the track performed by Electric Light Orchestra. Blending elements of classical music with rock & roll and other styles of rock, ELO is one of the weirdest ’70s bands, in my opinion. While most of their productions were bombastic and completely over the top, I still have to admit there is something intriguing about their music. Their 8-minute-plus cover of Roll Over Beethoven was included on their eponymous second studio album, which was released in 1972. Berry first recorded the tune as a single in May 1956. It also appeared on Chuck Berry Is On Top. The following clip is an abbreviated live version of the song, captured from a 1973 performance on The Midnight Special, an American late-night music variety show that aired during the 1970’s and early ’80s.
Memphis/The Hollies
This cover from The Hollies was included on the band’s debut album Stay With The Hollies, which appeared in the U.K. in January 1964. The track was also included on the U.S. version of the album titled Here I Go Again, released in June that year. Berry first recorded Memphis as a single in 1959.
– END-
The original post, which was published on August 26, 2017, ended here. Man, this is classic rock & roll, and I hope you guys had as much fun revisiting these tunes as I did! Following is the aforementioned Spotify playlist.
L.A. blues and rock & roll band’s “Driving South” took global pandemic, near-fatal cancer episode and death of mentor to materialize
A band named Highway 61 was bound to get my attention. It also didn’t hurt the four-piece from Los Angeles deliver music they rightfully describe as mixing doses of The Rolling Stones and Tom Petty with dashes of The Black Crowes and Stevie Ray Vaughan. Last but not least, there’s a truly inspiring background story behind their excellent debut album Driving South, which officially will be released on April 7 and is already available digitally on streaming platforms as of last Friday (March 24).
Before getting to some great music, I like to touch on the group’s history, especially for readers who didn’t catch my most recent Best of What’s Newinstallment. Highway 61 originally were founded in the early ’90s. While they managed to establish themselves on the Southern California club circuit, they didn’t secure a record deal. “We were young and committed to constantly rehearsing, writing, promoting, and playing stellar shows,” recalls drummer Mike Knutson in the band’s official bio, which was kindly provided to me by their manager Gregg Bell of Wanted Management. “…but eventually we got burnt out, the scene changed, and we split up.”
That split happened in 1993. But while they went their separate ways (most notably, guitarist and vocalist Frank Meyer formed award-winning punk band The Streetwalkin’ Cheetahs), they remained friends and occasionally worked with each other. Fast-forward to 2020 when the world found itself in the throes of the global COVID pandemic and guitarist Andy Medway was confronted with a life-changing experience – a diagnosis with leukemia. After a year of chemotherapy, Medway ended up undergoing a bone marrow transplant. This required more than a year of recovery and resulted in a series of complications and setbacks.
“Frank was great about staying in touch with me during my recovery and encouraging me to play music even when I didn’t know if I would ever be able to play again,” says Medway in the band’s bio. “Music truly is the great healer.” Not only that it turned out. Here’s more from Highway 61’s bio: Inspired by the challenge, Medway started firing off ideas. Soon he and Meyer had written several songs, including the Driving South track “Black Magic,” which led to the reunion with Knutson and [bassist and vocalist Russell] Loeffler.
In summer 2022, the foursome reconvened for the first time in decades at Kitten Robot Studios in Los Angeles with producer Paul Roessler (The Screamers, 45 Grave, Nina Hagen) to make Driving South, which mixes doses of The Rolling Stones and Tom Petty with dashes of The Black Crowes and Stevie Ray Vaughan. The band ripped through the entire album over a few weeks, finally tracking fan favorites like “Baby, Where’s You Stay Last Night” and “Supernatural Monkey Child,” alongside brand new song “Black Magic.”
Driving South also salutes Highway 61 mentor Alan Mirikitani, a.k.a. blues guitar master BB Chung King, who sadly passed away in 2015. “Walk on Water” and “Breath Away” feature unreleased solos Mirikitani recorded with the band in 1992. In an incredibly emotional reunion, “Walk on Water” also features Mirikitani’s daughter Alana Mirikitani on backing vocals joining the two artists on an album for the first time.
Time to get some music! Let’s start at the very beginning with the aforementioned Walk on Water, the great opener that nicely sets the mood for the album and is a perfect illustration of what Highway 61 is all about – kickass rock & roll that makes me smile. Frank Meyer explains the song is “about evangelists, dirty politicians, and police brutality written around the time of the Rodney King verdict and the L.A. Riots. It’s nuts to me that we were writing about heady topics at such a young age.”
On Baby Where You’d Stay Last NightHighway 61 slightly slow down the tempo, but this tune still rocks as nicely as the previous opener.
Next is Black Magic. Unlike the other nine tunes the band wrote when they were still in their teens and early 20s, Black Magic is the only new song on the album.
Midnight Train has a cool funky sound. Check it out!
Let’s do one more: Supernatural Monkey Child, another neat funky rocker. It’s got a bit of a Jimi Hendrix vibe! I can also hear a dose of Stevie Ray Vaughan in here – damn!
“The crazy thing about this album is that with the exception of “Black Magic,” all of this material was written when we were still teenagers and in our early 20s,” observes Meyer. “Yet somehow these songs sound incredibly mature to me now.”
Adds Loeffler: “Thirty years is a long time, and during that time the music we created still resonated in me. While continuing to write and play music, I always wondered what the others were doing. We spent an enormous amount of time together, rehearsing, writing, traveling for shows, and becoming a family. When Frank called me about finishing what we started, I didn’t hesitate.”
Well, as they say, sometimes good things take time. Highway 61 have delivered what in my book is a fabulous debut. I also think I’m not alone in hoping that we won’t have to wait another 30 years for their next album. I’ll leave you with a Spotify link to Driving South, so you can check out the remaining tracks.
Christian's Music Musings 